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.
Giuseppe Gibboni Ermanna Montanari
Teatro Rasi |
Available to 31 December 2022
Tribute to Pier Paolo Pasolini
Pasolini’s Johann Sebastian Bach
from poetry to cinema
Giuseppe Gibboniviolin Ermanna Montanarivoice
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!”
