Milano Marittima, Rotonda Primo Maggio |
06 June 2024 | at 9:30 PM
Il Trebbo in musica 2.4 Talk with Pupi Avati on music, films, and life
Quartetto Jazz
Teo Ciavarella piano Checco Coniglio trombone Alfredo Ferrario clarinet
Francesco Angiuli double bass
premiere
with the contribution of Cooperativa Bagnini Cervia
Pupi Avati’s cinema is rooted in familiar places, 20th-century moods, genuine emotions, unspoken feelings, castrating shyness and surprising horrors. It balances the reassuring with the unexpected, always giving music an important role to play. Perhaps because jazz was the first muse of the Bolognese maestro, whose filmography includes titles such as Jazz Band, Dancing Paradise and Bix, testimony to a passion that led him to cross paths with the extraordinary talent of Lucio Dalla. But Avati’s career has also been marked by long-standing collaborations with musicians and composers such as Henghel Gualdi, Amedeo Tommasi and Riz Ortolani, other protagonists of crucial periods in Italian music.
Milano Marittima, Arena dello Stadio dei Pini |
13 June 2024 | at 9:30 PM
Il Trebbo in musica 2.4
Tribute for the 100th anniversary of the composer’s death (1924–2024) Laura Morante inPrime donne
The women in Giacomo Puccini’s works
texts Laura Morante music Giacomo Puccini concept Elena Marazzita
Laura Morantenarrator
Francesca De Blasi soprano
Davide Alogna violin
Antonello d’Onofrio piano
with the contribution of Cooperativa Bagnini Cervia
Sensitive and sensual women, all strong and vital, often hopelessly committed to self-sacrifice: a female kaleidoscope emerges from the catalogue of Giacomo Puccini’s operas. In each title, the personality of a different heroine unfolds as she meets the fate that the Maestro and his librettists have devised for her. These captivating stories now come to life through the narration of a talented actress, Laura Morante: Tosca, charming, haughty and jealous, ready to take extreme measures against the man who tried to violate her dignity; the mysterious Turandot, a prisoner of her own emotions, denying herself the joys of love; Manon, torn between conflicting feelings, from the most contagious joy to obscure vulnerability; and finally the fragile Butterfly, the victim of an unrealistic dream. Their characters and personalities are, of course, enhanced by Puccini’s music.
Basilica di Sant’Apollinare in Classe |
24 May 2024 | at 9:30 PM
Franz Joseph Haydn The Creation Die Schöpfung
Oratorio for soloists, choir, and orchestra Hob:XXI:2
conductorOttavio Dantone
Charlotte Bowden soprano Martin Vanbergtenor Andre Morsch bass
Accademia Bizantina
Philharmonia Chor Wien choirmasterWalter Zeh
When Haydn, no longer a young man and freed from his obligations to the Esterházy family, accepted an invitation from the impresario Salomon to go to London, he ‘discovered’ the success that Handel’s oratorios enjoyed there. On his return to Vienna, he brought with him a libretto based on Genesis and Milton’s Paradise Lost: translated into German by Gottfried van Swieten, this became the starting point for his most famous oratorio. The idea of the world’s creation is presented through a formal elaboration process, beginning with the well-known overture, ‘The Representation of Chaos’. But when the archangel Raphael begins to narrate the story of Genesis, the chorus announces the light, and a sudden C major chord initiates the creative process, ushering in life. The Accademia Bizantina and the Vienna Philharmonic Choir make an excellent partnership to restore the refined richness of this piece.
In just a few years, he would become one of the most prominent opera composers of the 18th century. He would rival Händel in London, mentor the great castrati Farinelli and Caffarelli, and influence Haydn in Vienna. Sadly, he would eventually die in poverty in his hometown of Naples. And it was for Naples that the very young Porpora composed this oratorio dedicated to the Passion of Christ, in which he already showed the mastery of contrapuntal technique and the sensitivity to vocal virtuosity of his approaching maturity. Mary, John, and Magdalene witness Christ’s crucifixion together with Divine Justice. But the latter’s unwavering confidence is not enough to ease the Virgin’s suffering. She barely resists falling into despair, revealing the mixture of humanity and theatricality that one expects from any great mourner.
Una iniziativa di Ravenna Festival per e nei territori alluvionati
Palazzo della Proviancia Forlì-Cesena |
12 March 2024 | at 12:00 PM
Presentation of the program 2024
XXXIV edition
Teatro Alighieri |
24 February 2024 | at 11:00 AM
Gala verdiano
Teatro Giuseppe Verdi, Busseto |
From 27 January 2024
conductor Riccardo Muti
with Elisa Balbo Isabel De Paoli Rosa Feola Juliana Grigoryan Vittoria Magnarello Luca Micheletti Riccardo Rados Giovanni Sebastiano Sala
Riccardo Zanellato
Orchestra Giovanile Luigi Cherubini
Coro del Teatro Municipale di Piacenza choirmasterCorrado Casati maestro di salaDavide Cavalli
in collaboration with Regione Emilia-Romagna and Comune di Busseto
thanks to Crédit Agricole Italia
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The Programme
I part
from La forza del destino
Sinfonia
from Simon Boccanegra
“A te l’estremo addio… Il lacerato spirito” Riccardo Zanellato (e coro)
from La forza del destino
“Pace, pace mio Dio” Juliana Grigoryan
from Il trovatore
“Ah, si, ben mio” Giovanni Sebastiano Sala
“Timor di me?… D’amor sull’ali rosee” Rosa Feola
from Macbeth
“Perfidi! All’anglo contro me v’unite!… Pietà, rispetto, onore” Luca Micheletti
from La forza del destino
“Il santo nome di Dio… La Vergine degli angeli” Riccardo Zanellato, Juliana Grigoryan, coro
II part
from Macbeth
“O figli, o figli miei!… Ah, la paterna mano” Giovanni Sebastiano Sala
from Il trovatore
“Stride la vampa” Isabel De Paoli
from Otello
“Ave Maria” Elisa Balbo
from Don Carlo
“Ella giammai m’amò” Riccardo Zanellato
from I Vespri siciliani
“Arrigo! Ah parli a un core” Rosa Feola
from Otello
“Vanne; la tua meta già vedo… Credo in un Dio crudel” Luca Micheletti
from Macbeth
Finale atto primo “Di destarlo per tempo il re m’impose” Giovanni Sebastiano Sala, Riccardo Zanellato, Luca Micheletti, Elisa Balbo, Riccardo Rados, Vittoria Magnarello, coro
Fast Animals and Slow Kids
Lugo, Pavaglione |
From 15 December 2023 of 30 January 2024
Carmelo Emanuele Patti conductor Orchestra La Corelli
co-production Ravenna Festival and Mittelfest in collaboration with Woodworm
Impetuous, electric and intensely romantic, FASK combine the energy and distortion of rock with the most poetic sentimentality. They tell of everyday life, of horizons that reach far beyond the walls of their “childhood bedroom” to embrace the beauty of their hometown, Perugia. Relying uniquely on the support of their fans, FASK have conquered the general public, from concerts in small provincial clubs to sold-out tours in large arenas. Now, for the first time, their ballads – collected in a long series of albums, the latest of which, È già domani, was followed by a single featuring Ligabue, Il tempo è una bugia – are presented in sumptuous arrangements by the Corelli Orchestra, conducted by an experienced maestro such as Carmelo Patti.
Riccardo Muti conductor Orchestra Giovanile Luigi Cherubini Tamás Varga cello
Nino Rota Suite from The Godfather Cello Concerto No. 2 (1973)
Manuel De Falla El sombrero de tres picos Suite No. 2
Maurice Ravel Boléro
“The examiners gave you an A+, not for the way you played today, but for the way you will play tomorrow”: Nino Rota, then director of the Bari Conservatory, was far-sighted in his assessment of the young pianist Riccardo Muti. That first meeting established a bond between them that has never been broken, becoming a close friendship based on mutual esteem and admiration. It is for this reason that Muti will once again perform his works, chosen from a vast catalogue of ‘absolute’ music that includes titles such as the Concertoentrusted to the talent of Tamas Varga, principal cellist of the Vienna Philharmonic. The programme also features Rota’s film scores, like the celebrated soundtrack to Coppola’s The Godfather. These scores were conceived as ‘narratives’, just as the Andalusian echoes of De Falla’s Suite and the hypnotic, mysterious melody of Ravel’s masterpiece were conceived for a choreographic narration.
Palazzo Mauro De André |
from 7 July to 6 August 2023
On the 150th anniversary of Sergei Rachmaninov’s birth (1873-1943) Soirée di musica e danza per Rachmaninov curated by Daniele Cipriani
Beatrice Rana and Massimo Spada piano Ludovica Rana violoncello
music Sergei Rachmaninov Ettore Volontieri narrator music consultant Gastón Fournier-Facio
“Sonata”
set to the Andante from the Sonata in G minor for cello and piano, Op. 19
“Trio”
set to the Andantino, from the Suite no. 2 for two pianos, Op. 17 choreography Uwe Scholz performers Rachele Buriassi (Les Grands Ballets Canadiens), Esnel Ramos (Les Grands Ballets Canadiens, formerly Ballet Nacional de Cuba), Oleksii Potiomkin (formerly Ballet of the National Opera of Ukraine)
“Alla fine del mondo” choreography Simone Repele and Sasha Riva, premiere of the work set to the Symphonic Dances, Op. 45
costume design Anna Biagiotti props Michele della Cioppa lighting design Alessandro Caso
After the 50thanniversary of Igor Stravinsky, this tribute to Sergei Rachmaninov on the 150thanniversary of his birth renews the magical thread that links music and dance. At the piano will be Beatrice Rana—who first began to ‘due’ with dance steps here in Ravenna—and Massimo Spada. They will alternate between the Preludes and the Études-Tableaux, or in dialogue with the dancers on stage. Like Stravinsky, the Russian-born Rachmaninov later settled in America, but unlike him, he did not devote so much attention to ballet. However, it is because of the gentle nature of his compositions, the fluidity of the notes, and the butterfly lightness of his melodies that choreographers often ‘steal’ from his works. The programme features Uwe Scholz’s Sonata, choreographed to the Andante from Rachmaninov’s Sonata in G Minor op. 19, as well asthe world premiere of a choreography by Sacha Riva and Simone Repele on the Symphonic Dances, op. 45.
