gran teatro live in veneto

Transcript

1 gran teatro live in veneto june / september

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3 Welcome to Venice Historically, Venice has been a crossroads of cultures by vocation and the fil rouge of this and the editions that will follow is a reflection on Venice s musical tradition and its many influences and sources of inspiration, ancient and modern alike. This applies both to music and to history, because different civilizations meet and dialogue through culture. These are the words used by Cristiano Chiarot, the Superintendent of Teatro La Fenice, to describe the upcoming Festival titled Lo spirito della musica di Venezia (The spirit of Venice s music), that will be held from June 27 to August 12. The program is rich and presents a number of exceptional events organized at various locations across Venice.

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5 June 27 / August 12, 2014 Lo Spirito della Musica di Venezia There is Stravinsky s The Rake s Progress, the first execution in modern times of Eritrea by Francesco Cavalli, and a dazzling set of ballet and dance performances with the International Ballet Gala, the Divine Comedy Trilogy and the Ballet and Visual Arts Project. Orchestral music will take center stage with two concerts by Teatro La Fenice in the Courtyard of Palazzo Ducale, directed by Diego Matheuz and John Axelrod. Moreover, La Fenice will be hosting the world premiere of Hôtel Europe, the new play by Bernard-Henri Lévy about the city of Sarajevo 20 years after the war in Bosnia. The summer calendar also includes a remarkable list of jazz performances, organized in collaboration with Veneto Jazz, that will bring to Venice big names like Burt Bacharach, Paolo Conte and the great Keith Jarrett. Discover the full program, the list of events and how to buy your tickets to this extraordinary calendar of summer events in Venice in the following pages. 5

6 I luoghi del Festival Il prodotto è stampato da Marca Print snc di Pizziolo & C. via Arna di Cavalleria, Quinto di Treviso (TV) Per avere informazioni ed entrare in contatto con la redazione scrivere a redazione@granteatro.eu Le foto de La Fenice: Michele Crosera. Foto Paolo Conte Alessandro Menegatti Cortile di Palazzo Ducale Teatro La Fenice Teatro La Fenice - Sale Apollinee Basilica di San Marco Basilica dei Frari 6

7 Chiesa della Pietà Chiesa di San Rocco Chiesa di San Salvador Ca Pesaro Teatro Fondamenta Nuove Murano, Chiesa di San Donato Mestre, Centro Culturale S. M. delle Grazie Mestre, Chiesa di S. Rita da Cascia Mestre, Duomo di S. Lorenzo Bassano del Grappa, Chiostro del Museo Civico 7

8 Teatro La Fenice 27 June p.m. 29 June p.m. 1 July p.m. 3 July p.m. 5 July p.m. Teatro La Fenice Sale Apollinee 26 June p.m. 27 June a.m. 28 June a.m. Ritorno a Viganò dagli esordi veneziani alla fortuna europea International conference on the dancer, choreographer and composer Salvatore Viganò in coproduction with Università Ca Foscari and Accademia Nazionale di Danza music by Igor Stravinskij main characters and performers Trulove Michael Leibundgut AnnE Carmela Remigio Tom Rakewell Juan Francisco Gatell Nick Shadow Alex Esposito mother Goose Silvia Regazzo Baba the Turkish Natascha Petrinsky Sellem Marcello Nardis Keeper of the Madhouse Matteo Ferrara Chorus and Orchestra Teatro La Fenice conductor Diego Matheuz Chorus master Claudio Marino Moretti director Damiano Michieletto sets Paolo Fantin costumes Carla Teti light designer Alessandro Carletti new production by Fondazione Teatro La Fenice a coproduction between Oper Leipzig and Fondazione Teatro La Fenice production of the sets and costumes in the laboratories of Oper Leipzig Chiesa di San Rocco 28 June p.m. Mestre Duomo di San Lorenzo 30 June p.m. Organo e tromba organ Ulisse Trabacchin trumpet Pier Giuseppe Doldi Chiesa della Pietà 29 June p.m. 5 July p.m. I virtuosi italiani conductor Alberto Martini Teatro La Fenice Sale Apollinee 30 June p.m. Mestre Centro Culturale Santa Maria delle Grazie 01 July p.m. Cà Pesaro 2 July p.m. In stile da camera Orchestra Barocca del Festival conductor and violin soloist Stefano Montanari Teatro La Fenice Sale Apollinee 3 July p.m. Una sera con Pino Donaggio conference with Roberto Pugliese 8

9 Teatro La Fenice 4 July p.m. Armonia del violino violin Uto Ughi conductor Claudio Scimone I Solisti Veneti Teatro La Fenice Sale Apollinee 4 July p.m. Canti veneziani by Wolfgang Florey and Riccardo Held Silvia Regazzo Ex Novo Ensemble Cortile di Palazzo Ducale 2 July p.m. Teatro La Fenice 6 July p.m. Peppe Barra Mestre, Chiesa di Santa Rita da Cascia 6 July p.m. Il leggio di Wolfango Dalla Vecchia Silvio Celeghin / Francesco Erle Schola San Rocco di Vicenza in coproduction with Veneto Jazz within the festival Lo Spirito della Musica di Venezia ed.2014 Presale / In all points of sale HelloVenezia, in branches of Banca Popolare di Vicenza and the Call Center Veneto Jazz / jazz@venetojazz.com / Basilica dei Frari 6 July p.m. Architetture Sonore Senior Choir of Piccoli Cantori Veneziani Diana D Alessio Teatro La Fenice Sale Apollinee 7 July p.m. Orazio Sciortino music by Fauré, Ravel, Debussy and Bizet 9

10 Teatro La Fenice, Sale Apollinee 8 July p.m. Un ponte flautistico tra Venezia e l Europa Enzo Caroli / Lidia Kawecka Venezia - Museo di Ca Pesaro 8/10/11 July p.m. L Eritrea by Francesco Cavalli libretto by Giovanni Faustini conductor Stefano Montanari director Olivier Lexa main characters and performers Eritrea/Iride Giulia Semenzato Nisa/Lesbo/Laodicea Francesca Aspromonte Eurimedonte Anicio Zorzi Giustiniani Teramene Rodrigo Ferreira Borea/Alcione/Niconide/Argeo Renato Dolcini Misena Giulia Bolcato Dione Adriana Di Paola Orchestra Barocca del Festival new production by Fondazione Teatro La Fenice Teatro La Fenice 8 July p.m. in coproduction with Fondazione Musei Civici di Venezia and Venetian Centre for Baroque Music Cortile di Palazzo Ducale 9 July p.m. Diego Matheuz music by Pino Donaggio, Giuseppe Verdi, Gioachino Rossini and Igor Stravinskij orchestra Teatro La Fenice conductor Diego Matheuz in coproduction with Soprintendenza per i Beni Architettonici e Paesaggistici di Venezia e Laguna and Fondazione Musei Civici di Venezia Teatro La Fenice Sale Apollinee 9 July p.m. Ça Ira di Roger Waters video projection music by Roger Waters director Janusz Jòzefowicz libretto Etienne Roda-Gil choreography Janusz Jòzefowicz scenes Andrej Woron Piano solo in coproduction with Veneto Jazz within the festival Lo Spirito della Musica di Venezia ed

11 Teatro La Fenice 11 July p.m. a theatrical monologue of Bernard-Henri Lévy first performance with Jacques Weber director Dino MustafiĆ 100 years after the assassination in Sarajevo and 20 years after the war in Bosnia within of the Festival Lo Spirito della Musica di Venezia ed

12 Teatro La Fenice Sale Apollinee 11 July a.m. and 3 p.m. Maratona Contemporanea 40 prime assolute di compositori veneziani e francesi Ex Novo Ensamble Cortile di Palazzo Ducale 12 July p.m. Teatro La Fenice Sale Apollinee 12 Luglio a.m. and 2.30 p.m. A metà secolo, giornata di studio su Francesco Cavalli Teatro La Fenice Sale Apollinee 14 July p.m. André Gallo music by Marcello, Vivaldi, Debussy, Poulenc, Dutilleux, Ravel and Di Bari Chiesa di San Salvador 14 July p.m. Chiesa di San Donato, Murano 15 July p.m. In stile spirituale Orchestra Barocca del Festival conductor Stefano Montanari music by Antonín Dvořák conductor John Axelrod Orchestra Teatro La Fenice in coproduction with Soprintendenza per i Beni Architettonici e Paesaggistici di Venezia e Laguna e la Fondazione Musei Civici di Venezia Teatro La Fenice 15 July p.m. Gala Internazionale di Danza young talents graduated from the best international academy soloists from Conservatoire Nationale de Musique et de Danse de Paris, Academie Princesse Grace de Monaco, Accademia «A. Vaganova» di San Pietroburgo, Royal Ballet School di Londra and Pockemon Crew 12

13 Teatro La Fenice Sale Apollinee 16 July p.m. Monica Bacelli pianoforte Claudio Marino Moretti music by Weill, Satie, Debussy Teatro La Fenice 17/18 July p.m. Dall Inferno al Paradiso No Gravity Dance Company choreography Emiliano Pellisari and Mariana Porceddu Teatro La Fenice Sale Apollinee 23/25/30 July p.m. Dagli archivi dell Istituto per la Musica della Fondazione Cini Carlo Tamponi, Dejan Bogdanović, Jakub Tchorzewski Teatro La Fenice Sale Apollinee 24 July p.m. Magie flautistiche barocche flute Ginevra Petrucci Quartetto Kodály Teatro La Fenice Sale Apollinee 18 July p.m. Arpa Francese Nabila Chajai Teatro Fondamenta Nuove 18 July p.m. La fisarmonica oggi Luca Piovesan Teatro La Fenice Sale Apollinee 21 July p.m. Chiostro del Museo Civico Bassano del Grappa 12 August p.m. Giulia Rossini music by Chopin, Mendelssohn, Debussy and Liszt Teatro La Fenice Sale Apollinee 22 July p.m. L isola irregolare contemporary composers in Venice Duo del Laboratorio Novamusica Teatro La Fenice 20 July p.m. in coproduction with Veneto Jazz within the festival Lo Spirito della Musica di Venezia ed.2014 Basilica di San Marco 25 July p.m. La scuola marciana music by Cavalli and Grandi conductor Marco Gemmani I Solisti della Cappella Marciana in coproduction with Venetian Centre for Baroque Music and Procuratoria di San Marco Teatro La Fenice 25/26 July p.m. Progetto Danza e Arti Visive «Muted» choreography by Sasha Riva music by Peteris Vasks Bundes Jugend Ballett Italian premiere «Petruška Variations» choreography by John Neumeier music by Igor Stravinskij Bundes Jugend Ballett «Dungenes» choreography by Patrick Eberts Isaac Julien Bundes Jugend Ballett World premiere under the supervision of John Neumeier 13

14 Teatro La Fenice Sale Apollinee 26 July p.m. Tromba e Alphorn I Virtuosi Veneti Teatro La Fenice 27 July p.m. Teatro Fondamenta Nuove 26/27 July p.m. Mediterranean Voices video / concerto / architettura per 12 identità mediterranee Neue Vocalsolisten Stuttgart Teatro La Fenice Sale Apollinee 28 July p.m. Chiostro del Museo Civico Bassano del Grappa 4 August p.m. Alexander Gadjiev music by Prokof ev, Skrjabin and Ravel in coproduction with Veneto Jazz within the festival Lo Spirito della Musica di Venezia ed.2014 Teatro La Fenice Sale Apollinee 29 July p.m. Tra barocco e jazz violin Sonig Tchakerian sax Pietro Tonolo Orchestra di Padova e del Veneto Chiesa di San Rocco 31 July p.m. Il morto redivivo oratory Antonio Caldara Orchestra Lorenzo Da Ponte conductor Roberto Zarpellon 14

15 Giuseppe Verdi Teatro La Fenice 26 August 25 September 2014 La Traviata music by Giuseppe Verdi Teatro La Fenice 18 September / 27 September 2014 L Inganno Felice music by Gioachino Rossini main characters and performers Bertrando Giorgio Misseri Isabella Marina Bucciarelli Ormondo Marco Filippo Romano Batone Filippo Fontana Tarabotto Omar Montanari Orchestra Teatro La Fenice main characters and performers Violetta Valery Patrizia Ciofi (26, 30/8-2, 7/9) Francesca Dotto (27, 29, 31/8-3, 19, 25/9) Alfredo Germont Shalva Mukeria (26, 30/8-2, 7, 25/9) Leonardo Cortellazzi (27, 29, 31/8-3, 19/9) Giorgio Germont Dimitri Platanias (26, 29, 31/8 2/9) Simone Piazzola (27, 30/8-3, 7, 19, 25/9) Flora Bervoix Elisabetta Martorana Annina Sabrina Vianello Gastone Iorio Zennaro Il barone Douphol Armando Gabba Il dottor Grenvil Mattia Denti Il marchese d Obigny Matteo Ferrara Chorus and Orchestra Teatro La Fenice conductor Daniele Rustioni Chorus master Claudio Marino Moretti director Robert Carsen sets and costumes Patrick Kinmonth choreography Philippe Giraudeau light designer Robert Carsen and Peter Van Praet production by Fondazione Teatro La Fenice Teatro La Fenice 11 September 28 September 2014 Il Trovatore music by Giuseppe Verdi main characters and performers Il conte di luna Artur Rucinski Leonora Carmen Giannattasio (11, 17, 24, 28) Kristin Lewis (14, 20, 26) Azucena Veronica Simeoni Manrico Gregory Kunde Ferrando Roberto Tagliavini chorus and Orchestra Teatro La Fenice conductor Daniele Rustioni chorus master Claudio Marino Moretti director Lorenzo Mariani sets and costumes William Orlandi light designer Christian Pinaud conductor Stefano Montanari director Bepi Morassi sets, costumes and light Accademia di Belle Arti di Venezia production Atelier Malibran Biglietteria on-line (diritto di vendita via Internet 10%) Biglietteria telefonica (+39) (diritto di vendita telefonica 10%). Tutti i giorni, fino al giorno precedente lo spettacolo. Dalle 9.00 alle Biglietteria via Fax (+39) Call Center Hellovenezia (+39) Un ora prima dello spettacolo presso la biglietteria del Teatro La Fenice I Biglietti sono acquistabili presso tutte le filiali della Banca Popolare di Vicenza e presso i seguenti punti vendita della rete Hellovenezia: Venezia Teatro La Fenice, Campo San Fantin, San Marco 1965: aperto tutti i giorni dalle alle Piazzale Roma: tutti i giorni dalle 8.30 alle Tronchetto: tutti i giorni dalle 8.30 alle Lido, Piazzale Santa Maria Elisabetta: tutti i giorni dalle 8.30 alle Mestre Via Verdi 14/D: dal lunedì al venerdì dalle 8.30 alle 18.30, sabato dalle 8.00 alle Dolo Via Mazzini 108: dal lunedì al sabato dalle 8.30 alle Sottomarina Piazzale Europa 2/C: tutti i giorni dalle 8.30 alle Cavallino-Treporti Mille Motivi Viaggi, Via di Ca Savio 24: dal lunedì al venerdì dalle 9.00 alle e dalle alle 19.30, sabato dalle 9.00 alle Abano Terme Amon Viaggi, Viale delle Terme 145: dal lunedì al venerdì dalle 9.00 alle e dalle alle 19.00, sabato dalle 9.00 alle Per informazioni, prenotazione e acquisto biglietti 15

16 The Rake s Progress Lesser artists borrow, great artists steal. Igor Fëdorovič Stravinskij

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18 Abbiamo un dovere nei confronti della musica: inventarla. Lui è Igor Stravinskij. Russo cosmopolita, musicista, autore, direttore d orchestra, poliedrico interprete del XX secolo, che l 11 settembre del 1951 salì sul podio del Teatro La Fenice di Venezia per dirigere il suo Rake s Progress, favola scritta in 3 anni, ispirata al ciclo di otto dipinti di William Hogarth, un successo di pubblico e opera esplicitamente e polemicamente retrospettiva che si impose come la più rappresentata tra quelle composte dopo la morte di Puccini. Fu lo stesso autore a definirla un opera composta di arie, recitativi, cori e pezzi d insieme. La sua struttura musicale, il concetto dell uso di queste forme, perfino i rapporti tonali, sono sulla linea della tradizione classica. Il Rake s Progress torna quindi a distanza di 63 anni. We have a duty towards music, namely, to invent it. Meet Igor Stravinsky, a cosmopolitan Russian musician, author, orchestra conductor, and multitalented interpreter of the 20th century. He took to the podium at Teatro La Fenice in 1951 to conduct his masterpiece, The Rake s Progress, a fairytale that he wrote over three years inspired by a cycle of eight paintings by William Hogarth. The public welcomed this explicitly and provocatively retrospective work, the most widely represented among those composed after Puccini s death. Stravinsky himself defined it a work made up of arias, recitatives, choruses and ensembles. Its musical structure, the use of these forms, even tonal relations are in line with classical music tradition. After 63 years The Rake s Progress is back to Venice. 18

19 Nous avons un devoir envers la musique: c est de l inventer. Disait Igor Stravinski. Russe, cosmopolite, musicien, auteur, directeur d orchestre, interprète polyédrique du XXe siècle, qui le 11 septembre 1951 monta au podium du Théâtre La Fenice pour diriger son Rake s Progress, fable écrite en 3 ans, inspirée du cycle de huit tableaux réalisés par William Hogarth, un succès de public et une œuvre explicitement et polémiquement rétrospective, la plus représentée parmi celles de Puccini. Ce fut l auteur même à la définir «une œuvre composée d airs, de récitatifs, de chœurs et de pièces d ensemble. Sa structure musicale, le concept de l usage de ces formes, jusqu aux rapports tonaux, se situent dans la lignée de la tradition classique. Après 63 ans The Rake s Progress revient à Venise. Wir besitzen der Musik gegenüber eine Verpflichtung: nämlich sie zu erfinden. Wer das gesagt hat, ist Igor Strawinsky, russischer Weltbürger, Musiker, Autor, Dirigent und vielseitiger Interpret des 20. Jahrhunderts. Am 11. September 1951 bestieg er die Bühne des Teatro La Fenice, um sein Werk The Rake s Progress zu dirigieren, eine über einen Zeitraum von 3 Jahren komponierte Fabel, die den aus acht Bildern bestehenden Gemäldezyklus von William Hogarth zum Vorbild nahm und zu einem wahrhaftigen Publikumserfolg wurde; diese ausdrücklich und polemisch retrospektive Oper konnte sich als eines der meistaufgeführten nach dem Tod von Puccini komponierten Werke behaupten. Der Komponist Strawinsky selbst beschrieb dieses Werk als eine aus Arien, Rezitativen, Chören und Ensembles aufgebaute Oper. Die musikalische Struktur, die konzeptuelle Umsetzung dieser Formen, ja sogar die tonalen Beziehungen entsprechen der klassischen Tradition. Nach 63 Jahren kehrt The Rake s Progress nun wieder nach Venedig zurück. 19

20 «A year and a day have passed away Since first to you I came. All things you bid, I duly did And now my wages claim. (The Rake s Progress, III, 2) Tom Rakewell è un giovane scapestrato divenuto ricco grazie ad una cospicua eredità ottenuta dalla morte di suo zio. Il suo amico Nick Shadow gli consiglia di spassarsela a Londra, abbandonando l amata Anne e sposando, sebbene con giustificata riluttanza, Baba, una donna turca e barbuta che gli porterà in dote un ingente patrimonio. Dopo poco tempo a Londra arriva anche Anne che, scoperta la vita libertina del suo amato, lo abbandona. Tom sperpera tutto il suo patrimonio, ma Nick Shadow, che altri non è che Mefistofele incarnato, vuole riscuotere il bene che ha procurato all amico e ne pretende come nelle migliori tradizioni niente meno che l anima. Tom e il diavolo, allora, si sfidano in una partita a carte che verrà vinta da Tom grazie all amore di Anne. E mentre il Diavolo sprofonda sconfitto negli abissi della Terra, Tom perde la ragione, passando così il resto della sua vita in manicomio, senza la consolazione nemmeno dell amore di Anne che egli non riconoscerà più. Tom Rakewell is a reckless youth who inherited a fortune following his uncle s death. Heeding his friend Nick Shadow s advice, he leaves his beloved Anne and heads for London, where he ends up marrying, somewhat reluctantly, Baba the Turk a wealthy bearded woman. Not long after their marriage, Anne arrives in London, but she leaves as soon as she finds out about his life of debauchery. Tom squanders all his wealth, but Nick Shadow, who is in fact the devil incarnate, demands payment from Tom, unsurprisingly in the form of his soul. Tom and the devil face down in a card game that Tom will win through Anne s love. As the defeated devil sinks into the depths of the Earth, Tom is condemned to lose his sanity and ends up in Bedlam, where he spends the rest of his life without the consolation of Anne s love, whom he will never recognize again. 20

21 Tom Rakewell est un jeune débauché devenu riche grâce à un legs important de son oncle. Son ami Nick Shadow lui suggère de s en donner à cœur joie à Londres, après avoir quitté sa bien aimée Anne et avoir épousé, avec une réticence justifiée, Baba, une femme turque et barbue qui lui apportera en dot un patrimoine considérable. Après quelque temps Anne est à Londres où elle découvert la vie dissipée de son aimé et décide de le quitter. Tom dissipe tout son patrimoine, mais Nick Shadow, qui n est rien d autre que Méphistophélès incarné, veut récupérer la fortune qu il a procurée à son ami et prétend comme dans les meilleures traditions rien de moins que son âme. Tom et le diable se défient, alors, dans une partie de cartes que gagnera Tom grâce à l amour d Anne. Et pendant que le Diable battu s enfonce dans les abîmes de la Terre, Tom perd la raison, destiné à passer le reste de sa vie en asile, sans la consolation de l amour d Anne qu il ne reconnaît plus. Tom Rakewell ist ein lasterhafter junger Mann, der nach dem Tod seines Onkels eine beträchtliche Summe Geld erbt. Sein Freund Nick Shadow rät ihm, sich in London die Zeit zu vertreiben, weshalb er seine Geliebte, Anne, verlässt; trotz gerechtfertigter Abneigung heiratet er stattdessen die Türkenbab, eine türkische, bärtige Frau, die als Aussteuer ansehnlichen Besitz mit in die Ehe bringt. Schon bald kommt auch Anne nach London, doch als sie den zügellosen Lebensstil ihres Geliebten erkennt, verlässt sie ihn. Nachdem Tom sein ganzes Vermögen verschwendet hat, fordert Nick Shadow, der niemand anderes ist als der Teufel selbst, den Lohn für seine Freundschaftsdienste und verlangt nach bester Tradition nichts weniger als Toms Seele. So treten Tom und der Teufel in einem Kartenspiel gegeneinander an, das Tom dank Annes Liebe jedoch gewinnen kann. Während der Teufel besiegt im Abgrund versinkt, verliert Tom den Verstand und verbringt den Rest seines Lebens in einem Irrenhaus; dort kann er nicht einmal in Annes Liebe Trost finden, da er diese bis zu seinem Tod nicht wiedererkennt. Teatro La Fenice 27 June p.m. 29 June p.m. 1 July p.m. 3 July p.m. 5 July p.m. music by Igor Stravinskij On-line booking (additional 10% online booking charge) By phone (+39) (additional 10% phone booking charge). Every day till the day prior to the show. From 9.00 to Booking by fax (+39) Hellovenezia Call Center (+39) One hour before each performance at the ticket office of La Fenice Theatre Tickets are available at all bank branches of Banca Popolare di Vicenza and at the following Hellovenezia sales points: Venice La Fenice Opera House, Campo San Fantin, San Marco 1965: open daily from to Piazzale Roma: every day from 8.30 to Tronchetto: every day from 8.30 to Lido, Piazzale Santa Maria Elisabetta: every day from 8.30 to Mestre Via Verdi 14/D: Monday to Friday from 8.30 to 18.30, Saturday from 8.00 to Dolo Via Mazzini 108: Monday to Saturday from 8.30 to Sottomarina Piazzale Europa 2/C: every day from 8.30 to Cavallino-Treporti Mille Motivi Viaggi, Via di Ca Savio 24: Monday to Friday from 9.00 to and from to 19.30, Saturday from 9.00 to Abano Terme Amon Viaggi, Viale delle Terme 145: Monday to Friday from 9.00 to and from to 19.00, Saturday from 9.00 to For information, reservations and purchase tickets main characters and performers Trulove Michael Leibundgut AnnE Carmela Remigio Tom Rakewell Juan Francisco Gatell Nick Shadow Alex Esposito mother Goose Silvia Regazzo Baba the Turkish Natascha Petrinsky Sellem Marcello Nardis Keeper of the Madhouse Matteo Ferrara Chorus and Orchestra Teatro La Fenice conductor Diego Matheuz Chorus master Claudio Marino Moretti director Damiano Michieletto sets Paolo Fantin costumes Carla Teti light designer Alessandro Carletti new production by Fondazione Teatro La Fenice a coproduction between Oper Leipzig and Fondazione Teatro La Fenice production of the sets and costumes in the laboratories of Oper Leipzig 21

22 Stravinskij Igor If, as is nearly always the case, music appears to express something, this is only an illusion. 22

23 I can go only where my musical appetites take me. Thus Igor Fedrovic Stravinsky commented on his life as a composer: more than 100 works between ballets, symphonies, concerts and sonatas, composed when he lived in different countries, including Switzerland, France and the United States. Born in Russia in 1882, Stravinsky embraced music only after the age of twenty and debuted in France in 1910, only to become one of the leading composers of the Twentieth century. He revolutionized traditional orchestration and reinvented modern ballet. He loved Venice passionately and here he found inspiration for one of his most famous works, The Flood, and Canticum Sacrum that was played in the Basilica of St. Mark before a crowded square. This decision followed the wish expressed by the then- Patriarch Roncalli, the future Pope John XXIII, who requested that the concert be open to the Venetian population and not only to a happy few. It was Venice that bid Stravinsky farewell upon his death on April 13, 1971: a gondola took the coffin to the island of San Michele, where his grave is still found today. 23

24 L Eritrea 24

25 Periandro ed Eurimedonte, l uno giovane re siriano, l altro principe d Egitto, approdano a Sidone presso la corte del re Lisia. Eurimedonte s innamora di Laodicea, giovane figlia del re, dimenticandosi della promessa da lui fatta ad Eritrea, sorella gemella di Periandro, già promessa dal fratello a Teramene. Nel frattempo il regno siriano viene minacciato dai nemici persiani, i quali, venuti a conoscenza del repentino ritorno del giovane re, desistettero dalle loro intenzioni belligeranti. Eritrea, una volta reincontrato il fratello, apprende del nuovo amore di Eurimedonte, per il quale ella aveva lasciato il suo promesso sposo. Frattanto il fratello Periandro si ammala e muore. A questo punto la regina madre, per evitare di perdere il regno, giacché la successione per legge doveva passare solo per genere maschile, vista la somiglianza tra i suoi figli gemelli decide di mascherare Eritrea da Periandro, fingendo la morte della figlia. Quindi Eritrea nelle vesti di Periandro mandò una missiva al re Lisia per avere in sposa la figlia Laodicea. Pensando di essere stato tradito dall amico, Eurimedonte dichiara guerra a Sidone. Periander und Eurymedon, der eine ein junger syrischer König, der andere Prinz von Ägypten, kommen nach Sidon an den Hof des Königs Lysias. Eurymedon verliebt sich in Laodikeia, die junge Tochter des Königs, und vergisst sein Versprechen gegenüber Eritrea, der Zwillingsschwester von Periander, die von ihrem Bruder bereits Theramenes versprochen war. Unterdessen wird das syrische Reich von den persischen Feinden bedroht, die, sobald sie von der plötzlichen Rückkehr des jungen Königs erfahren, von ihren kriegerischen Absichten ablassen. Als Eritrea wieder ihrem Bruder begegnet, erfährt sie von der neuen Geliebten Eurymedons, für den sie ihren Verlobten verlassen hat. Inzwischen erkrankt ihr Bruder Periander und stirbt. Da die Krone nach dem Gesetz nur an männliche Nachfolger übergeben werden kann, entscheidet sich die Königin, Mutter von Eritrea, um den Verlust der Herrschaft zu verhindern, ihre Tochter auf Grund ihrer Ähnlichkeit mit ihrem Bruder als Periander zu verkleiden, und täuscht den Tod von Eritrea vor. In der Gestalt von Periander sendet Eritrea ein Schreiben an König Lysias, in dem sie um die Hand seiner Tochter Laodikeia bittet. Da Eurymedon glaubt, von seinem Freund betrogen worden zu sein, erklärt er Sidon den Krieg. Periander and Eurymedon - the former a young Syrian king, the latter an Egyptian prince land at Sidon at the palace of King Lysias. Eurymedon falls in love with Laodice, the king s young daughter, forgetting the promise he made to Eritrea, Periander s twin sister who was originally betrothed to Theramenes. Meanwhile the Syrian king is threatened by Persian enemies, who learn about the sudden return of the sovereign and set aside their military ambitions. Eritrea, who had left Theramenes for Eurymedon, meets her brother and learns about her beloved s change of mind. Periander falls ill and dies. The Queen Mother is determined not to lose her reign and since the succession line was reserved to male heirs, she disguises her daughter Eritrea to look like her late twin pretending she had died instead. Thus Eritrea disguised as Periander sends a letter to king Lysias to marry his daughter Laodice. Believing he has been betrayed by his friend, Eurymedon declares war to Sidon. Périandre et Eurymédon, un jeune roi syrien le premier, un prince d Égypte le second, débarquent à Sidon à la cour du roi Lysias. Eurymédon tombe amoureux de Laodicée, la jeune fille du roi, en oubliant la promesse faite à Érythrée, sœur jumelle de Périandre, déjà promise par son frère à Théramène. Le règne de Syrie est menacé par les ennemis perses, qui informés du retour imprévu du jeune roi, se désistent de leurs intentions de guerre. En revoyant son frère, Érythrée vient à connaissance du nouvel amour d Eurymédon, pour qui elle avait quitté son promis. Son frère Périandre tombe malade et meurt. Pour ne pas perdre son règne, la succession allant au bénéfice de la lignée masculine selon la loi, la reine mère, vue la ressemblance de ses jumeaux, décide de déguiser Érythrée en Périandre, en feignant la mort de sa fille. Érythrée donc dans les habits de Périandre envoie une ambassade au roi Lysias en demandant sa fille Laodicée en épouse. Convaincu d avoir été trahi par son ami, Eurymédon déclare la guerre à Sidon. 25

26 L Eritrea di Francesco Cavalli, ultimo frutto della feconda collaborazione con il librettista Giovanni Faustini, andò in scena il 17 gennaio 1652 al Teatro Sant Aponal di Venezia. L Eritrea andrà in scena per la prima volta in epoca moderna l 8, 10 e 11 luglio a Ca Pesaro con la direzione musicale di Stefano Montanari e la regia di Olivier Lexa. Eritrea by Francesco Cavalli was the last work that saw the collaboration between the composer and the librettist Giovanni Faustini. It was staged on January at Teatro Sant Aponal in Venice. Eritrea will be staged for the first time in modern times on July 8, 10 and 11 at Ca Pesaro under the musical direction of Stefano Montanari and the stage direction of Olivier Lexa. Francesco Cavalli was one of the most prominent and prolific composers of the 17th century. Born in Crema in the Republic of Venice, the son of the Kapellmeister of the town s Cathedral, Cavalli received his musical education from Claudio Monteverdi. Cavalli wrote and composed restlessly for more than 30 years, building on Venice s flourishing art market since the city was a world capital of culture. He wrote sacred music in particular and he is credited with transforming musical arias in operas into more elegant and structured pieces, characterized by greater accuracy and harmony, modulation and instrumentation. L Eritrea de Francesco Cavalli, dernier fruit de sa collaboration féconde avec l auteur de livrets d opéra Giovanni Faustini, mise en scène le 17 janvier 1652 au Teatro Sant Aponal de Venise. L Eritrea sera représentée sur scène pour la toute première fois à l époque moderne le 8, 10 et 11 juillet à Ca Pesaro sous la direction musicale de Stefano Montanari et avec la mise en scène d Olivier Lexa. L Eritrea von Francesco Cavalli ist das letzte Ergebnis der fruchtbaren Zusammenarbeit dieses Komponisten mit dem Librettisten Giovanni Faustini. Das Werk wurde am 17. Januar 1652 im Teatro Sant Aponal in Venedig uraufgeführt. Am 8., 10. und 11. Juli wird L Eritrea im Ca Pesaro unter der musikalischen Leitung von Stefano Montanari und der Regie von Olivier Lexa erneut auf die Bühne gebracht; dabei handelt es sich um die absolut erste Aufführung des Stückes in der Moderne. Venezia - Ca Pesaro 8/10/11 July p.m. L Eritrea by Francesco Cavalli libretto by Giovanni Faustini conductor Stefano Montanari director Olivier Lexa main characters and performers Eritrea/Iride Giulia Semenzato Nisa/Lesbo/Laodicea Francesca Aspromonte Eurimedonte Anicio Zorzi Giustiniani Teramene Rodrigo Ferreira Borea/Alcione/Niconide/Argeo Renato Dolcini Misena Giulia Bolcato Dione Adriana Di Paola Orchestra Barocca del Festival new production by Fondazione Teatro La Fenice in coproduction with Fondazione Musei Civici di Venezia and Venetian Centre for Baroque Music 26

27 27

28 Lévy Rencontre avec Bernard-Henri 28

29 Rappresentare Hôtel Europe a Venezia significa mettere in scena l Europa dei valori, fedele alla sua memoria e ai suoi principi sulla più bella scena d Europa, ovvero il Teatro La Fenice. Così Bernard Henri Lévy presenta il suo monologo teatrale in scena in prima mondiale sul palcoscenico della Fenice. Una pièce teatrale che rappresenterà l Europa così come il filosofo francese la immagina e non dimissionaria e velleitaria come è oggi. Staging Hôtel Europe in Venice means bringing to the stage - the most beautiful stage in Europe, that of Teatro La Fenice - the Europe of values, faithful to its memory and to its principles. Bernard-Henri Lévy presents his monologue in a world premiere at Teatro La Fenice. It is a play that presents Europe as seen through the eyes of the French philosopher rather than the resigned and wishfulthinking Europe of today. Représenter Hôtel Europe à Venise correspond à mettre en scène l Europe des valeurs, fidèle à sa mémoire et à ses principes sur la plus belle scène d Europe, le Théâtre La Fenice. Ainsi Bernard-Henri Lévy présente-til son monologue théâtral sur scène en première mondiale sur le plateau de la Fenice. Une pièce destinée à représenter l Europe telle que le philosophe français l imagine et non pas démissionnaire et velléitaire comme aujourd hui. Hôtel Europe in Venedig aufzuführen bedeutet, ein Europa der Werte zu inszenieren, ein Europa, das seinen Erinnerungen an die Vergangenheit und seinen Prinzipien treu ist - und zwar auf der schönsten Bühne Europas, dem Teatro La Fenice. So präsentiert Bernard-Henri Lévy seinen theatralischen Monolog als Welturaufführung auf der Bühne dieses Opernhauses, als Theaterstück, in welchem Europa genau so dargestellt wird, wie es sich der Philosoph vorstellt, im Unterschied zum resignierten und inhaltslosen Europa von heute. 29

30 L Europa deve essere il luogo della cultura, della lirica, dello spirito, dei fatti. L Europa capace di parlare con una sola voce sul genocidio in Ruanda, l Europa che non si chiude al mondo esterno, ma rimane fedele alla sua memoria e ai suoi valori e che fonda se stessa intorno ai principi di universalità che le sono propri. E nell Europa c è Venezia, una grande capitale di cultura, di arte, di musica. Con questo palcoscenico che davvero è uno dei teatri più belli di questa Europa. Una città universale che deve ragionare come una grande Capitale. I sostenitori di Venezia devono combattere perché essa sia una grande capitale e non chiusa su se stessa. Chiunque come me ami Venezia la vuole città tra la terra e il cielo. Europe should be a center of culture, opera, facts and spirit. Europe should be speaking in one voice against the genocide in Rwanda, Europe shouldn t shun the outside world, it should be faithful to its own memory and its values and it should be grounded in the universal principles that it enshrines. In Europe Venice features prominently as a capital of culture, art, music - a stage that is truly one of the finest in Europe. This is a universal city that must reason as such. Venice s supporters must fight to make it great, and not let it fold onto itself. Anyone who loves Venice like I do wants the city between the earth and the sky. L Europe doit être le lieu privilégié de la culture, de l opéra lyrique, de l esprit, des faits. L Europe capable de parler à une seule voix du génocide au Rwanda, l Europe qui ne se ferme pas face au monde extérieur, mais reste fidèle à sa mémoire et à ses valeurs et qui puise ses fondements dans les principes d universalité qui lui appartiennent. Et en Europe, Venise est une grande capitale de la culture, de l art, de la musique. Avec cette scène, assurément l un des plus beaux théâtres de cette Europe. Une ville universelle qui doit raisonner comme une grande ville. Les inconditionnels de Venise doivent combattre pour qu elle soit une grande Capitale, qui n accepte pas de se renfermer sur elle-même. Ceux qui aiment Venise, comme moi, veulent qu elle soit la ville entre la terre et le ciel. Europa sollte ein Ort der Kultur sein, ein Ort der Lyrik, ein Ort des Geistes und ein Ort der Fakten, ein Europa, das imstande ist, sich einstimmig gegen den Völkermord in Ruanda auszusprechen, ein Europa, das sich nicht vor dem Rest der Welt verschließt und trotzdem seinen Erinnerungen an die Vergangenheit und seinen Werten treu bleibt und sich weiterhin auf seine universellen Prinzipien gründet. In Europa liegt auch Venedig, eine Weltstadt der Kultur, der Kunst und der Musik. Diese Stadt mit ihrer wundervollen Kulisse ist eines der schönsten Theater dieses Europas. Und Venedig ist eine universelle Stadt, die wie eine große Weltstadt denken muss. Venedigs Unterstützer müssen dafür kämpfen, dass diese Stadt eine große Weltstadt bleibt und sich nicht in sich selbst zurückzieht. Jeder, der Venedig liebt, so wie ich, will, dass diese Stadt eine Stadt zwischen Himmel und Erde bildet. 30

31 Teatro La Fenice 11 July p.m. a theatrical monologue of Bernard-Henri Lévy first performance with Jacques Weber director Dino MustafiĆ On the occasion of the press conference for the presentation of the Season of Teatro La Fenice di Venezia at the Italian Institute of Culture in Paris, the French philosopher Bernard-Henry Lévy talked about his new play Hôtel Europe, that will premiere in Venice in July as part of the Lo spirito della Musica di Venezia (2014). 31

32 Bernard-Henry Lévy is the founder of nouvelle philosophie, the new philosophy that young French intellectuals adhered to reject the Communist and Socialist theories of May The author of several works, he published his first book, La barbarie à visage humain, with the Venetian printing house Marsilio in 1978, followed three years later by Idéologie française, his seminal work.

33 Большой театр Концерты в Венето russian edition 33

34 Встреча с Бернар- Анри Леви Представлять «Отель Европа» в Венеции, означает - показать Европу высоких ценностей, преданную своей истории и принципам, на самой красивой сцене Европы - Театре Ла Фениче. Именно так, Анри Леви представляет себе свой театральный монолог в своей мировой премьере на сцене Феникса. Театральное выступление, в котором Европа, представляется именно такой, какой ее видит французский философ, а не «отрекающейся и утопической, какой она предстает пред нами сегодня». «Европа должна быть центром культуры, лирики, духовности и фактов. Та Европа, которая способна говорить единым голосом о геноциде в Руанде, Европа, которая не закрывается от внешнего мира, а остается преданной своей истории и ценностям и базируется на принципах универсальности, которые ей принадлежат». И именно в Европе есть Венеция - великая столица культуры, искусства и музыки. Именно здесь находится сцена одного из самых красивых театров Европы. Это город является частью вселенной и поэтому, должен размышлять на уровне большого города. «Почитатели Венеции должны бороться, потому что она - великая Столица, и не имеет границ. Любой, кто, подобно мне любит Венецию, хочет видеть этот город возвышенным...между небом и землей.» 34

35 Похождения повесы «У нас есть долг по отношению к музыке: изобрести ее». Игорь Стравинский. Русский космополит, музыкант, автор, дирижер, разносторонний исполнитель XX века, который 11 сентября 1951 года поднялся на подиум Театра Ла Фениче, чтобы дирижировать свое произведение «Похождения повесы» - повесть, которую он написал за 3 года, вдохновленный циклом из восьми картин Уильяма Хогарта, вызвавшее успех среди зрителей и превратившееся в недвусмысленно и полемически ретроспективную оперу, которая впоследствии стала одной из наиболее востребованных произведений после смерти Пуччини. Именно он определили ее, как: «оперу, состоящую из арий, речитативов, хора и ансамблей». Его музыкальная структура, концепция использования данных форм, а также тональные пропорции - все это создано в соответствии с классической традицией. Спустя 63 года «Похождения повесы» возвращается в Венецию. «Бездарные творцы заимствуют, великие крадут». Том Рэйкуэлл - молодой сорвиголова, разбогатевший, благодаря огромному наследству, доставшемуся ему после смерти дяди. Его друг Ник Шэдоу советует ему поразвлечься в Лондоне на эти деньги, бросив возлюбленную Энн и жениться, хоть и с явным нежеланием, на Баба - турецкой бородатой женщине, с которой ему достанется огромное приданное. Через некоторое время в Лондон приезжает Энн и узнав всю правду о разгульной жизни своего возлюбленного, бросает его. Том растрачивает все свое состояние, но Ник Шэдоу - никто иной, как Мефистофель во плоти, хочет получить плату за свой совет, на что в замен просит ни больше, ни меньше, чем душу, как это принято в лучших традициях. Итак, Том и дьявол, играют в карты на проигравшего. Партию выигрывает Том, благодаря любви Анны. В то время, когда Дьявол проваливается в преисподнюю, Том сходит с ума и в таком состоянии проводит весь остаток своей жизни в доме для душевнобольных, лишенный любви Анны, которую больше не узнаёт. Все, что вам нужно это Джаз Сезон абсолютного Джаза, потому что музыка не имеет границ. В июле, Венеция, несомненно, стала итальянской столицей авторской музыки. Джазовый фестиваль, в этом году, в сотрудничестве с Венето джаз, предложит гостям театра Ла Фениче ряд встреч с самыми великими исполнителями мира. От восхитительного голоса Кассандры Уилсон, до Шинейд о Коннор и заканчивая тремя мировыми легендами: Бёрт Бакарак, Паоло Конте и Кит Джаррет, которые выступят в этом году с концертами как в сольном фортепиано, так и совместно с Гари Пикок и Джеком ДеДжонетт, в честь празднования 30-летней годовщины исторического трио. Фестиваль Джаза в Венеции - это один из наиважнейших событий итальянской музыкальной сцены, организацией которого, с 2008 года занимается Венето Джаз. Фестиваль за все эти годы имел честь принять у себя в гостях таких великих мировых артистов, как: Бобби Макферрин, Паоло Конте, Нора Джонс, Пэт Мэтини, Уинтон Марсалис, Стинг с симфоническим оркестром в Гран Театро Ла Фениче, а также Сезария Эвора, Пако де Лусия, Жилберту Жил, Кит Джарретт и многие другие. Фестиваль Джаза в Венеции, безусловно, является одним из крупнейших Джазовых Фестивалей в мире; это увлекательное путешествие в языковом пространстве и уникальная возможность прожить городскую жизнь вместе с различными событиями Фестиваля. 35

36 Театр Ла Фениче 27 июня июня июля июля июля The Rake s Progress Музыка Игоря Стравинского герои и главные исполнители ролей Трулав Михель Лайбундгут Энн Кармела Ремихио Том Рэйкуэлл Хуан Франсиско Гателл Ник Шэдоу Алекс Эспозито Матушка Гусыня Сильвия Регаццо Баба Наташа Петрински Селлем Марчелло Нардис Надзиратель Мэтью Феррара Оркестр и Хор Театра Ла Фениче главный дирижер и руководитель Диего Матеус руководитель хора Клаудио Марино Моретти постановка Дамиано Микьелетто декорации Паоло Фантин художник по костюмам Карла Тети художник по свету Алессандро Карлетти новое оформление под руководством Фонда Театра Ла Фениче в совместном производстве с Опер Лейпциг в рамках фестиваля «Дух Музыки в Венеции» Театр Ла Фениче 11 июля Hôtel Europe Театральный монолог Бернард-Анри Леви премьера с участием Жак Вебер постановка Дино Мустафи В честь столетней годовщины со дня бомбардировки Сараево и двадцать лет спустя, после войны в Боснии годов в рамках фестиваля «Дух Музыки в Венеции» Венеция двор Палаццо Дукале 2 июля Paolo Conte в сотрудничестве с Венето Джаз в рамках фестиваля «Дух Музыки в Венеции» 2014 Театр Ла Фениче 8 июля Keith Jarrett сольного Фортепиано в сотрудничестве с Венето Джаз в рамках фестиваля «Дух Музыки в Венеции» 2014 Театр Ла Фениче 6 июля Peppe Barra в сотрудничестве с Венето Джаз в рамках фестиваля «Дух Музыки в Венеции» 2014 Театр Ла Фениче 20 июля Burt Bacharach в сотрудничестве с Венето Джаз в рамках фестиваля «Дух Музыки в Венеции» 2014 Театр Ла Фениче 27 июля Cassandra Wilson в сотрудничестве с Венето Джаз в рамках фестиваля «Дух Музыки в Венеции» 2014 Билеты онлайн (наценка 10% при продаже билетов по интернет) Резервирование билетов по факсу (+39) По телефону (+39) (наценка 10% при продаже билетов по телефону). Все дни, до дня, предшествующему концерту. С 9.00 до Колл-центр «Хелло, Венеция» (+39) За час до концерта в билетной кассе Театра Ла Фениче Билеты можно приобрести во всех филиалах Banca Popolare di Vicenza и в следующих пунктах продажи сети «Hello, Венеция»: Венеция Театр Ла Фениче, Campo San Fantin, San Marco 1965: открыто все дни с до Piazzale Roma: все дни с 8.30 до Piazzale Roma Tronchetto: все дни с 8.30 до Lido, Piazzale Santa Maria Elisabetta: все дни с 8.30 до Mestre Via Verdi 14/D: с понедельника по пятницу с 8.30 до 18.30, в субботу с 8.00 до Dolo Via Mazzini 108: с понедельника по субботу с 8.30 до Sottomarina Piazzale Europa 2/C: все дни с 8.30 до Cavallino-Treporti Mille Motivi Viaggi, Via di Ca Savio 24: с понедельника по пятницу с 9.00 до и с до 19.30, в субботу с 9.00 до Abano Terme Amon Viaggi, Viale delle Terme 145: с понедельника по пятницу с 9.00 до и с до 19.00, в субботу, с 9.00 до Для дополнительной информации посетите сайт 36

37 A Tribute To Venice Meet Pino Donaggio, who took Venice and its music all around the world

38 Classical music, rock&roll and film soundtracks. Among Venice s most talented sons one has composed successful hits and Hollywood soundtracks that earned global fame to Italian music: Pino Donaggio. Born in 1941 in Burano, Donaggio was a wunderkind who performed solo at the age of 14 on radio in a Vivaldi concert. He had yet to earn his diploma when he joined Claudio Abbado s I solisti di Milano group and Claudio Scimone s I solisti veneti. Pino Donaggio s career is a hymn to eclectic talent: after singing a song by Paul Anka, Donaggio embraces pop music and writes pieces that met with instant success, like Cane di Stoffa, Giovane Giovane, and Io che non vivo, probably one of his most famous hits. The track he composed for the film Don t Look Now takes him to the next level and earns him the Best Soundtrack award in 1973 by the magazine Films and Filming. International fame arrives in 1976, when Brian De Palma picks Donaggio to compose the soundtrack for Carrie a partnership that lands Donaggio s name among the greatest in the industry. In the early 80s Donaggio continues to work for international productions, but shifts his focus on the Italian scene with Non ci resta che piangere featuring Troisi and Academy- Award winner Roberto Benigni, Don Camillo, and he specializes in horror-thriller and controversial docufilms. These include Piranha and The Howling by Joe Dante, Giovanni Falcone and The Moro Affair by Giuseppe Ferrara, Dove siete? Io sono qui by Liliana Cavani, Trauma and Two Evil Eyes by Dario Argento, Un eroe borghese by Michele Placido, Guido che sfidò le Brigate Rosse again by Ferrara, Colpo d occhio by Sergio Rubini, Oorlogswinter by Martin Koolhoven, and Seed of Chucky by Don Mancini. His collaboration with De Palma continues to date and includes the recent Passion. Leone d oro Città di Venezia per la musica (1986) Premio Colonna Sonora Ente dello Spettacolo (1990) Globo d oro per la colonna sonora di Palermo-Milano solo andata ( ) e Il carniere (1997) Una giornata e una serata con Pino Donaggio e la sua musica sono il tributo che il Teatro La Fenice dedica al celebre compositore veneziano, già cantautore di fama mondiale, ma da ormai un quarantennio tra i nomi di maggior spicco nell universo della musica per il cinema. A day and a night with Pino Donaggio and his music are the tribute that Teatro La Fenice pays to the acclaimed Venetian composer who is not only a world-famous songwriter, but a leading name in music for cinema for the past forty years. World Soundtrack Awards Lifetime Achievement Awards (2012) Une journée et une soirée avec Pino Donaggio et sa musique, sont le tribut que le Théatre La Fenice consacre au célèbre compositeur vénitien, auteurcompositeur-interprète de renommée mondiale, et depuis quarante ans un nom parmi les plus connus dans l univers de la musique pour le cinéma. Ein Tag und ein Abend mit Pino Donaggio und seiner Musik - so erweist das Teatro La Fenice dem berühmten venezianischen Komponisten und inzwischen weltberühmten Cantautore, der seit mittlerweile 40 Jahren einer der bekanntesten Namen der Welt der Filmmusik ist, seine wohlverdiente Ehre. 38

39 Il 3 luglio alle Sale Apollinee (ore 17) il compositore converserà con Roberto Pugliese durante un incontro nel quale verranno ripercorse, anche con l ausilio di filmati ed esempi audio, le tappe principali della sua carriera: carriera che lo ha visto, nel cinema, affermarsi inizialmente come compositore di elezione per il genere thriller e horror ma che, proseguendo negli anni, si è sviluppata anche lungo altre direzioni come film di denuncia civile, la commedia, il kolossal storico, la fiction televisiva, il melodramma. La sera del 9 luglio, in cortile di Palazzo Ducale, nell àmbito di Lo spirito della musica, l orchestra del Teatro La Fenice diretta da Diego Matheuz eseguirà la celebre Museum Scene, tratta dal film Vestito per uccidere di Brian De Palma e, a seguire, una rivisitazione in veste sinfonica della canzone più famosa ed eseguita di Donaggio, Io che non vivo. On July 3 in Sale Apollinee (h 17) Pino Donaggio will dialogue with Roberto Pugliese to retrace key milestones in his career, also through short clips and audio tracks. His career began as a composer for thriller and horror film productions, and evolved over time to include docufilms, comedies, epics, television fiction and melodrama. On the evening of July 9 Diego Matheuz will direct the Teatro La Fenice Orchestra in the Courtyard of Palazzo Ducale, for the Spirit of Music festival, in an execution of the famous Museum Scene from Brian De Palma s Dressed to Kill and a symphonic version of Donaggio s most famous song written and performed by Donaggio himself, Io che non vivo. Teatro La Fenice Sale Apollinee 3 July p.m. Una sera con Pino Donaggio conference with Roberto Pugliese Cortile di Palazzo Ducale 9 July p.m. Diego Matheuz music by Pino Donaggio, Giuseppe Verdi, Gioachino Rossini and Igor Stravinskij orchestra Teatro La Fenice conductor Diego Matheuz in coproduction with Soprintendenza per i Beni Architettonici e Paesaggistici di Venezia e Laguna and Fondazione Musei Civici di Venezia «Io che non vivo più di un ora senza te come posso stare una vita senza te». Le 3 juillet dans les Sale Apollinee (17h00) le compositeur conversera avec Roberto Pugliese au cours d une rencontre qui abordera les étapes de sa carrière, à travers des morceaux de films et d exemples audio, : une carrière qui l a vu s affirmer d abord dans le cinéma comme compositeur réputé de films à suspense et d horreur, mais qui a évolué, au fil des années, vers d autres directions telle que le cinéma de dénonciation civile, la comédie, le film colossal historique, la fiction télévisée, le mélodrame. Dans la cour du Palazzo Ducale, le soir du 9 juillet, dans le cadre de Lo spirito della musica, l orchestre du Théâtre La Fenice dirigée par Diego Matheuz jouera le célèbre Museum Scene tiré du film Pulsions de Brian De Palma ainsi que la réinterprétation sous la forme de symphonie de la chanson la plus célèbre de Donaggio, Io che non vivo. Am 3. Juli (um Uhr) wird sich der Komponist in den Apollinee-Sälen mit Roberto Pugliese unterhalten, und zwar im Rahmen eines Treffens, bei welchem u.a. mit Hilfe von Videos und Hörbeispielen die wichtigsten Etappen der Karriere des Künstlers veranschaulicht werden sollen: eine Karriere, bei der sich Donaggio immer stärker im Bereich des Films konsolidieren konnte, anfangs als Filmkomponist insbesondere für Horrorfilme und Thriller, im Laufe der Jahre dann aber auch für andere Filmgenres, wie Krimis, Komödien, Geschichtsfilme, Fernsehfilme und Melodramen. Am Abend des 9. Julis wird das Orchester des Teatro La Fenice dann im Hof des Dogenpalastes unter der Leitung von Diego Matheuz die berühmte Szene im Museum aus dem Film Dressed do Kill von Brian De Palma und danach eine symphonische Neufassung des berühmtesten und erfolgreichsten Liedes von Donaggio, Io che non vivo, aufführen. Biglietteria on-line (diritto di vendita via Internet 10%) Biglietteria telefonica (+39) (diritto di vendita telefonica 10%). Tutti i giorni, fino al giorno precedente lo spettacolo. Dalle 9.00 alle Biglietteria via Fax (+39) Call Center Hellovenezia (+39) Per informazioni, prenotazione e acquisto biglietti 39