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Opera Barga
The project aims to highlight some of the most distinctive locations of the historic councils in the Tuscan Appennine Range with the participation of SIMONE BERNARDINI’S ENSEMBLE LE MUSICHE.
Simone Bernardini plays first violin for the Berlin Philharmonic and is currently the guest concert master for the Berlin Staatskapelle orchestra conducted by Daniel Barenboim during their recent series of concerts featuring the entire cycle of Bruckner Symphonies and Mozart’s Piano Concertos.
In Barga, Simone and his Le Musiche Quartet partners along with other players from some of Europe’s major orchestras will be performing a variety of chamber music, with the programs being selected and rehearsed in the small villages of Barga and Bagnone. Some rehearsals are also open to the public.
The MUSICA NEI BORGHI PROJECT has been made possible thanks to the support of the Councils of Barga and Bagnone.
The Le Musiche Quartet player are
Simone Bernardini e Christophe Horak – violins – both members of the Berlin Philharmonic.
Andreas Willwohl – Lead viola of the Berlin Radio Symphony Orchestra
Ulrike Hofmann – first cello of the Stuttgart Radio Orchestra
Other Ensemble Members are:
Simon Roturier, Lauriane Vernhes, Avishai Chameides, Joan Bachs, (quartetto Noga)
Giulia Bellingeri (violin), David Quiggle (viola), Daniel Van Biemen (violin), Mok-Hyun Gibson-Lane (cello)
Jerome Akoma (violin) and Claire Thirion (cello).
Flute – Curt Schroeter
Horn – Deborah Kopp
Piano – Lauma Skride
A few of the compositions that will be performed during the concerts are listed below.
Schubert’s Fantasy for violin and piano
Trio for horn, violin and piano in E flat Maj. op. 40 by J. Brahms
Schubert’s C min Quartettsats D. 703
Quartett no. 3 in D maj. op. 18 by L. v. Beethoven
Quartet in G maj op. 106 by A. Dvorak
J. Haydn:
The last seven words of Christ on the Cross for quartet and narrator
J. Brahms:
String sextet no. 2 in G maj.. op. 36
W. A. Mozart
Quartet for flute and strings in D Maj.
L.v. Beethoven
Serenade for flute, violin and viola op. 25
A. Dvorak
American Quartet No. 12 op. 96 in F Maj.
Opera Barga: CELEBRATION OF JOHN CAGE'S BIRTH
To celebrate the centenary of John Cage’s birth, (1912 – 1992) Opera Barga, who already in 1974 gave the Italian premier of “Mesostick”, will be presenting a concert performance of works by Cage and other musicians on the 7th of July, plus a series of impromptu “musical happenings” to take place almost unannounced in various locations in the town of Barga, sort of “flash concerts” throughout the daytime of the 6th and 7th of July. Because music is everywhere, as Cage would have us believe.
John Cage was one of the pioneers of twentieth century music. After studying with Arnold Schoenberg for two years, he set himself the task of working as a composer for the rest of his life. His writings and compositions have had a wide influence on subsequent developments in contemporary music and in the 60’s and 70’s he formed what was then known as the New York School along with fellow composers Morton Feldman, Earle Browne, David Tudor e Christian Wolff.
J.CAGE
LIVING ROOM MUSIC
for percussion and speech quartet with or without an instrumental solo with percussion trio
and
Italian Premiere of
FADS AND FANCIES IN THE ACCADEMY
for 4 percussionists and piano
G.BATTISTELLI
PSYCHOPOMPOS for six percussionists
F.FILIDEI
PUCCINI A CACCIA for 8 percussionists
V.GLOBOKAR
QVADRAT for 4 percussionists
M. KAGEL
RRRRRRRR for percussion trio
P. CASTALDI
SOLFEGGIO RITMICO for 4 players
Opera Barga: Alessandro Scarlatti’s first opera
Alessandro Scarlatti’s first opera was performed in Rome during the Carnival of 1679. At the time Pope Innocence XI had banned all theatrical entertainment during the Carnival period, which meant that the performance had to take place almost secretly at the home of the librettist Domenico Filippo Contini, only to be transferred to the Theatre of the Carmelite College at the behest of Queen Cristina of Sweden (and the Cardinals who wished to attend were smuggled in through the ladies entrance).
The opera was very well received and subsequently performed in Naples, Bologna, Florence and Vienna as well as many other venues.
The plot revolves around the love between two young shepherds, Clori and Eurillo, whose lover’s tiffs are heightened by the meddling of Clori’s younger sister Lisetta, who is also keen to enjoy lover’s prerogatives and has a fancy for Eurillo, but even more so by the appearance of Armindo, whom we discover in the end to be Eurillo’s long lost identical twin. This leads to a series of very “equivocal” and often very entertaining situations which lead up to a typically forced (and by no means conclusive) “happy ending”.
Conductor – Carlo Ipata, Director Dagny Müller,
Sets Nicolas Bovey, Costumes – Kerry Bell,
Lighting – Riccardo Tonelli
Cast: Alberto Allegrezza, Francesca Lombardi Mazzulli, Matteo Mezzaro, Manuela Ranno
Orchestra Auser Musici
Coproduction Opera Barga - Auser Musici
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Sea Parade - Spettacolo itinerante Un Uomo, una Donna, i loro figli, una vecchia bicicletta, una sedia, un materasso, povere masserizie salvate da una fuga precipitosa, una fuga dalla noia, una fuga da un paese dove il tempo scorre ma non passa mai. E’ questo l’inizio di una spettacolo itinerante, nato da un piccolo laboratorio teatrale tenuto dal regista Davide Iodice con gli attori e gli animatori della Compagnia degli Sbuffi. Con questa improvvisazione iniziale, nasce davanti al pubblico, una fantastica visione, gli scarni elementi scenici, si uniscono, diventano barca, pronta a solcare i mari del racconto, sfilando per le strade seguita da pupazzi alti all’incirca tre metri, sempre pronta a trasformarsi, ancora e sempre a vista, nei luoghi del racconto stesso, eccola quindi diventare un enorme teatro da burattini per ascoltare e vedere la tragica storia d’amore tra una sirena ed un marinaio, messa in scena dai pupazzi della parata, ora enormi burattini e bunraku; o teatro d’ombre per narrare come è che Colapesce, dal profondo del mare regge le sorti di noi tutti. |
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Zeza e Pulcinella Lo spettacolo “Zeza e Pulcinella” si inserisce in questa linea di lavoro e si ispira alla Zeza tradizionale in maniera molto libera, rielaborando e contaminando le diverse tradizioni, per dare vita ad una serie di squadri ispirati alle tecniche del teatro di strada e di figura. La Zeza tradizionale è una scenetta carnevalesca, cantata al suono del trombone e della grancassa, che vide probabilmente la luce nella seconda metà del Seicento. Zeza era originariamente un nome proprio: il diminutivo di Lucrezia (moglie di Pulcinella nella commedia dell’arte). Questo tipo di spettacolo nacque dunque nell'ambito delle rappresentazioni legate a questo personaggio. Da Napoli si diffuse presto nelle campagne adiacenti e poi nelle altre regioni del Regno. La Zeza rappresenta la storia delle nozze di Don Nicola, studente di legge, e di Vicenzella, contrastate dal padre della donna, Pulcinella, che teme di essere disonorato ed è inconsapevolmente geloso, e sostenute da sua moglie, Zeza, che è di ben altro avviso e vuole far divertire la figlia «co mmilorde, signure o co l’abbate»; Pulcinella sorprende gli innamorati e reagisce violentemente, ma è punito e piegato da Don Nicola e alla fine si rassegna. La meraviglia del teatro di strada si unisce alle atmosfere farsesche della maschera napoletana per dar vita ad uno spettacolo originale e di sicuro impatto su spettatori di ogni età. |