02-11 Sakamoto

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02-11 Sakamoto Torino Ryuichi Sakamoto: Teatro Regio Playing the Piano Lunedì 2.XI.09 ore 21 Concerto straordinario Progetto Grafico Studio Cerri & Associati Ryuichi Sakamoto: Playing the Piano Con il sostegno di Audi Japan Tour a Impatto Zero, compensazione per le emissioni di anidride carbonica finanziata da Audi PA system fornito da Musikelectronic Geithain GmbH & Ballad Co., Ltd. YAMAHA DCFIIIS M4PRO fornito da YAMAHA Music Europe GmbH La tournée italiana è prodotta da International Music and Arts in collaborazione con William Morris Endeavor Entertainment. Sito web ufficiale: www.sitesakamoto.com Videoimpaginazione e stampa • la fotocomposizione - Torino la modalità stessa dello spettacolo a simboleggiare la sfaccettata personalità È artistica del protagonista. Sul palco, due pianoforti, uno dei quali programma- to elettronicamente, per consentire la messa in scena di un duetto “virtuale”: rap- presentazione allegorica della duplice pulsione che ha indirizzato fin dagli esordi la ricerca creativa del musicista giapponese. Da un lato l’attitudine a considerarsi comunque parte della tradizione “classica”, derivata dalla formazione accademica presso l’Università delle Arti di Tokyo e resa esplicita dal riferimento a composito- ri quali Bach e Debussy, da lui espressamente citati – insieme ai Beatles – come principali fonti di ispirazione. Dall’altro una costante attenzione all’innovazione tecnologica e ai risvolti applicativi della stessa, fin dai tempi gloriosi della Yellow Magic Orchestra, quando divenne – insieme ai sodali Haruomi Hosono e Yukihiro Takahashi – divo pop in patria e fenomeno di culto all’estero. L’identità espressiva di Ryuichi Sakamoto è altrettanto complessa sul piano della forma musicale. L’intreccio, a lungo andare indissolubile, fra tradizione nipponica, classica e non, e suggestioni provenienti dal resto del mondo (tanto il techno pop dei Kraftwerk, matrice originaria da cui scaturì la “magia gialla”, quanto la bossa nova di Antonio Carlos Jobim, onorata nei due dischi di tributo realizzati insie- me ai coniugi Morelenbaum), ha generato uno spettro di codici sonori sbalorditi- vo per ampiezza e profondità lessicali. E dunque non sorprende che l’estro del 57enne artista giapponese si sia manifestato, negli ultimi anni, in ambiti fra loro quasi antipodici: dal marketing pop (le suonerie per telefoni portatili commissio- nategli da Nokia) all’aristocrazia sperimentale (i due lavori realizzati in coppia con l’avanguardista berlinese Carsten Nicolai, in arte Alva Noto: Vrioon e Insen). A suo tempo, per evidenziare questa tensione verso una più elevata sintesi fra lin- guaggi differenti, intitolò un album Esperanto (1985) e in seguito, per un altro disco, volendo riassumerne la vocazione cosmopolita, coniò la definizione Neo Geo (1987). Dell’imponente repertorio ascritto a Sakamoto, senz’altro la parte più nota è però quella riferita alle musiche da film, che gli hanno dato fama planetaria e assicura- to prestigiosi riconoscimenti, a cominciare dall’Oscar conquistato nel 1988 per la colonna sonora de L’ultimo imperatore di Bernardo Bertolucci, fino al recentissimo Leone d’Argento attribuitogli in settembre alla Mostra del Cinema di Venezia per le musiche incluse nel film Women Without Men della regista iraniana Shirin Neshat. Ciò spiega l’ingente peso specifico delle composizioni “cinematografiche” nell’eco- nomia di Playing the Piano, spettacolo che ricalca il canovaccio dell’omonimo album appena edito, a sua volta testimonianza di una serie di esibizioni dal vivo tenute in Giappone. È tuttavia la combinazione di quell’ingrediente con altri di diversa provenienza, sia materiale autografo – con accento particolare su alcuni epi- sodi di Out of Noise, disco accoppiato alla versione deluxe di Playing the Piano destinata al mercato euroamericano – sia reinterpretazioni di pagine di autori clas- sici, Bach e Satie, a fare del concerto una sorta di compendio dell’eclettica arte musicale di Ryuichi Sakamoto. Alberto Campo Ryuichi Sakamoto, compositore e musicista, vincitore di un Oscar, nel corso della sua carriera ha attraversato molti confini, sperimentando con successo vari stili musi- cali che lo hanno reso celebre in tutto il mondo. Mai soddisfatto, Sakamoto continua a spostare in avanti il limite della propria creatività, mescolando generi e tecnologie che gli hanno consentito di trovare nuove ed eccitanti forme di espressione musicale. Nato a Nakano (Tokyo) nel 1952, Sakamoto ha incominciato a studiare composi- zione con il Professor Matsumoto a undici anni. Otto anni dopo è entrato all’Uni- versità delle Arti dove si è diplomato in composizione e ha ottenuto un master in musi- ca elettronica ed etnica. Nel 1977 ha iniziato il suo lavoro di compositore e session man con i più importanti artisti di musica jazz, rock e classica e ben presto è diventato famoso come produttore, arrangiatore e tastierista. Nel 1978 ha realizzato il suo primo album solista e ha formato la Yellow Magic Orche- stra con Haruomi Hosono e Yukihiro Takahashi, subito riconosciuta e apprezzata a livello internazionale. Il secondo disco del gruppo ha venduto più di un milione di copie e ha portato i tre a un tour mondiale che li ha resi famosi come i re del techno pop insieme ai Kraftwerk. Con 11 album nei successivi 5 anni la YMO si è creata un seguito che continua ancora a influenzare i movimenti musicali techno e ambient. L’interesse di Sakamoto per diversi generi, dal jazz alla bossa nova, alla classica, al dub, al gamelan, è stato evidente fin dall’inizio nelle sue composizioni per la YMO, nei suoi album solisti e nelle sue colonne sonore per il cinema, iniziate nel 1983 con Furyo. Quello stesso anno ha lasciato la YMO per dedicarsi alla carriera solista e alla world music. Raccontò all’epoca: «Ho una sorta di mappa culturale nella mia testa, dove trovo similitudini tra differenti culture. Per esempio la musica pop giapponese mi ricorda la musica araba, per l’intonazione vocale e il vibrato, e nella mia mente Bali è vicina a New York. Forse tutti hanno questo tipo di geografia nella testa; io lavoro così». Questo approccio si è evidenziato nelle sue molte collaborazioni, come quelle con David Bowie, David Byrne, David Sylvian, Iggy Pop, Youssou N’Dour, Robbie Robertson e Caetano Veloso o con gli scrittori William Burroughs e William Gibson. Il lavoro più noto di Sakamoto è probabilmente la colonna sonora del film Merry Christmas, Mr. Lawrence (in Italia Furyo), che gli ha fatto vincere un Anthony Asquith Award for Film Music dalla British Academy of Film and Television Arts (BAFTA). La colonna sonora del 1987 per L’ultimo imperatore di Bernardo Bertolucci gli è valsa un Oscar, un Grammy e un Golden Globe, oltre che il premio della Los Angeles Film Critics Association e una nomination ai BAFTA. Da allora ha lavorato ancora due volte con Bertolucci (Il tè nel deserto e Il piccolo Buddha), con Oliver Stone (Wild Palms), con Pedro Almodóvar (Tacchi a spillo) e due volte con Brian de Palma (Snake Eyes, Femme Fatale). Sakamoto è anche un valido attore ed è stato protagonista di Furyo; ha recitato anche nell’Ultimo imperatore, nel video Rain di Madonna e nel film New Rose Hotel di Abel Ferrara accanto a Christopher Walken e Willem Dafoe. Nel 1999 la sua prima opera, Life, ha debuttato con sette serate da tutto esaurito a Tokyo e Osaka. Questo ambizioso progetto ha visto il contributo di più di 100 perfor- mer, tra i quali José Carreras, Salif Keita, Bernardo Bertolucci, Salman Rushdie, Pina Bausch, il Dalai Lama e membri del Frankfurt Ballet. Il 1999 si è chiuso con la pub- blicazione del suo primo singolo per pianoforte solo Energy Flows, seguito nel 2001 da Zero Landmine. Nel 2004 ritorna alle sue radici elettroniche con CHASM. Nel 2006 riprende la collaborazione con Alva Noto, con il quale intraprende due tournée in Europa e il suo primo tour in Asia presentando Vrioon, Insen e Revep. Il 2007 vede la pubblicazione di Cendre e Ocean Fire, la composizione di brani minimalisti pianistici per il film Tony Takitani e orchestrali per Shining Boy and Little Randy e Silk. Nello stesso anno si è riunito con la Yellow Magic Orchestra per una performance in occasione dell’Al Gore’s Live Earth Festival. Nel 2008 il gruppo si è nuovamente esibito al Meltdown Festival sotto la direzione artistica dei Massive Attack. .
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