Sonatas and Partitas Johann Sebastian Bach texts by Pier Paolo Pasolini dramaturgyMarco Martinelli
Violin sonata no. 1 in G minor BWV 1001 Adagio, Fuga. Allegro, Siciliana, Presto
Violin partita no. 2 in D minor BWV 1004 Ciaccona
Violin partita no. 3 in E major BWV 1006 Preludio, Loure, Gavotte en rondeau
original production by Ravenna Festival
Pier Paolo Pasolini’s first musical love were Bach’s Solo violin works, which the Slovenian violinist Pina Kalc introduced to him during her stay in Friuli, in 1943. Pasolini even briefly considered the idea of learning the violin, but desisted. His passion, though, resulted in the Studies on Bach’s Style, a musicological work inspired by the Sonatas and Partitas for solo violin BWV 1001-1006, and left unfinished. Pasolini, however, leaked his fascination with Bach into his films, from Accattone to The Gospel according to St Matthew. The “Unaccompanied works” are the other side of Bach: not the rigorous organist, but the sensual, refined master of the bow who could infuse his “voice” with both light and shadow, abstract thought and the materiality of speech. Flesh and heaven, as Pasolini termed it.
Palazzo Mauro De André |
Available from 7 June to 31 December 2022
Tribute to Pier Paolo Pasolini
Mahler Chamber Orchestra Daniel Hardingconductor
Azio Corghi …tra la carne e il cielo poetical dramaturgy Maddalena Mazzocut-Mis from Pier Paolo Pasolini for concertante cello, male narrator, soprano, piano, and orchestra
First performed on Nov 2, 2015, as a commission of the Giuseppe Verdi Theatre in Pordenone for the 40th anniversary of Pier Paolo Pasolini’s death
Silvia Chiesa cello Maurizio Baglini piano Valentina Coladonato soprano Sandro Lombardi narrator
Ludwig van Beethoven Egmont Overture in F minor Op. 84
Antonín Dvořák Symphony No. 7 in D minor Op. 70
A male narrator and a soprano, in stereo, and a solo cello offering the incipits of Bach’s six Suites for cello, piano and orchestra. This is how one of the most prominent contemporary composers, Azio Corghi, has imagined the “impossible” encounter between Bach and one of the greatest Italian intellectuals. This symphonic-poetic work evokes Pasolini’s life and thought, starting from his early infatuation with music, which came with the Sonatas and Partitas for solo violin. The title stems from Pasolini’s brilliant definition of Bach’s struggle «between Flesh and Heaven», corporeal matter versus sublime spirit, which contributed a new key for the interpretation of the Kantor’s music (also in his films).
Basilica di San Francesco |
14 October 2021 | at 7:30 PM
Autumn Trilogy: the Dance, the Music, the Word Quanto in femmina foco d’amor Mistero per voci e pellegrine
byFrancesca Masi an idea of Cristina Mazzavillani Muti
music Mottetti tratti dal Codice di Las Huelgas (XIII-XIV sec.)
mise en espace a cura di Luca Micheletti
Sofia Barilli, Gabriella Casali, Martina Cicognani, Francesca De Lorenzi, Veronica Franzosi, Valentina Mandruzzato, Giorgia Massaro, Chiara Nicastro, Maria Luisa Zaltron
and with Vittoria Giacobazzi, Antonella Gnagnarelli, Vittoria Magnanello
Autumn Trilogy: the Dance, the Music, the Word Faust rapsodia Dal ciel sino all’inferno
scenes from Johann Wolfgang Goethe‘s tragedy (Faust I und II)
music by Robert Schumann (Szenen aus Goethes Faust, selection from the work)
Italian translation by
Andrea Maffei (1869) enacted scenes
Vittorio Radicati (1895) singing scenes
dramaturgical development and direction Luca Micheletti concert master and conductor Antonio Greco set design, sculptures and videoEzio Antonelli lightning designFabrizio Ballini costume design Anna Biagiotti
with Michele Arcidiacono, Sofia Barilli, Davide Cavalli, Erica Cortese, Martina Cicognani,
Francesca De Lorenzi, Mariapaola Di Carlo, Francesco Errico, Veronica Franzosi, Matteo Ippolito, Franco Magnone,
Valentina Mandruzzato, Ciro Masella, Giorgia Massaro, Luca Massaroli, Ivan Merlo, Jacopo Monaldi Pagliari,
Giuseppe Palasciano, Danilo Rubertà, Angelo Sugamosto, Lorenzo Tassiello,
Yulia Tkachenko, Andrea Triaca, Maria Luisa Zaltron
Orchestra Giovanile Luigi Cherubini Coro Luigi Cherubini
in collaboration with Coro Lirico Marchigiano “Vincenzo Bellini” di Ancona a new production by Ravenna Festival
Like Dante, one of the greatest explorers of the limits of the world and the human soul is Faust, whom Goethe borrowed from a late medieval folk tale and made into a universal myth. A “Dantesque” myth, in fact, considering his journey from evil to redemption (respectively, his fatal and diabolical companion and the woman he loves). This unprecedented and visionary Faust Rhapsodyretains the fragmentary nature of the sources, combining a selection from Schumann’s unfinished secular oratorio with illustrations from the Italian versions of Goethe’s poem, translated by Vittorio Radicati and Andrea Maffei in the XIX century. Because the theatre, as Goethe himself warned, is the only place where it is possible to “move, as we deliberately impel, / From Heaven, across the World, to Hell!”
Creative Caravan Along Dante’s Way from Florence to Ravenna
22 July, Thursday the route: San Godenzo-San Benedetto km 16.5 (elevation gain + 760) 6 hours
Firenze Piazza Santa Croce, 7 am “Per seguire virtute e conoscenza” Young poetry and music around Dante (Flash Mob)
San Benedetto in Alpe Camping Acquacheta, 7:45 pm Gluttony. The musical recipes – Guest Franco Arminio Benedictine Abbey, 9:15 pm Orchestra Popolare Italiana “Il Dante cantato”
23 July, Friday the route: San Benedetto-Marradi km 22 (elevation gain + 600) 12 hours
Marradi Piazza Scalelle, 7 pm The Diabolic Commedia (Teatro Ragazzi & Famiglie) La colombaia, 7:45 pm Gluttony. The musical recipes – Guest Mario Incudine Piazza Scalelle, 9:15 pm “Le laude“ with Raffaello Simeoni, Anna Rita Colaianni, Mario Incudine
24 July, Saturday the route: Brisighella-Oriolo dei Fichi km 17 (elevation gain+ 200) 5 hours
Oriolo dei Fichi piazzetta Torre di Oriolo, 7 pm The Diabolic Commedia (Teatro Ragazzi & Famiglie) La Taverna di Oriolo, 7:45 pm Gluttony. The musical recipes – Guest Iaia Forte Torre di Oriolo, 9:15 pm Lost Love Songs
25 July, Sunday the route: Chiusa San Marco-Tomb of Dante km 7.5 (elevation gain+ 0) 2 hours (dep. 10:30 am)
Ravenna Giardino Chiusa San Marco, 10 am The Dantesque Tales by Mario Incudine (Storyteller) Piazza San Francesco, 12 Arrival of the Creative Caravan Ambrogio Sparagna and Choir Libere Note
Along the route Dantesque improvisations: Acquacheta, Eremo di Gamogna, Pieve del Tho – Brisighella
Why set out on a hike with Dante? Because walking is a “Dantesque” form of art. And because walking through a landscape is an act of art, which can transform one’s point of view and way of listening. Because creating poems, songs, stories and artworks together with the ‘Poet of Exile’ will be an extraordinary opportunity, good for one’s soul and heart. Musicians, singers, poets, ottava rimaimprovisers, musical chefs, puppeteers and hikers will set off together, walking from Florence to Ravenna to celebrate the Supreme Poet in the places where he lived, in the 700thanniversary of his death. This highly symbolic event opens in Florence, touches on charming villages and on the places Dante celebrated, to end with a concert in the Apennines, near Ravenna.
Quinteto Astor Piazzolla
Tribute to Astor Piazzolla (1921-1992) for the 100th anniversary of his birth
Lugo, Pavaglione |
Available from 24th July to 24h August
Tribute to Astor Piazzolla (1921-1992) for the 100th anniversary of his birth Quinteto Astor Piazzolla
Pablo Mainetti bandoneón
Serdar Geldymuradov violin
Armando De La Vega guitar
Daniel Falasca double bass
Barbara Varassi Pega piano
in collaboration with Fundación Astor Piazzolla – Buenos Aires with the patronage of Embassy of Argentine Republic in Italy
The quintet formation always best expressed Piazzolla’s approach. In 1960, undaunted by the limited number of musicians, he put together his first ensemble: the five soloists could easily interpret the electric vitality of Buenos Aires, with a melodic and harmonic flexibility unknown to more imposing orchestras. Violin, guitar, double bass, piano and the main voice of the tango, the heart-wrenching bandoneón, is the line-up chosen by the Astor Piazzolla Foundation for its “Quinteto”, formed with the objective of bringing the composer’s legacy around the world. For over 20 years now, it has been offering original arrangements from his vast repertoire, in a permanent laboratory projecting into the future a musical legacy that seemed unrepeatable.
Orchestra Giovanile Luigi Cherubini Leōnidas Kavakos conductor and violin Antoine Tamestit viola
Wolfgang Amadeus Mozart
Sinfonia concertante for violin, viola, and orchestra in E-flat major K. 364
Antonín Dvořák
Symphony no. 8 in G major, Op. 88
Masterpieces are usually born from personal and artistic tribulations. 1779 was a black year for Mozart: his mother died, the appointments he hoped to obtain in Mannheim and Paris came to nothing. He had to go back to the “prison” of Salzburg, where he “had to play for the chairs”. His transition to adulthood, however, came with the Sinfonia Concertante for two solo instruments, where hope for the future (the sparkling lines of the violin) dialogues with the dark, meditative tones of the viola. Dvořák, too, at almost 50, was trying to achieve his own identity, leaving the Germanic tradition behind to embrace the Bohemian folklore. “Don’t laugh at me. I am not only a musician, I am a poet”, he claimed in 1889 on publishing his Symphony no.8, composed through images, with an initial long, melancholy movement to open up his memory box.
music director Melvin Gibbs sound Milo Benericetti and Roberto Mandia lighting design Francesco Trambaioli production Ponderosa Music & Art
“Lectura Dantis” by Carmelo Bene, Bologna 31 July 1981 courtesy of Warner Music Italia srl Italian premiere
“I am mortally wounded, so I dedicate this evening not to the dead, but to those who were wounded in the horrible massacre.” Forty years ago, on the first commemoration of the Bologna train-station bombing, Carmelo Bene performed his memorable Lectura Dantis from the top of the Asinelli tower, to a city that was still licking its wounds, and to a massive crowd, akin to a rock-concert audience. It takes much courage to revive it today—the courage of Arto Lindsay, cultural stirrer and language disruptor, who outdid the punk culture from left, inventing a rigorously illiterate grammar for the guitar, through which he wreaks havoc on the slick lines of Brazilian samba, and breaths new life into a chapter of Italian history.
Giardini Pubblici |
Available from 27th June to 27th July
Towards Paradiso concept, artistic direction, and direction Marco Martinelli and Ermanna Montanari with the actresses and the actors of Ravenna
musicLuigi Ceccarelli
with Vincenzo Core electric guitar
Giacomo Piermatti double bass
Gianni Trovalusci flutes
Andrea Veneri live electronics and with Mirella Mastronardi vocals
sound design Marco Olivieri lighting design Fabio Sajiz technical direction Enrico Isola
production Ravenna Festival/Teatro Alighieri in collaboration with Teatro delle Albe with the extraordinary contribution Comune di Ravenna and Viva Dante 700
Prima parte inizio ore 20.30 fine ore 23.00 (Canti 1 – 11)
intervallo 30’
Seconda parte inizio ore 23.30 fine ore 2.00 (Canti 12 – 22)
intervallo 30’
Terza parte inizio ore 2.30 fine ore 05.00 (Canti 23 – 33)
Marco Martinelli and Ermanna Montanari have come up with an act of hope for 2021, the year of the seven hundredth anniversary of Dante Alighieri’s death: their verso Paradiso is a one-night happening, from dusk to dawn, featuring the integral reading of the thirty-three Cantos of Paradiso by all the actors of their own company, Le Albe, and the actresses and the actors who work in Ravenna. verso Paradisopoints to their Cantiere Dante, to return in 2022 with a full staging of the Comedy,from the ‘dark wood’ to the dazzling light of Paradise, once again with all the citizens of the Public Call. Marco Martinelli will guide us through this project in a sort of diary, published online at doppiozero.com from April 25 to the end of June, with contributions by various scholars and artists. The Programme