for three soloists, five vocalists, choir, ensemble, seven trumpets and live electronics
conductor Pietro Borgonovo
director Cristina Mazzavillani Muti
set and visual designer Ezio Antonelli
sound design and live electronics Tempo Reale
(Francesco Canavese, Francesco Giomi, Damiano Meacci)
light designer Vincent Longuemare
video programmer Davide Broccoli
Sonia Visentin soprano
Claudia Pavone soprano
Carlo Vistoli controtenore
Bianca Tognocchi soprano primo
Antonella Carpenito soprano secondo
Annalisa Ferrarini contralto primo
Valentina Vanini contralto secondo
Jacopo Facchini controtenore
Fabio Cudiz, Luigi Daniele Cantafio, Alberto Condina, Giuseppe Iacobucci, Cesare Maffioletti, Luca Piazzi, Dario Folisi
soprani primi Federica Livi, Samantha Pagnini
soprani secondi Martina Bonanzi, Laura Palma
contralti Elisa Bonazzi, Linda Dugheria
tenori Alessandro Tronconi, Sergio Martella
bassi Vanni Augelli, Decio Biavati
répétiteur Davide Cavalli
assistant director and stage director Maria Grazia Martelli
technical director Roberto Mazzavillani
head stage technician Francesco Orefice
head electrician Uria Comandini
assistant répétiteur Silvia Gentilini
graphics and video set production and visual design Unità C1:
photography Federica Caraboni, video shooting Matteo Semprini, graphics and video Roberto Santoro
assistant costume designer Margherita Savorani
set and costume design Laboratorio del Teatro Alighieri
commissioned by Ravenna Festival
co-produced with Festival dei Due Mondi di Spoleto
in collaboration with Teatro della Toscana
L’amor che move il sole e l’altre stelle
Video-opera by Adriano Guarnieri
for three soloists, five vocalists, choir, ensemble, seven trumpets, and live electronics
The new composition – a Video-Opera - commissioned by Ravenna Festival to Adriano Guarnieri which premiered in Ravenna on the 5th of June 2015, is a journey thriving on the universal value of Dante’s work and meant to highlight its inexhaustible and refreshing modernity; in other words, its contemporary value. Hence the "contemporary" Dante evoked in Guarnieri’s new score, that completes the triptych started in 2007 with the Apocalypse in "Pietra di diaspro", followed by "Tenebreae" in 2010, and now reaching the blinding light of the Paradise.
A narrative score articulated in 14 musical sequences which combine fragments of the Paradise, assimilating the evocative force of Dante’s language and its sounds; a narrative where the fil rouge, as Guarnieri suggests, connects "the themes of light, infinite, worldly and physical love transformed into the metaphysical visions of Beatrice and the Virgin, and the motifs bringing us back to the motion of the spheres and the universes; in a pattern of symbols and theologies embodied by melodic, polyphonic, choral, instrumental elements, physically and spatially simulating that harmony of the spheres which is part of the Commedia".
"L’Amor che move il sole e l’altre stelle" inaugurated Ravenna Festival’s collaboration with another most important musical organisation in Italy, the Festival dei Due Mondi of Spoleto: Adriano Guarnieri’s video-opera was co-produced by the two festivals.
Trying to "intender l’inno"
by Cristina Mazzavillani Muti
ma già volgeva il mio disio e ‘l velle
After the long journey through Inferno and Purgatorio, Dante reaches the threshold of the inaccessible. That Light he can catch only through the eyes of Beatrice blinds him, and he understands that he cannot travel further. He realises that it is impossible to enter the Mystery: one can only be transfixed by it. So the Poet can do nothing but turn his back, return to earth, become a sublime storyteller and narrate his tale. Rather than a return, it is a new start toward the land of the living to bear witness to the powerlessness of man and reveal the greatness of that "etterna" Light for the man who "s’etterna" - for the man who exists because he keeps searching.
s’accogliea per la croce una melode che mi rapiva, sanza intender l’inno
Dante’s verses – so popular that they have been translated in all languages and dialects – are a storyteller’s verses, and his "recitar cantando" in hendecasyllables turns him into an ante litteram rapper: the mystery of his music captivates us, imbued as it is with meanings transcending the mere understanding. In the Paradiso, Adriano Guarnieri reveals the colour of the word – enlarged, suspended, translucent, rarefied, continuous. Dante and Beatrice, the Virgin and the Almighty, and all the souls, as motionless and fixed as they are, appear and disappear, while Byzantine images emerge, now still, suspended without any support, as if floating in the revolving dust of the "grande lume". And clinging to the cross they all make a "dolce tintinno" sound, trying to "intender l’inno"...