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オーケストラ・リハーサル（イタリア語: Prova d'orchestra）は、イタリア映画監督フェデリコ・フェリーニの1979年公開イタリア映画。オーケストラ楽団員による指揮者に対する反発や待遇面向上を通して描かれる風刺的な映画。第32回カンヌ国際映画祭特別招待作品[1]。
 | この項目「オーケストラ・リハーサル」は途中まで翻訳されたものです。（原文：en:Orchestra_Rehearsal 09:48, 12 September 2019 Citation bot UTC） 翻訳作業に協力して下さる方を求めています。ノートページや履歴、翻訳のガイドラインも参照してください。要約欄への翻訳情報の記入をお忘れなく。（2019年9月） |
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| オーケストラ・リハーサル | |
|---|---|
| Orchestra Rehearsal | |
| 監督 | Federico Fellini |
| 原案 | Federico Fellini |
| 製作 |
Michael Fengler Renzo Rossellini |
| 出演者 | Balduin Baas |
| 音楽 | ニーノ・ロータ |
| 撮影 | Giuseppe Rotunno |
| 編集 | Ruggero Mastroianni |
| 公開 | 4 December 1978 |
| 上映時間 | 70 minutes |
| 製作国 | イタリア／西ドイツ 合作 |
| 言語 | Italian |
また、本作はニーノ・ロータが1979年に世を去った事で、フェリーニとロータの最後の映画とその音楽のコラボレーション作品となった。
The picture has been interpreted as a metaphor for Italian politics, with the orchestra quarreling instead of working together.[2] Considered by some to be underrated,[3]
An off-screen Italian television camera crew (voice enacted by Fellini) conducts documentarian-style 'roving eye' interviews with musicians preparing for a low-budget rehearsal in a run-down auditorium (formerly converted from a 13th-century church — presently slated for demolition, apparently). Speaking candidly and often cynically about their craft, interviewees are seen routinely interrupting one another as their artistic claims are contested or derided by orchestral peers, each self-importantly regarding his own instrument as the most vital to group performance, the most solitary in nature or spiritual in relation — these varied opinions reflecting each listener's intensely personal experience with music, one of the recurring themes of the film.
The conductor arrives (speaking Italian but with an affected German accent), proving theatrically critical of the ensuing performance quality and equally quarrelsome with trade union representatives on site, wearing down the orchestra members as he commands them to play with exceedingly particular nuances bordering on absurd abstraction, leading several musicians to strip away clothing under the strain of this taxing effort.
Protesting the conductor's authoritarian abuses, the union reps intervene, spitefully announcing that all musicians will be taking a 20-minute double break. While one camera follows the players to a local tavern to further catalog their ideological musings, in a backstage interview the defeated conductor expresses his frustrations regarding the impossible contradictions of his leadership role, opining on the subjective power of music just as a power outage in the building prompts his return to the auditorium hall.
There he discovers the darkened auditorium space has been thoroughly defaced with spray-painted revolutionary slogans and rubbish being flung about by the musicians who chant a discordant chorus of protest against their oppressive taskmaster and then against music itself ("The music in power, not the power of music!"). This increasingly anarchistic bacchanal culminates in a violent crescendo of gunshots and in-fighting, until finally an impossibly large wrecking ball — its presence going unexplained — smashes with God-like wrath through a wall of the building (at the altar of this former church), causing the death of the harpist beneath an avalanche of rubble.
As the silenced fellow musicians reflect on this tragedy in a cloud of settling dust, the conductor steps in to eulogize with a motivational speech declaring that music requires them to play through the pain of life, to find strength, identity and guidance in the fated notes of its composition. Amid the ruins, the newly inspired musicians accommodatingly take to their instruments to deliver a tour de force redemptive performance. At its conclusion, however, the conductor's former words of fleeting praise once again sour to perfectionist dissatisfaction, resuming his comically agitated critique at the dais as the picture fades to black, to the swelling accompaniment of a classical opus. As the credit roll commences, the conductor's continued Italian dialogue berating the orchestra is heard to slip into dictatorial German barking, suggesting a sharper political allegory at play in the movie's message all along.
- バルドゥイン・バース-指揮者
- クララ・コロシモ -ハープ奏者
- エリザベスラビ -ピアノ奏者
- ロナウドボナッチ -ファゴット奏者
- フェルディナンド・ヴィレッラ-チェロ奏者
- フランコ・イアヴァローネ-ベースチューバ奏者（Giovanni Javaroneとして）
- デビッド・マウンセル -最初のヴァイオリン
- フランチェスコ・アルイージ -第二ヴァイオリン
- アンディ・ミラー -オーボエ奏者
- シビル・モサート-フルート奏者
- フランコ・マッツィエリ -トランペット奏者
- ダニエル・パガーニ-トロンボーン奏者
- ルイージ・ウッツォ-バイオリン奏者
- チェザーレ・マルティニョン-クラリネット奏者
- ウンベルト・ズアネリ-コピーリスト
- フィリッポトリンカイア -オーケストラの頭
- クラウディオ・チョッカ -ユニオンマン
- アンジェリカ・ハンセン -バイオリン奏者
- ハインツ・クルーガー -バイオリン奏者
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