1.
Lorenzo Ferrero
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Lorenzo Ferrero is a contemporary Italian composer, librettist, author, and book editor. His musical idiom is characterized by eclecticism, stylistic versatility, and his most popular compositions include the operas Marilyn, La figlia del mago, Salvatore Giuliano, Charlotte Corday, La Conquista, and Risorgimento. In 1986 he participated in the Prix Italia with his work La fuga di Foscolo and his music is published by Casa Ricordi, Milan. As an active manager of art events, he has served as director of the Festival Puccini in Torre del Lago, Unione Musicale in Turin, Arena di Verona Festival. In 1999 he co-founded and coordinated the Festa della Musica, a showcase of classical, jazz and world music held in Milan, in 2007 Lorenzo Ferrero was appointed to the board of directors and elected vice-president of SIAE, the Italian Authors and Publishers Association. In 2008 he translated, edited and published Lo studio dellorchestrazione, the Italian edition of Samuel Adlers The Study of Orchestration, Lorenzo Ferrero has been professor of composition at Milan Conservatory since 1980. His teaching appointments also include positions at St. Marys College of Maryland and LUISS Business School, a division of LUISS Guido Carli University of Rome. With a group of six other Italian composers he wrote the Requiem per le vittime della mafia, the requiem was first performed in the Palermo Cathedral on 27 March 1993. Furthermore, he wrote the music for the Sestriere Alpine World Ski Championships opening ceremony of 1997 including the anthem, incidental music for stage productions. British musicologist David Osmond-Smith described his style as a synthesis of classical traditions. Prima variazione, for organ and orchestra Concerto for Piano and Orchestra No.2 Fantasy Suite No, Ferrero, Lorenzo, ed. Lo studio dellorchestrazione. Ostali, Piero, ed. Il Piccolo Marat, Storia e rivoluzione nel melodramma verista, atti del terzo convegno di studi su Pietro Mascagni. Harpner, S, ed. Über Musiktheater, Eine Festschrift, Il suono e lanima, Il paesaggio invisibile del melodramma. La musica sacra nelle chiese cristiane, Donati, P, and Pacetti, E, eds. Lo studio di fonologia della Rai di Milano nello sviluppo della nuova musica in Italia, Rome, RAI Teche, Milano, Scuole civiche di Milano, Fondazione di partecipazione, Accademia internazionale della musica, Istituto di ricerca musicale, Rome, RAI-ERI. Maurizi, P, ed. Quattordici interviste sul «nuovo teatro musicale» in Italia, galileo e il segreto dei Maya. The New Grove Dictionary of Opera, un bel dì vedremo, Il festival di Giacomo Puccini. ISBN 978-88-6800-040-0 Anon. Lorenzo Ferrero Marilyn—Anmerkungen zur Oper, in Neuland, Ansätze zur Musik der Gegenwart, edited by Herbert Henck Vol.3, pp 142–146
2.
Marilyn (opera)
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Marilyn, subtitled Scenes from the 50s in two acts, is an opera by Lorenzo Ferrero set to a bilingual libretto by Floriana Bossi and the composer. The music is a mixture of styles and the theme itself suggest an Italian version of post-modernism, neo-tonal materials, already adumbrating the synthesis of 19th-century opera and postwar popular music typical of his later works, are mixed with modernist orchestral textures. The opera was first performed at the Teatro dellOpera di Roma on 23 February 1980 and that production was revived on 31 October 1995 at the Finnish National Theatre. A division of the stage into two compartments is required, one space for Marilyn and one space where all the other actions take place. Time, The second half of the 20th century, in Central Park a band intones the American national anthem and starts marching together with a group of majorettes. In her own space, Marilyn thinks of her unhappy childhood, in Korea, standing amongst the casualties, General MacArthur is reinvigorating his troops and recounting his speech to Congress in favour of the war. Marilyn reflects on her life and complains about being considered as just a sex symbol, various characters suspected of belonging to the American Communist Party appear before the House Committee on Un-American Activities for interrogation. Marilyn calls Doctor Johnson on the phone and talks about her fears of going insane, her feelings of loneliness, emptiness. In the background books are being burned, including those by Wilhelm Reich, the psychiatrist, on the brink of madness, is taken off to prison. In an imaginary duet with Marilyn, he rants about being persecuted like Christ whilst she speaks about her distress, a group of poets of the Beat Generation gather around Allen Ginsberg in the smoky atmosphere of an underground cellar where Bebop music is played. They talk of Marilyns death and look towards the East for hope in the guise of Buddha, Marilyn has supper with Yves Montand and gives him one of her poems. Left alone, she sings a hymn to the night, a silent pacifist demonstration files past and is broken up by the police. Marilyn phones her analyst again, then receives the visit of a person who slaps her. Timothy Leary lectures on the effects of LSD, Mescaline and Psilocybin, the police puts an end to the general delirium by carrying everyone away. Marilyn, in a state, under the influence of alcohol and barbiturates. The threatening shadows of two figures appear on the background. The marching majorettes step indifferently over Marilyns corpse to the sound of the American anthem whilst the crowd is celebrating The American Way of Life, notes Sources Anon. Lorenzo Ferrero Marilyn—Anmerkungen zur Oper. In Neuland, Ansätze zur Musik der Gegenwart, edited by Herbert Henck Vol.3, bergisch Gladbach, Neuland Musikverlag Herbert Henck
3.
La figlia del mago
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La figlia del mago is a childrens opera in two acts by Lorenzo Ferrero set to an Italian-language libretto by Marco Ravasini. It was completed in 1981 and subtitled giocodramma melodioso, a wordplay on melodramma giocoso, the libretto, inspired by Mario Lavagettos book Quei più modesti romanzi, il libretto nel melodramma di Verdi, is written in an imaginary language which emphasises the element of play. The music is a sequence of closed numbers which spoof the most common operatic conventions, the aim of the opera is to show children how Italian opera functions. Alongside professional singers, children take mime roles, the premiere directed by Caterina Mattea and conducted by Jan Latham Koenig took place in Montepulciano, at the Cantiere Internazionale dArte on 31 July 1981. Act 1 On a dark, stormy night a ship makes an attempt to land. Prince Tenor returns from a place with his fiancée, Princess Soprano. Tenor’s father, King Baritone, utterly rejects the princess because she is both a foreigner and the offspring of a sorcerer, soprano’s father, King Bass, arrives accompanied by his pet sea monster and tries to persuade his daughter to come back home. As she refuses, he uses his powers to make the animals attack Baritones court. During the ensuing battle, Tenor runs to the defence of his father, in spite of this demonstration of his worth he is still denied permission to marry Soprano. Act 2 In his bedroom, King Baritone is having a restless night, King Bass sea monster enters and is about to attack him when, once again, Tenor rushes in and puts the monster to flight. Waking up, King Baritone catches Tenor with the sword in his hand and he condemns Tenor and Soprano to death and throws them into prison. There is general rejoicing as preparations are made for the wedding ceremony, everyone, including the two fantastic animals and the sea monster, joins in. The La Scala Encyclopedia of the Opera, il teatro musicale italiano oggi, La generazione della post-avanguardia. ISBN 88-7063-115-X Moliterno, Gino, ed. Encyclopaedia of Contemporary Italian Culture, Opera 92, Annuario dellopera lirica in Italia. The New Grove Dictionary of Opera, ISBN 0-19-522186-9 Catalogue entry at Casa Ricordi
4.
Salvatore Giuliano (opera)
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The work was commissioned by the Teatro dellOpera di Roma and premiered there on 25 January 1986. Set in Sicily, the story is based on the life of the historical figure Salvatore Giuliano. Place, Western Sicily, Montelepre and surrounding mountains Time, The second half of the 1940s In an empty village at dawn a shot is heard and there is a glimpse of a man running. When the village awakes a representative of EVIS, the Volunteer Army for the Independence of Sicily, arrives to address the inhabitants, in his speech, the man incites the villagers to endorse EVIS fight for independence. After pledging his support to the cause, Giuliano remains alone with his lieutenant and they are discussing how to liberate Giulianos mother from prison when, unexpectedly, she returns to him escorted by a Mafioso. Giuliano realizes that he has contracted a debt with the Mafia, in his mountain stronghold, Giuliano relates his life story to Maria, a Swedish journalist who came to interview him. He recalls that he became a bandit by chance, due to poverty and he confesses that he hopes for a pardon and emigration to America. The interview is interrupted by the Mafioso who returned to claim his dues and he asks Giuliano to attack the communists Labour Day parade at Portella della Ginestra in exchange for Mafia protection and help with his request for amnesty. Appalled by this crime the Mafioso meets Colonel Luca and, while the police are carrying away the corpses, Pisciotta is summoned to the Colonel, who succeeds in convincing him to betray Giuliano, in exchange for his own life. In a desperate attempt, Pisciotta tries to persuade Giuliano to escape. In the empty village, as in the beginning, the shadows of two men appear on the background, one shoots and the other falls, the village lights go out and the voice of a woman is heard calling, Giuliano. The orchestral Intermezzo depicting the Portella della Ginestra massacre and Giulianos aria Poi andrò in America were arranged as excerpts for concert performance, the aria was first performed at the Palm Beach Opera in February,1992. The La Scala Encyclopedia of the Opera, ISBN 88-7779-008-3 Gelli, Piero, ed. Dizionario dellOpera 2008 entries, Lorenzo Ferrero, Salvatore Giuliano. Padova, Franco Muzzio & C editore SpA, the New Grove Dictionary of Opera. ISBN 0-19-522186-9 Casa Ricordi catalogue Salvatore Giuliano on YouTube
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Charlotte Corday (opera)
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The fundamental theme of the opera is the individual terrorist action committed by anyone who believes that he or she is eliminating an evil by eliminating a person, in most cases the wrong person. The premiere directed by Mario Martone and conducted by Roberto Abbado took place at the Teatro dellOpera di Roma on 21 February 1989, place, Paris Time, July 13,1793 Act 1 Charlotte Corday arrives in Paris at dawn. In a square she meets Camille, her friend, now a deputy to the National Convention. He is disappointed, defeated, and fears for his life, amongst the crowd is Gaston, who tells Charlotte that he is the bodyguard and faithful friend of Marat. Their conversation is interrupted by a commotion which arises around a bakery, in play, a group of children act out the events of the Revolution. The square slowly empties out, except for a child who is left behind by his playmates, Charlotte releases and comforts him, thereby building up courage herself, then she buys a long-bladed knife and a shawl from a pedlar. Marat arrives surrounded by a crowd which, at the same time, notices his fatigue. Charlotte attracts his attention for a moment, then he continues on to the hall of the Convention and she does not know how to take advantage of the situation to kill him. Marat, received by the deputies with a mixture of hostility and respect, Act 2 On the Champ de Mars parade ground the decorations for the Bastille Day celebration are destroyed by a storm. An aggressive, raving drunk wanders around, Charlotte meets Camille again and finds him more dispirited than ever. He admits to her his total, profound political disillusionment, she, on the contrary and they are pestered by the drunk who accuses Camille of being a traitor, whereupon a patrol appears and arrests him. Charlotte delivers an attack against the Revolutions abuses of power, Gaston arrives and justifies the arrest but Marat frees Camille, after Charlotte vouches for him. Gaston is amazed as much as Marat himself by this unexpected clemency and he feels ill again and wants to be taken home. Act 3 Marat is in the bathtub to which his debilitating skin condition confines him and he who wanted to cure the world is beaten by his own illness. Marats housekeeper asks her to back an other time but he demands that she be let in. Charlotte has brought a list of enemies of the Revolution for him to examine and he reads his own name at the top and asks for an explanation. They start an argument about power, loneliness, truth, and death, at the instant in which the blade descends upon him Marat understands the meaning of the look in Charlottes eyes and dies without knowing her name. The orchestral Intermezzo was arranged as excerpt for concert performance, the La Scala Encyclopedia of the Opera
6.
Risorgimento! (opera)
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Risorgimento. is an opera in one act by Lorenzo Ferrero set to an Italian-language libretto by Dario Oliveri, based on a scenario by the composer. It was completed in 2010 and first performed at the Teatro Comunale Modena on 26 March 2011, the characters of the opera – says the composer – engage in a debate not just about the Risorgimento but also about the opera itself and its chances of success. They are, at least in part, the same as the interpreters of that first Nabucco staged at La Scala on 9 March 1842, in a room inside the theatre the répétiteur is rehearsing with Giovannina Bellinzaghi Fenenas prayer from the fourth act of the opera Nabucco. The singer is expressing her doubts about the subject and about the value of the work. During the dialogue enters impresario Bartolomeo Merelli, who defends the composer and he evokes the genesis of Nabucco and reveals his preoccupation with the Austrian censorship. The rehearsal pianist and the singer leave, alone on the stage, Merelli is reflecting on the young Verdi and on the fact that his companion, Giuseppina Strepponi, seems attracted to him. The pianist returns and waits with Merelli for the arrival of Strepponi, the impresario talks about his intention to stage at La Scala Pacinis opera Saffo. When the singer finally arrives, he asks her to work on Saffos aria and her song turns into a dream in which she confesses that she feels a strange attraction for Verdi and his music. Merelli and the pianist return and are joined by Luigi Barbiano, Conte di Belgioioso, an excited political discussion follows between the Maestro sostituto and the count, who ends up by being offended and walks off, slamming the door. The pianist regrets letting himself get carried away and restarts rehearsing with Bellinzaghi, Fenenas prayer, too, dissolves itself in a dream, which anticipates the triumphal debut of the opera and re-elaborates various images of the Risorgimento. At the end of the dream, Giuseppe Verdi appears, aged, in his monologue he interweaves the nostalgia for the past with his preoccupation for the uncertain future. Annuario EDT-CIDIM dellopera lirica in Italia, ISBN 978-88-6040-795-5 Rai 3 documentary, part 1 on YouTube, part 2 on YouTube Risorgimento. Recording of the premiere in Bologna, April 5,2011 on YouTube Background, Casa Ricordi Casa Ricordi catalogue
7.
Alessandro Baricco
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Alessandro Baricco is a popular Italian writer, director and performer. His novels have been translated into a number of languages. He currently lives in Rome with his wife and two sons and he subsequently worked as musical critic for La Repubblica and La Stampa, and hosted talk shows on Rai Tre. Baricco debuted as a novelist with Castelli di rabbia in 1991, in 1993 he co-founded a creative writing school in Turin, naming it Scuola Holden after J. D. Salingers Holden Caulfield. The Scuola Holden hosts a variety of courses on narrative techniques including screenwriting, journalism, videogames, novels, in the following years his fame grew enormously throughout Europe, with his works topping the Italian and French best-seller lists. Larger recognition followed the adaptation of his theatrical monologue Novecento into the movie The Legend of 1900 and he has also worked with the French band Air, releasing City Reading, a mix of the bands music with Bariccos reading of his novel City. He has directed the film Lezione 21 on Beethovens Ninth Symphony, Castelli di rabbia, Rizzoli 1991, Tascabili Bompiani 1994, Lands of Glass, Penguin 1992. Awarded with Prix Médicis étranger – France Oceano Mare, Rizzoli 1993, Ocean Sea, awarded with Palazzo al Bosco — Italy Novecento. Un monologo, Giangiacomo Feltrinelli Editore, Milan,1994, Novecento, seta, Rizzoli 1996, Silk, ISBN 978-0-307-27797-8,1996. Senza sangue, Rizzoli 2002, Without Blood ISBN 1-4000-3478-7,2002, Totem, a literary and musical happening staged in various locations throughout Italy with varying structure and contents. In 2001 Rizzoli published the video of Totem recorded in Milan in 1997, davila Roa, staged only once by director Luca Ronconi. Reportedly a huge fiasco, it was never published in written form, cronache dal Grande Show, Feltrinelli 1995 Barnum 2. Altre cronache del Grande Show, Feltrinelli 1998 Next, piccolo libro sulla globalizzazione e il mondo che verrà, Feltrinelli 2002 Il nuovo Barnum, Feltrinelli 2016 Il genio in fuga. Prix Médicis étranger — France Selezione Campiello — Italy Viareggio – Italy Palazzo al Bosco – Italy Alessandro Baricco at the Berlin International Literature Festival 2002/03
