Budapest Festival Orchestra Orchestra Giovanile Luigi Cherubini
concertmaster János Pilz
Johann Michael Haydn
Notturno in C major, P. 108 MH 187
Johann Sebastian Bach
Violin and oboe concerto in D minor BWV 1060R
Valentina Benfenati violin
Victor Aviat oboe
Pyotr Ilyich Tchaikovsky
Serenade for strings in C major op. 48
«I was somewhat restless and rather unwell… Today I busied myself with my Serenade, and immediately began to feel cheerful, well and relaxed». This is how Tchaikovsky recounted the genesis of one of the most splendid gems in his catalogue, polished according to the expressive formulas of Classicism into a mental space where his restless soul could be at peace. This logic, musical order, clarity and balance are the same traits that we find in the Concerto for Violin and Oboe by Bach, who had already absorbed the lesson of Vivaldi, and in the rare Nocturne by Johann Michael Haydn, the younger brother of the more famous Joseph, with whom he disputed the paternity of this small masterpiece of refined entertainment that brings us back to the atmosphere of late XVIII century Mitteleuropa.
Martin Hayes Trio | Tola Custy, Tom Stearn & Birkin Tree
Russi, Palazzo San Giacomo |
Available to 25 July 2022
The Irish Night
Martin Hayes Trio Martin Hayes violin Conal O’ Kane guitar Brian Donnellan bouzouki and concertina
Tola Custy, Tom Stearn & Birkin Tree Tola Custy violin Tom Stearn vocals, guitar, banjo
Laura Torterolo vocals, guitar Fabio Rinaudo uilleann pipes, whistles Michel Balatti Irish flute Luca Rapazzini violin Claudio De Angeli guitar, bouzouki
A great fiddler, Martin Hayes has also been the critical conscience of Irish-folk revival for the last forty years. A quiet man born into a musical family, Hayes has managed to infuse his irreversibly urbanised America with the musical tradition of County Clare, Ireland. Well aware of what it meant to handle music that had sprung from the popular womb of a far-away world, Hayes has absorbed from rock music just enough of the contemporary moods that were needed to dissect the ductility of Celtic folk into a compositional style that ranges from Steve Reich’s minimalism to jazzy “Third Stream”. In the end, he preferred depth to virtuosity. With him on stage are Birkin Tree, the most important Irish folk band in Italy, celebrating their fortieth anniversary this year.
La notte del rap Claver Gold #symphonic
Russi, Palazzo San Giacomo |
Available to 26 July 2022
The Night of Rap Claver Gold #symphonic
Orchestra Arcangelo Corelli conduction and arrangements Carmelo Emanuele Patti
original production Ravenna Festival-Woodworm
Claver Gold’s hip hop is a sophisticated mix of rhymes, a clever balance of passion, improvisation (in the best tradition of freestyle) and compositional rigour: live narration, urban poetics that moves from intimate, private emotions to encompass the feelings of a whole generation. After making a name for himself on the Italian rap scene with “street” rap and many indie albums, he joined forces with his friend and colleague Murubutu to tackle Dante in a joint album, Infernum.This work won the interest of the general public, captured by Claver Gold’s poetic juxtapositions where everyday life, the primary source of inspiration for hip hoppers, is combined with the darkest and tensest Nordic tales, now tinged by the full colours and unpredictable orchestral mix of classic strings, brass and woodwinds.
Accademia Bizantina Ottavio Dantone
Basilica di Sant’Apollinare Nuovo |
Available to 31 December 2022
Tribute to Pier Paolo Pasolini Accademia Bizantina Ottavio Dantoneharpsichord and conduction
Alessandro Tampieri, Ana Liz Ojeda violins
Marco Massera viola
Alessandro Palmeri cello
Tiziano Bagnati lute
Marco Brolli transverse flute
Johann Sebastian Bach Musikalisches Opfer (Musical Offering) BWV 1079
The genesis of this collection of canons, fugues and a sonata for flute and violin dedicated to Frederick the Great is one of the extraordinary events in Bach’s life as narrated by his first biographer, Johann Nikolaus Forkel. In 1747 Bach visited his son Carl Philipp Emanuel in Potsdam, where he was employed as the harpsichordist at the court of Frederick II, himself a flautist, composer and philosopher. Bach asked the king for a theme on which to improvise a fugue. Back in Leipzig, this thema regium was developed into The Musical Offering, one of the high points in Bach’s canon and a masterpiece of contrapuntal music. Accademia Bizantina now dives into its complex instrumental structure, following Bach’s own suggestion in the Canon perpetuus: “Quaerendo invenietis”, seek and ye shall find.
Milano Marittima, Arena dello Stadio dei Pini |
21 June 2022 | at 9:30 PM
Il Quiz di Cervia by and withGene Gnocchi
accordion Christian Ravaglioli
with the contribution of Cooperativa Bagnini Cervia
A quote commonly attributed to Eduardo De Filippo states that «comedy is the art of concealing the intent to make people laugh». Gene Gnocchi is a master of such “studied carelessness“, and has been a protagonist in the history of Italian TV comedy for over thirty years. The present show is no exception, in all its peculiarity: how can you make people laugh with a quiz about Cervia? This is a challenge that Gene takes on in a comic game that, he says, «will raise a laugh as well as teach something new.» The mayor of Cervia will challenge a contestant chosen in the audience on themes ranging from Cervia’s salt traditions to the legends of the Romagna Riviera, from the history of Milano Marittima to the history of ballroom dancing.
You will be able to access the live stream on the day of the event.
Compagnia Artemis Danza Inferno – Terra del fuoco
Teatro Alighieri |
Available to 31 December 2022
Compagnia Artemis Danza/Monica Casadei Inferno – Terra del fuoco
choreographies, lighting and costume design Monica Casadei original music Luca Vianini direction and visual effects of the virtual set design Fabio Fiandrini direction “Ombre” Alessandro Ceci voice Agostino Rocca musical dramaturgy Davide Tagliavini live painting Giuliano del Sorbo dancers Samuele Arisci, Michelle Atoe, Monica Castorina, Serena Bottet, Silvia Di Stazio, Alfonso Donnarumma, Chiara Falzone, Costanza Leporatti, Enrico Luly, Mattia Molini, Teresa Morisano, Christian Pellino, Salvatore Sciancalepore performerSabino Barbieri, Davide Tagliavini
with the participation of Gruppo Folk Italiano “alla Casadei” dance school Malpassi texts selection Cristina Basoni production assistant Mattia Molini costume design assistant Michelle Atoe thanks for the costume making Elena Nunziata
production Artemis Danza in collaboration with Ravenna Festival, Comune di Ravenna, Istituti Italiani di Cultura di Jakarta, Lima, Mumbai, Praga, Tunisi, Washington; images by courtesy of the Ministero della Cultura, Direzione regionale Musei dell’Emilia-Romagna with the contribution of Ministero della Cultura, Regione Emilia-Romagna, Comune di Parma premiere
A harsh, wild landscape, seething with mud and fire, is the backdrop to Monica Casadei’s Inferno. With her company, Artemis, the Ferrara-born choreographer interprets selected tercets from Dante’s first Cantica in an allegorical work blending the sacred with the profane. Inferno – La Terra del Fuoco is a daring exploration in nine acts, where scene shifting happens in full sight with the contribution of several Italian artists, in Casadei’s typical tradition of linguistic métissage. A primordial dance made of spasms and drives, where the bestial balances the divine on a score that combines Dante’s words with the passionate music of Astor Piazzolla and the solemn dignity of Verdi’s Requiem. A chimerical, shuddering hell, till we come forth to rebehold the stars.
Basilica di Sant’Apollinare in Classe |
Available to 31 December 2022
Tribute to Pier Paolo Pasolini Ensemble Zefiro
Alfredo Bernardini oboe and conduction
Johann Sebastian Bach
Brandenburg Concertos BWV 1046-1051
It is impossible to ascertain why Bach grouped his Concerts à plusieurs instruments into a single collection, or what hopes he harboured in dedicating and presenting them to Christian Ludwig, Margrave of Brandenburg, in March 1721. This is one of the many mysteries in Bach’s biography. There is no doubt, however, that all six concertos are different worlds of sound in their own right, and that what unites them is their singular diversity. So much so that the composer seems to be exploring every possibility of the “concerto” form, going so far as to draw up a sort of systematic demonstrative catalogue. Italian style, French taste, German severity, polyphony and homophony, church and chamber style alternate here in unprecedented timbral mixtures: with over thirty years of international experience, the Zefiro Ensemble will artfully recreate them.
screenplay and direction Eugenio Sideri assistant director Gabriele Tesauri on the stage Enrico Caravita, Carlo Giannelli Garavini, Maurizio Lupinelli, Chiara Sarcona, Patrizia Bollini, Marco Montanari, Giada Marisi
Ensemble Voces Cordis conducted byElisabetta Agostini
Claudio Rigotti, Anna Rigotti, Laura Rigotti, Decio Biavati
lighting designer Filippo Trambusti set and costume designer Francesca Tagliavini make-up artist Arianna Farolfi assistant directors Marco Santachiara, Tania Eviani photo Marco Parollo
production secretary and communication Nicole Benevelli, Valentina Donatti
management and curatorship Carlotta Ghizzoni
coproduction Ravenna Festival and NoveTeatro
in collaboration with Lady Godiva Teatro premiere
Inside a house. A family home in Romagna. Characters move within a familiar plot where the father-son dialogue suffers from the disconnection typical of the generation gap: no regrets; broken dreams, perhaps; no illusions; rather, too many disillusions concerning the future. Then Sideri, a director who has always been sensitive to socio-historical issues, zooms out and pans to the port, the factories, the fields, the industries. Nights that end with one too many drinks just when someone else gets up to go to work: the lights of the Riviera outshine the stars, dark omens of the bewilderment of the new generations, who do not always find a calēra, a path that they can follow. Indeed, paths are sometimes hidden, lost in a world where «evolution does not always mean progress».
Basilica di Sant’Apollinare in Classe |
Available to 31 December 2022
The Canticles
by Benjamin Britten
Ian Bostridge tenor Alexandre Chance countertenor Mauro Borgioni baritone Julius Drake piano Antonella De Franco harp Federico Fantozzi horn
The sacred and the profane are intimately intertwined in the five miniatures Britten composed at various times during his career, between 1947 and 1974, based on ancient poems as well as contemporary works by Edith Sitwell and T.S. Eliot. All written for performance by tenor Peter Pears, they are now entrusted to Ian Bostridge, with pianist Julius Drake one of the most authoritative interpreters of Britten’s Canticles. Especially worth noticing are the amorous and nostalgic tones of My beloved is mine—a meditation on a poem by the XVII-century poet Francis Quarles, itself inspired by the Song of Solomon; and the astonished pain of Abraham and Isaac—a father, a son, and a sacrifice. The theatricality of these works comes from the very composer of Billy Budd and The Turn of the Screw, but the dramatic action gets sublimated here in the scoring for solo voices and just a few instruments.
conversation with Silvia Ronchey led by Chiara Lagani
Not only is L’ultima immagine the summae, the final outcome of James Hillmann’s investigation of images, which has always substantiated his idea of the soul and his entire psychology, but it is also the ethical and political will of a major thinker of the XX century.
The first half of his conversation with Silvia Ronchey, inspired by the images of the Ravenna mosaics, took place in September 2008, the same month and year as the Wall Street crash. For the second part, in October 2011, Hillman was on his deathbed. Silvia Ronchey, the outstanding scholar of Byzantine history and Hillmann’s privileged counterpart, will talk about Hillmann’s time in Ravenna, visiting churches and baptisteries face up in the air, following in the footsteps of Carl Gustav Jung.
