Luigi Nono Prometeo Tragedia Dell’Ascolto

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Luigi Nono Prometeo Tragedia Dell’Ascolto STR 37096 Luigi Nono Prometeo Tragedia dell’ascolto PMS PMS 000 000 4 Teatro Farnese venerdì 26, sabato 27, domenica 28 maggio 2017, ore 20.30 PROMETEO TRAGEDIA DELL’ASCOLTO Per solisti vocali e strumentali, coro misto, quattro gruppi strumentali e live electronics Ensemble Prometeo Musica di LUIGI NONO Casa Ricordi, Milano. Nuova edizione a cura di André Richard e Marco Mazzolini Testi a cura di MASSIMO CACCIARI da Walter Benjamin (Sul concetto di storia), Eschilo (Prometeo incatenato), Euripide (Alcesti), Johann Wolfgang von Goethe (Prometeo), Erodoto (Storie I, 32), Esiodo (Teogonia), Friedrich Hölderlin (Schicksalslied e Achill), Pindaro (Nemea, VI), Arnold Schönberg (Das Gesetz e Moses und Aaron), Sofocle (Edipo a Colono) Direttore MARCO ANGIUS Soprani Contralti Tenore LIVIA RADO KATARZYNA OTCZYK MARCO RENCINAI ALDA CAIELLO SILVIA REGAZZO Voci recitanti Live electronics SERGIO BASILE ALVISE VIDOLIN MANUELA MANDRACCHIA NICOLA BERNARDINI Direttore assistente Maestro del coro CATERINA CENTOFANTE MARTINO FAGGIANI Coro del Teatro Regio di Parma ENSEMBLE PROMETEO FILARMONICA ARTURO TOSCANINI CORO DEL TEATRO REGIO DI PARMA Assistente ai live electronics Luca Richelli Altro maestro del coro e maestro collaboratore Massimo Fiocchi Malaspina; Maestro collaboratore Claudio Cirelli Direttore di scena Giacomo Benamati Si ringrazia BH Audio per l’assistenza tecnica e la fornitura delle apparecchiature elettroacustiche ed elettroniche Si ringrazia Centro di Sonologia Computazionale dell’Università di Padova Responsabile di produzione Ilaria Pucci; Responsabile dei servizi tecnici Andrea Borelli Scenografo realizzatore e consulente agli allestimenti scenici Franco Venturi Responsabile macchinisti Francesco Rossi; Responsabile elettricisti Giorgio Valerio Responsabile attrezzeria Monica Bocchi; Responsabile fonica Gian Maria Piccinini Responsabile sartoria Giuseppe Panarello; Ispettore di palcoscenico Ettore Moni Personale tecnico e di palcoscenico del Teatro Regio di Parma Filarmonica Arturo Toscanini PMS PMS 000 000 0 Luigi Nono (1924-1990) PROMETEO Katarzyna Otczyk Tragedia dell'ascolto Nuova versione Editore Casa Ricordi, Milano Testo a cura di Massimo Cacciari da Eschilo, Walter Benjamin, Friedrich Hölderlin e altri Per solisti vocali e strumentali, coro misto quattro gruppi strumentali e live electronics 1981-1985 SACD 1 1 - I. Prologo. 18:49 2 - II. Isola prima. 20:36 Livia Rado III. Isola seconda. Alda Caiello 3 - a) Io – Prometeo. 15:33 4 - b) Hölderlin. 07:51 5 - c) Stasimo primo. 06:27 SACD 2 1 - IV. Interludio primo. 06:18 2 - V. Tre voci a. 10:35 3 - VI. Terza/Quarta/Quinta isola. 16:01 4 - VII. Tre voci b. 06:18 Manuela Mandracchia 5 - VIII. Interludio secondo. 03:49 6 - IX. Stasimo secondo. 07:50 Marco Rencinai Sergio Basile 4 Silvia Regazzo 3 PMS PMS 000 000 1 LIVIA RADO ALDA CAIELLO Soprani IX. Stasimo secondo KATARZYNA OTCZYK SILVIA REGAZZO Contralti MARCO RENCINAI Tenore MITOLOGIA SERGIO BASILE MANUELA MANDRACCHIA Voci recitanti NOMOS ALVISE VIDOLIN NICOLA BERNARDINI Live electronics Solisti ʾֺʳ20؃˒˃ʿ֌ʿˁʾʮˆˋʿʾˁذˁʽʽ˂ ENSEMBLE PROMETEO [È occupare, prendere] È divisio primaeva FILARMONICA ARTURO TOSCANINI [È pascolare le greggi. [È il pascolo] CORO DEL TEATRO REGIO DI PARMA È l’irrompere [il] governare MARCO ANGIUS Direttore È il trasgredire il rifondare CATERINA CENTOFANTE Direttore assistente È l’abbattere il difendere MARTINO FAGGIANI Maestro del coro [È ciò che strappa ogni consolazione] È ciò che nel cerchio del fuoco ENSEMBLE PROMETEO rivela [soltanto] [e in quest cerchio] apre Flauto Tuba Violoncello molteplici vie Valentino Spaggiari Claude Hauri Chiede a noi di destare l’infranto Giulio Francesconi Di rinnovare Clarinetto Viola Contrabbasso Silenzi U Roberta Gottardi Gabriele Croci Emiliano Amadori Trasforma [e] ricorda balèna [ed] è nel deserto invincibile21. CORO DEL TEATRO REGIO DI PARMA Maestro del coro Martino Faggiani 20 pollôn onomàton morphê mìa, d'innumerevoli nomi, una forma sola Soprani Tenori (Eschilo, Prometeo incatenato, 210). Moses und Aron Rossella Antonacci Manuel Ferrando 21 (da Arnold Schönberg, , III). Elizaveta Martirosyan Giacomo Gandaglia* Felicity Murphy Sergio Martella Giulia Zaniboni* Matteo Michi Mezzosoprani e contralti Baritoni e bassi Federica Cassati Giorgio Grazioli* Laura Demarchi* Gianluca Monti Marianna Petrecca Marcelo Schleier Sacco Gloria Petrini Alfredo Stefanelli 4 *sostituto 45 PMS PMS 000 000 0 FILARMONICA ARTURO TOSCANINI VII. Tre voci b) ORCHESTRA I ORCHESTRA II ORCHESTRA III ORCHESTRA IV IL MAESTRO DEL GIOCO X, XI, XII Flauto e ottavino Flauto e ottavino Flauto e ottavino Flauto e ottavino Sandu Nagy Andrea Oman Silvia Marini Elisa Boschi Coro a cappella Clarinetto Clarinetto Clarinetto Clarinetto Ascolta Daniele Titti Antonio Duca Simone Cremona Andrea Scaffardi nel deserto lode alla terra Fagotto Fagotto Fagotto Fagotto a noi è data Davide Fumagalli Fabio Alasia Massimiliano Denti Federico Loy la debole forza ma Corno Corno Corno Corno basta Ettore Contavalli Davide Bettani Fabrizio Villa Giuseppe Affilastro per far saltare un’epoca dal corso della storia Tromba Tromba Tromba Tromba [di] porre in silenzio Matteo Beschi Marco Catelli Luca Festa Francesco Gibellini [nell'attimo] la vuota durata Trombone Trombone Trombone Trombone ascolta quest’attimo Antonio Martelli Francesco Piersanti Domenico Brancati Stefano Centini una debole forza [è data] al pensiero: Violini Violini Violini Violini STILLSETZUNG19 Mihaela Costea Laurentiu Vatavu Viktoria Borissova Valentina Violante attendono il pensiero occasioni un’opera Caterina Demetz Jasenka Tomic Daniele Ruzza Camilla Mazzanti dal movimento delle opere Julia Geller Federica Vercalli Cellina Codaglio Mario Mauro u istanti felici Nicola Tassoni Claudia Piccinini Sabrina Fontana Maurizio Daffunchio far del silenzio cristallo colmo di eventi Viola Viola Viola Viola tremendi dice l’intesa segreta Behrang Rassekhi Carmen Condur Ilaria Negrotti Diego Spagnoli ma basta per far saltare una vita dalla sua epoca Violoncello Violoncello Violoncello Violoncello un volto dal lutto dei passanti Diana Cahanescu Vincenzo Fossanova Fabio Gaddoni Pietro Nappi un fiato segreto Contrabbasso Contrabbasso Contrabbasso Contrabbasso nell’intesa profonda questa debole forza Mercurio Antonio Agide Bandini Claudio Saguatti Antonio Bonatti ascoltali. Vetri Francesco Migliarini Nicolò Vaiente Registrazione audio realizzata il 26-28 maggio 2017 da BH audio al Teatro Farnese di Parma su concessione del Ministero dei beni e delle attività culturali e del turismo – Complesso Monumenta della Pilotta Testi riprodotti per gentile concessione del Teatro Regio di Parma, 19 L'arrestarsi. dal programma di sala Prometeo.Tragedia dell’ascolto stagione lirica 2017. Tutti i diritti riservati Foto di scena: Roberto Ricci-Teatro Regio di Parma 44 Traduzioni in inglese: Jonathan West, Mimma Campanale 5 PMS PMS 000 000 01 L’OPERA IN BREVE Considerata unanimemente una delle punte più alte del teatro musicale del dopoguerra, Prometeo è il culmine della ricerca avviata da Nono verso la fine degli anni Settanta del secolo scorso sul senso del fare musica e sullo Città divina scopo stesso dell’arte, in coincidenza con il ripiegamento riflessivo dei suoi strumenti espressivi e dei suoi con- Atene famosa le tue parole tenuti musicali seguìto agli anni battaglieri dell’“impegno”. Dopo un lavoro di elaborazione durato almeno quat- [alla sua fonte detergi] nel suo silenzio tro anni, in stretta vicinanza con Massimo Cacciari che ne curò il libretto e ne stimolò molta parte dell’impianto [cacciane la menzogna] concettuale, l’opera debuttò il 25 settembre 1984, sotto la direzione di Claudio Abbado, nella chiesa scon- qui crescerai un albero sacrata di San Lorenzo a Venezia in cui Renzo Piano aveva ricavato una gigantesca struttura lignea simile a una c) Eco lontana (dal prologo) nave, o alla cassa armonica di un immenso liuto, destinata ad accogliere il pubblico, intorno al quale, a dis- U A O O U A A tanze diverse dal suolo e sulla struttura stessa, si muovevano gli esecutori, con pochissimi effetti visivi creati U A appositamente da Emilio Vedova. Sottoposta a una fitta revisione, l’opera fu ripresentata in versione definitiva Qui crescerò il narcisso [e] il croco iridato esattamente un anno dopo nello stabilimento Ansaldo di Milano e da allora ha visto dodici allestimenti in tutta che l'Asia ignora fuggendo la furia Europa, di cui uno solo in Italia, alle Orestiadi di Gibellina del 1991. selvaggia di Orione Proprio perché nata nella volontà di esplorare e stimolare una capacità di ascolto più profonda, che fosse in tirale a secco realtà invito a non accettare qualsiasi realtà precostituita, Prometeo è opera che si rifiuta di raccontare, di rap- presentare, di compromettere l’ascolto con scenografie. Lo stesso libretto non mira alla narrazione tout court d) Eco lontana (dal prologo) U A A A della vicenda di Prometeo, bensì all’evocazione attraverso un fitto gioco di citazioni in tre lingue entro segmenti autonomi che si riallacciano al teatro antico e alla percezione quantizzata ed errabonda (prologo, interludi, Inseguirà sul mare il tuo remo rapide Nereidi stasimi, isole). Su questa base, Nono ha allestito una partitura di suoni inauditi, stranianti e spesso al confine [fa nella] chiglia con il silenzio, manipolati grazie all’uso del live electronics, mobili e avvolgenti, in modo da rendere tangibile [un] foro [perché] non marcisca lo spazio annullando il rapporto frontale e convenzionale con il dramma, frantumati – come in un profondo [alla] pioggia ripensamento della polifonia
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