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Accademia Del Ricercare Henry Purcell (1659-1695) Abdelazer

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Accademia Del Ricercare Henry Purcell (1659-1695) Abdelazer 06 giugno Settimo TO.se. - Chiesa di S. Vincenzo ore 20,30 Accademia del Ricercare Henry Purcell (1659-1695) Abdelazer Suite O la vendetta del moro Ouverture, Rondeau, Air I-II, Minuet, Air III, Jig, Hornpipe, Air IV, Suite from the F a I r y Q u e e n Prelude, Hornpipe, Air, Rondeau, Overture Act I Jig, Dance for the Followers of Night Act III Symphony while the swans come forward, Dance for the Fairies Dance for the Green Men, Dance for the Haymakersi, Hornpipe Act IV Symphony, Entry of Phoebus, Air Act V Prelude, Entry Dance, Symphony, Monkey’s Dance, Chaconne Silvia Colli, Francesco Bergamini, Yayoi Masuda Aki Takahashi, Valeria Caponnetto Elena Saccomandi, Alessandro Curtoni, viole Antonio Fantinuoli, violoncello Federico Bagnasco, violone Arianna Zambon, Manuel Staropoli, oboi Luisa Busca, flauto Enrico Negro, Simone Telandro, trombe Claudia Ferrero, organo Matteo Manzini, timpani Direttore e concertatore, Pietro Busca Note di Sala Più che per le pregevoli opere sacre che compose per la Chapel Royal, ai suoi tempi Henry Purcell era apprezzato soprattutto per la sua vasta produzione di musica per il teatro. Musica per il teatro, non opera e tanto meno melodramma: questa espressione si spiega con il fatto che Purcell non scrisse – come i suoi contemporanei italiani e francesi – drammi per musica o tragédie-lyrique, lavori dal carattere unitario strutturati in una sequenza di arie, recitativi e danze strumentali, ma più che altro musiche di scena per i drammi e le commedie che venivano messi in scena nei teatri londinesi, nelle quali rivestivano un ruolo importante ma comunque subordinato al testo recitato. Oltre a questi lavori, il catalogo di Purcell comprende Dido and Aeneas, un’opera di durata insolitamente breve per gli standard dell’epoca, e due semi-opere come il King Arthur e The Fairy Queen, che sotto l’aspetto strutturale si riallacciano al modello tutto britannico del masque. Composta nel 1692, sulla base del Sogno di una notte di mezza estate di William Shakespeare, The Fairy Queen è senza dubbio una delle opere più belle di Purcell, grazie a uno scenario fiabesco e a una inesauribile invenzione melodica, che viene esaltata da un’orchestra molto ricca, comprendente accanto a una corposa sezione di archi due oboi, due trombe e i timpani. Composta secondo l’ipotesi avanzata da alcuni musicologi per il 15° anniversario di matrimonio della regina Maria II Stuart e di Guglielmo III, The Fairy Queen andò perduta pochi anni dopo la sua prima rappresentazione, per essere fortunosamente riscoperta all’inizio del XX secolo, diventando nel gito di poco tempo uno dei capolavori più eseguiti del compositore inglese. Più che per l’intreccio drammaturgico, l’opera si segnala per la bellezza della sua musica, che in questo caso viene presentata in una vasta suite dei brani più famosi dei cinque atti, che fonde armoniosamente gli stili italiano e francese, dando vita a un idioma molto originale, che enfatizza al massimo grado gli affetti del testo shakespeariano. Purcell portò a termine le musiche di scena per l’Abdelazer nel 1695, poco prima di morire all’età di appena 36 anni. A differenza di The Fairy Queen, Abdelazer è una tragedia dai toni molto drammatici, imperniata sulla figura di un principe moresco che vuole vendicare l’assassinio del padre cercando di appropriarsi della corona di Spagna con la complicità della regina. Da queste premesse l’autrice Aphra Behn sviluppa un dramma dalle tinte fosche, che si conclude con la morte violenta di quasi tutti i personaggi, come capitava regolarmente nei lavori teatrali dei drammaturghi elisabettiani come Thomas Kyd, Christopher Marlowe e lo stesso Shakespeare. Fin dalla austera ouverture che apre la suite, la musica rispecchia magnificamente la drammaticità degli eventi, ma non mancano brani dai toni più eleganti e distesi, come il Rondeau, che due secoli e mezzo più tardi venne scelto come tema da Benjamin Britten per la sua celebre The Young Person’s Guide to the Orchestra. Curriculum Nei suoi trent’anni di attività, il gruppo, nelle sue diverse formazioni ha effettuato oltre 1.000 concerti ed è stato invitato ad esibirsi per importanti istituzioni musicali, festival nazionali ed internazionali di alto livello: Bruges Festival Internazionale delle Fiandre, Festival de La Chaise Dieu, Lens Festival Contrepoints, Kyoto, Osaka, Bolzano Festival, Università di Leon Spagna, I Concerti dell’Accademia Ravenna, Festival di Musica Antica Graz, Festival de Musica Espanola de Madrid, Festival de la Laguna Tenerife, Festival Internacional de Musica de Galicia, Festival Internacional de Musica y Danza de Granata, Festival de Musique et Renaissance di Parigi Ecouen, Antiqua BZ, Canto delle Pietre Regione Lombardia e Regione Piemonte, S. Sempliciano a Milano, Genova, Firenze, Campobasso, Viadana, Stresa, Noto, Brindisi, Pantelleria, è Kiel, Amburgo, Barcellona, Alberville, Barcellonet, Motril, riscuotendo, ovunque si sia proposta, ottimi consensi di pubblico e di critica. Nel 2009 ha ricevuto l’incarico dal Governo delle Canarie e dalla società di Musicologia Spagnola di incidere i Villancicos di Diego Duron, opera che ha suscitato grande interesse per l’appropriata scelta dell’organico strumentale. Nel 2017 è stata invitata dall’Istituto di Cultura Italiano in Giappone per una serie di quattro concerti nelle città di Osaka, Kioto e Fukuoka. L’Accademia del Ricercare ha realizzato 20 registrazioni su CD (edite e distribuite sul mercato internazionale da Elegia, CPO, Brilliant, Tactus, Stradivarius) il cui successo è confermato dai notevoli volumi di vendita quanto dalle recensioni pubblicate sulle maggiori riviste del settore in Europa. L’Accademia del Ricercare collabora permanentemente con i massimi esponenti a livello mondiale nell’esecuzione della musica tardo-rinascimentale o barocca, i quali vantano individualmente curriculum di prestigio (Cappella Real de Catalunia, J. Savall, K. Boeke, A. Curtis, W. van Hauwe D. Oberlinger ecc…) .
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