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ALL THAT WE CAN DO 26.9 • 25.11 ROMAEUROPA FESTIVAL È REALIZZATO CON L'ALTO PATRONATO DEL PRESIDENTE DELLA REPUBBLICA IL PATROCINIO DEL PRESIDENTE DEL CONSIGLIO DEI MINISTRI IL PATROCINIO DEL MINISTERO DEgLi AFFARI ESTERI CON IL CONTRIBUTO DI SOSTENUTO DA Ambasciata di Israele in Italia Ufficio Culturale ROMA TRE UNIVERSITÀ DEGLI STUDI IN FORMAZIONE IN COPRODUZIONE CON ROMA TRE UNIVERSITÀ DEGLI STUDI IN COLLABORAZIONE CON MEDIA PARTNER IN NETWORK CON SPONSOR TECNICI ™ catering & banqueting LA CAMPAGNA DI COMUNICAZIONE 2012 È IDEATA DA MERC GIO VEN SAB DOM SETTEMBRE 26 27 28 29 30 AKRAM KHAN • TEATRO ARGENTINA 21:00 21:00 21:00A 21:00 mAsbEDO • sENTiERi sE LVAggi • FANNY ARDANT • PALLADIUM 20:30 20:30 A FORMULE D'ABBONAMENTO MERC GIO VEN SAB DOM MERC GIOV VEN SAB DOM MER GIO VEN SAB DOM MER GIO VEN SAB DOM OTTOBRE 03 04 05 06 07 10 11 12 13 14 17 18 19 20 21 24 25 26 27 28 DNA RUI HORTA • PALLADIUM 20:30 20:30 B CAGE A CAGE CONSTANZA MACRAs • TEATRO ELISEO 20:45 20:45 17:00 A NAM JUNE PAik • OPiFiCiO TELECOM ITALIA 17:30 B IT CONTEMPOARTENsEmbLE • PALLADIUM 20:30 B CAGE Consulta la pagina BOX OFFICE e scegli la formula d'abbonamento più adatta PER JOHN CAgE • PALLADIUM 17:00 B CAGE SASHA WALTZ AND guEsTs • TEATRO ELISEO 20:45 20:45 CALENDARIO DNA BILL T. JONEs • AUDITORIUM CONCILIAZIONE 20:30 20:30 A 19 OTTObRE / OPifiCiO FRANCESCA B. VISTA MASSIMILIANO CIVICA • TEATRO ARGENTINA 21:00 17:00 IT ANNALÌ RAINOLDI B GIORGIA NARDIN BILL T. JONEs • sTORY/TimE • TEATRO ELISEO 17:00 MORITZ ZAVA N DANIELE NINARELLO ViRgiLiO siENi • TEATRO VASCELLO 20:30 20:30 A 20 OTTOBRE / PALLADIUM DNA • OPiFiCiO TELECOM ITALIA / PALLADIUM 20:30 20:30 20:30 DNA RICCARDO BUSCARINI ALESSANDRO SCIARRONI RICCI/FORTE • TEATRO VASCELLO 20:30 20:30 20:30 20:30 20:30 A IT 21 OTTObRE / OPifiCiO LEMI PONIFASIO/MAu • TEATRO ARGENTINA 21:00 19:00 17:00 B FRANCESCA PENNINI MERC GIO VEN SAB DOM MERC GIOV VEN SAB DOM MER GIO VEN SAB DOM MER GIO VEN SAB DOM 03 04 05 06 07 10 11 12 13 14 17 18 19 20 21 24 25 26 27 28 COLLETTIVO CINETICO DOM LUN MART GIO VEN SAB GIO VEN SAB DOM GIO VEN SAB DOM NOVEMBRE 04 05 06 08 09 10 15 16 17 18 22 23 24 25 QUICKSAND • TEATRO ARGENTINA 21:00 21:00 21:00 B BATSHEVA • DECA DANCE • AUDITORIUM CONCILIAZIONE 20:30 A CALENDARIO VIVA ! BATSHEVA • sADEH 21 • AUDITORIUM CONCILIAZIONE 20:30 17 NOVEMBRE A TUMBLE WiLLiAm kENTRiDgE • TEATRO ARGENTINA 21:00 21:00 19:00 17:00 A IN ZAIRE 18 NOVEMBRE DANiEL AbREu • PALLADIUM 20:30 B HOBOCOMBO MOMBU VIVA! • CiRCOLO DEGLI ARTISTI 21:00 21:00 21:00 21:00 24 NOVEMBRE PABLO PALACiO AND MURIEL ROMERO • PALLADIUM 20:30 B NICOLA RATTI LUMINANCE RATIO KORNEL MUNDRUCZO AND J.M. COETZEE • TEATRO VASCELLO 20:30 20:30 20:30 B 25 NOVEMBRE OMAGGIO A PHILIP GLASS • AUDIT. PARCO DELLA MUSICA 21:00 BEMYDELAY SQUADRA OMEGA CITTÀ Di EbLA • PALLADIUM 20:30 20:30 B IT DOM LUN MART GIO VEN SAB GIO VEN SAB DOM GIO VEN SAB DOM 04 05 06 08 09 10 15 16 17 18 22 23 24 25 SVEGLIAMOCI ! WAKE UP ! Ogni giorno sperimentiamo una crisi che sembrerebbe Artisti affermati e compagnie giovani hanno trovato il loro Every day, we are subjected to this global cultural crisis Celebrated artists and emerging companies who have imporre alla cultura un ruolo marginale rispetto ai disagi posto in questa ripartizione armonica. which seems to be attributing culture to a more marginal found their place in this new and harmonious distribution. economici e sociali dei nostri giorni. La collaborazione artistica ed operativa con il Teatro di role due to today's apparently pressing social and economic Artistic and operative collaboration have been consolidated Questa situazione rischiava di paralizzarci: l'Europa sa- Roma, l'Università degli Studi Roma Tre, l’Auditorium Con- issues. with the Teatro di Roma, Rome Tre, University, Auditorium rebbe rimasta un grande sogno irrealizzabile, la globaliz- ciliazione, il Teatro Eliseo, l’Accademia Nazionale di Santa Under these conditions, our sector risks paralysis: Europe Conciliazione, Teatro Eliseo, Accademia Nazionale di Santa zazione un ostacolo e Internet la morte dell’intelligenza? Cecilia, e da quest’anno il MACRO e Musica per Roma, si would have remained a great but unreachable dream, Cecilia and from this year, also the MACRO Modern Art Sarebbe stato necessario ritirarsi in un atteggiamento di è ulteriormente intensificata. I nostri partner istituzionali - globalisation a mere obstacle and Internet, the certain Museum and Musica per Roma. attesa timorosa? il Ministero per i Beni e le Attività Culturali, il Comune di death of intelligence? Would it have been better to Our institutional partners - the Ministry for Cultural No. Roma Capitale e la Provincia di Roma, la Regione Lazio, la withdraw into a state of timorous expectation? Activities, Rome Municipal and Provincial authorities, Lo staff di Romaeuropa, i suoi partner, gli artisti ed il suo Camera di Commercio - ci hanno sostenuto ed hanno No. Lazio Regional Authority - all continue to support and pubblico - che nel 2011 ha partecipato ai nostri eventi più partecipato attivamente allo sviluppo delle linee strategi- The Romaeuropa staff, its partners, its artists and its participate actively in achieving our strategic goals. Telecom numeroso che mai - hanno deciso di lasciarsi alle spalle il che delle nostre azioni. Telecom Italia continua ad impe- public - who continue to participate in ever growing Italia continues to accompany us in our exploration of tempo della resistenza e, contro ogni pronostico, hanno gnarsi al nostro fianco nella esplorazione del futuro e nella numbers every year - have decided to leave all resistance the future and in our search for new instruments to help scelto di partecipare alla rinascita (parola che preferisco a ricerca degli strumenti che ne permettono l’utopia. Si sono behind them and, against all expectation, have chosen to create our utopias. “crescita”) di una creazione che utilizza i valori della soli- rafforzate le partnership con Rai Radio Tre, Filas, Invitalia, e participate in the rebirth or new "growth" based on the Our partnerships with Rai Radio Tre, Filas, Invitalia and the darietà, della libertà e della condivisione. le coproduzioni internazionali con festival, teatri e centri principles of liberty, solidarity and sharing. international co-productions with other festivals, theatres Composto come un'opera musicale alla John Cage, con d’arte europei ed italiani. Composed as a musical work in the style of John Cage, and European and Italian cultural centres continue to le sue ideazioni, i virtuosismi, le invenzioni tecniche, le Abbiamo costruito progetti con il Goethe Institut, l’Istituto with his ideas, virtuosity, technical bravura, provocations consolidate. We have prepared projects together with the provocazioni, il mix di vari generi, il Romaeuropa Festi- Cervantes e l’Ambasciata di Spagna, l’Istituto Camoes e and mélange of various musical genres, similarly the Goethe Institut, the Istituto Cervantes and the Embassy of val 2012 promette di essere una partitura musicale che l’Ambasciata del Portogallo, l’Ambasciata di Israele e le reti Romaeuropa Festival 2012 promises to be a singular Spain, the Istituto Camoes and Embassy of Portugal, the suonerà tutti gli strumenti dello spettacolo dal vivo, della europee Varèse e Theatron attive grazie al sostegno del musical composition; a vast orchestra composed of music Embassy of Israel and the European Varèse and Theatron musica, dell’arte, delle nuove tecnologie, del teatro, della Programma Cultura dell’Unione Europea. and art, with new technologies and theatre, contemporary networks through our joint participation in EU Cultural danza, della letteratura, in un concerto che dal Sud Africa A nome di tutti coloro che fanno parte di Romaeuropa e dance and literary readings. The Festival will also include Programmes. all’Europa, dagli Stati Uniti alla Nuova Zelanda ci parlerà di del suo pubblico, li ringraziamo. a live concert in which, from South Africa to Europe, In the name of all those who are part of Romaeuropa and mondi diversi. Incontri di arti piuttosto che incroci, trame from the United States to New Zealand, various different its public, we give our thanks. di sogni piuttosto che rivendicazioni, porte aperte al futu- Monique Veaute geographical, cultural and social worlds will be represented. ro piuttosto che denunce. Presidente Art forms which meet rather than cross, woven, Monique Veaute Fondazione Romaeuropa – Arte e cultura interconnected dreams rather than assertions, doors open President to the future rather than denunciations. Fondazione Romaeuropa – Arte e cultura SUPERARE IL LIMITE DEL NOTO CROSSING THE LIMIT OF WHAT IS KNOWN “Ogni epoca esprime la società che gli corrisponde. Nelle Il rapporto con la Fondazione Romaeuropa, da oltre “Every historical era expresses the society to which expression for those who know how to harness them in epoche tipiche (Rinascimento ecc.) c’era un adeguamento vent’anni un punto di riferimento per le arti performative it corresponds. In commonly known eras such as the a creativity way. a una formula ormai consolidata, oggi invece c’è una vo- d’avanguardia, ci consente di operare proprio in queste Renaissance etc., this was adjusted to reach the now Our consolidated relationship with the Fondazione lontà di superare le formule pre-esistenti.” direzioni. consolidated formula, whereas today the tendency is to Romaeuropa - representing for over twenty years a Le parole di Gillo Dorfles sul momento che stiamo viven- Tenendo fede alla sua tradizione, la Fondazione svilup- push beyond these pre-existing formulae.” point of reference for leading-edge performing arts - has do, e sullo stimolo costante dell’epoca contemporanea a pa una ricerca costante sulle forme di espressione e ne Gillo Dorfles’ words applied to the present day - the era consented us to progress in these directions.
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    ABSTRACT OF MUSICAL ARTS PROJECT Andrew Michael Bliss The Graduate School University of Kentucky 2008 DAVID LANG: DECONSTRUCTING A CONSTRUCTIVIST COMPOSER ______________________________________________________________ ABSTRACT OF MUSICAL ARTS PROJECT ______________________________________________________________ A musical arts project submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Andrew Michael Bliss Lexington, Kentucky Director: James B. Campbell, Professor of Music Lexington, Kentucky 2008 Copyright © Andrew Michael Bliss 2008 ABSTRACT OF MUSICAL ARTS PROJECT DAVID LANG: DECONSTRUCTING A CONSTRUCTIVIST COMPOSER The percussion compositions of David Lang hold a prominent place within the percussion solo repertoire. Lang’s constructivist approach to composition, as well as his resistance to tradition, has secured him a highly respected position among performers and composers alike. Percussion repertoire is yet to receive the in-depth scholarship that it currently warrants. Considering the relative youth of the genre, a Pulitzer Prize winning composer such as Lang’s interest in percussion writing should not be overlooked. Furthermore, the logistical nature of dealing with percussion notation, orchestration, and performance requires a specialist, making it difficult for most musicologists to offer the proper insight and observations. This monograph exposes the complex and multi-dimensional solo percussion works of David Lang, specifically The Anvil Chorus, Scraping Song, and Unchained Melody. The document provides insight into the composer’s intentions while offering strategies to confront the physical and psychological issues that arise when preparing these works for performance. It also deconstructs Lang’s compositional processes and reveals the similarities in his approach from piece to piece, thus clarifying his style.
  • Dean Bliss Empathy for the Voice

    Dean Bliss Empathy for the Voice

    Boosey & Hawkes Music Publishers Limited June 2010 2010/2 converts some of Carey’s unlikable characters into more sympathetic figures.” The Australian “To his well-known skills as an orchestral Golijov composer, Dean has added an under-utilised Dean Bliss empathy for the voice. The sung lines drive the Brett Dean’s new opera travels from Australia to Europe, with Included in this issue: musical and dramatic pace, underscored by Passion Andriessen performances at the Edinburgh Festival and a second production at beautifully detailed instrumental textures, wrought La Commedia in Los Angeles Hamburg State Opera with an innate feeling for the expressive power of and New York instrumental timbre, watched over by counterpoint and fine motivic workmanship.” Sydney Morning Herald In addition to Edinburgh, Dean appears at festivals in multiple roles as composer, violist and conductor. Following a feature at the Risor Chamber Music Festival in Norway (22-26 June), he is resident at the Cheltenham Music Festival (6-12 July) including the UK premiere of Recollections and world premiere of Epitaphs for string quintet when he joins the Australia Quartet. For first US performances of Epitaphs in August he joins the Orion Quartet at festivals Deutsche Grammophon has released a new in Santa Fe and La Jolla. The BBC Proms Photo: Opera Australia/Branco Gaica box set of Osvaldo Golijov’s La Pasión según features Amphitheatre with the Australian Turnage Peter Coleman-Wright as Harry Joy in the premiere of Brett Dean's Bliss at the Sydney Opera House San Marcos, containing a DVD of the 2008 Interview about new orchestral Youth Orchestra conducted by Mark Elder Holland Festival production, plus an audio- work Hammered Out It is rare for a new opera to enjoy two Amanda Holden’s masterly distillation of Peter (30 July) and Carlo with I Fagiolini (21 August).