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Conservatorio diMusica

Alfredo Casella L Aquila

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Anthems Promenade

Hymns

Music in forms

Voices

L’Aquila8 July 2009

to listen toA City

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A CITY TO LISTEN TOA project ofConservatorio di Musica “Alfredo Casella” of L’AquilaIstituzione Sinfonica Abruzzese

CONSERVATORIO DI MUSICA “A. CASELLA” OF L’AQUILA

The Conservatorio di Musica of L’Aquila was founded in 1967 and namedafter the celebrated Italian pianist and composer Alfredo Casella (1883-1947), upholder of the grand musical tradition of Europe and at the sametime a composer extremely representative of a period of great changes.In forty years of activity, marked in 2008 by important celebrations, the“Alfredo Casella” Conservatory has kept faith with the principles of its foun-ders and has become a school that moulds its students not only on the ba-sics of classic culture, but also on the search for new paths for music andculture.

ISTITUZIONE SINFONICA ABRUZZESE

The Istituzione Sinfonica Abruzzese (I.S.A.), founded in 1970, is oneof the twelve Italian Istituzioni Concertistico-Orchestrali recognized by theState. Protagonist of the revival of musical vitality in the Abruzzo Region and inCentral Italy, I.S.A. is responsible for the creation of an extensive and si-gnificant cultural activity through its Orchestra which, from the day of itsfoundation, has attained a position of high regard with the principal struc-tures of music production in Italy. The Orchestra Sinfonica Abruzzese has given, in forty years of uninter-rupted activity, over three thousand concerts in which it has written itssplendid story.

ARTISTIC DIRECTORS

Michelangelo Lupone Composer, professor and director of Music and New Technologies,Conservatory of L’Aquila, responsible for the art sound installations

Luisa PrayerConcert pianist, Chamber Music Professor at L’Aquila Conservatory,responsible for the operatic-symphonic concert and for the communica-tions sector.

A City to listen to is a testimony to the intense cultural and artistic

atmosphere which has made L’Aquila so exceptionally alive: a

City which today we cannot see, but which we can listen to.

A wide-ranging representation of the artistic, intellectual, scienti-

fic and technological forces of the City and of the Region has con-

tributed to the realization of this interdisciplinary and multimedia

event, in which the multiform profile of the local community can

be identified as well as the significant and determined participa-

tion of the young in the project.

The cult of tradition and the launching into innovation together re-

present the life and soul of the City, merging to give rise to a

grand choral score, a series of variations on the theme of the

Hymn, the song that gives voice and form to the aspirations and

hopes of a community.

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THE PROJECT

Conservatorio dell’Aquila “A. Casella” Department of Music and New Technologies

Concept & DesignMichelangelo Lupone

director

Scientific CoordinationMaria Clara Cervelli, Marco Giordano, Lorenzo Seno,

professors

Music AssistantsFabrizio Carradori, Massimiliano Cerioni,

Luciano Ciamarone, Balandino Di Donato, Alessio Ga-briele, Carlo Laurenzi, Claudia Rinaldi, Francesco Seri,

Valeria Tiganik, Stefano Tofani,students

Preliminary Set-upFabio Abbate, Francesca Ceccherelli, Fabrizio D’Azzzena,

Mauro Iorio, STefano Marotta, Valeria Pacifico,Francesco Petrucci, Laura Porzio, Francesco Raffaele

students

In collaboration with

University of L’Aquila

Faculty of Engineering – Dews Centre Maria Domenica Di Benedetto director

Fabio Graziosi professorDepartiment of Electric Engineering

and Information TechnologiesCarlo Cecati professor

Department of InformaticsPaola Inverardi professor

Patrizio Pelliccione researcher

Centro Ricerche Musicali – CRM, RomeLaura Bianchini artistic coordinator

Emanuela Mentuccia environmental designerWalter Cianciusi music assistant - Holophones

Silvia Lanzalone music assistant- Music in formsLuigi Pizzaleo music assistant – Hymns

Alessio Gabriele assistant computer music systemsMaurizio Palpacelli technical assistant

Contemporary Art Project – PAC, L’AquilaLicia Galizia artistic director

Filomena Di Domenico artistic assistantRomano Martinangeli scenographic assistant

Audio & Light Devices AGORÀ, L’AquilaWolfango De Amicis executive

Attilio Martelli technical assistant

Audio Production FOX SOUND, L’AquilaCarlo Volpe executive

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SECTION I

Outdoors

ANTHEMSPROMENADE

Art Sound Installationwith Holophones

HYMNSPolyphonic Composition

on National Anthems(world premiere)

Foyer

MUSIC IN FORMS Adaptive Art Sound

Installationwith Planephones®

ART SOUNDINSTALLATIONS

Holophones - sound projectors,detail

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ANTHEMS PROMENADE Art sound installation with Holophones

A spectacular avenue, divided by bars of music and bars of light.Each bar proposes the flag and national anthem of one of theparticipating countries. The music of the anthem is diffused in thespace of a few metres by Holophones, highly accurate and de-tailed sound projectors, and is accompanied by a shaft of lightthat delimits the sound area facing the flag. The succession offlags and Holophones, along a stretch of over a hundred metres,creates an environment which is imposing in significance butsubtle to the listener. The music and the light, properly integrated,accompany imperceptibly the promenade of the authorities pre-senting tone gradations of light and sound which disclose detailsand blend with the surroundings.

HYMNS Polyphonic composition on national anthems (world premiere)by MICHELANGELO LUPONE diffusion with Holophones.

A virtual piazza, created by music and light, ends the avenuemarked by the national anthems. In the piazza, the sound, con-centrated in a circular space, suggests a metaphorical embraceof the melodies and rhythms of the anthems. A single grand po-lyphonic form, where the sublimated signs of identity are as-sembled and where the essence of the sounds, recomposed ina musical and iridescent texture, contributes to the definition of anew scenario of harmonious exchanges and relations.

The HolophonesThe study of (a) the ways in which music is sensed (psycho-acoustic), (b) the specific timbres of voices and instruments, (c)the characteristics of sound diffusion in space (acoustic), led tothe realization – with the aid of advanced technologies – of an in-novative system which projects in every part of the concert hallthe same detailed sonorous sensations present on the stage.The Holophones utilize parabola-shaped sound projectors simi-lar to those of satellite broadcasting, where the information hasto cover extensive distances without any errors. With the Holo-phones it is possible to send all the musical details a long wayaway, reaching each listener by means of appropriately differen-tiated and criss-crossed diffusions of the sound waves, reprodu-cing the same acoustic scenario that a conductor has before him.Through Holophones (CRM ’99), an innovative and hitherto un-known form of listening is realized, a “theatre of listening” desi-gned to achieve the maximum consonance between the complexmusical texture of the works themselves and the spaces wherethey are performed.

MUSIC IN FORMS Adaptive art sound installation with Planephones®MICHELANGELO LUPONE and LICIA GALIZIA

“Adaptive Volumes” are astep further with respect tointeraction (…) they are ableto evolve exactly as any li-ving organism. Volumes thatcan change and above alllearn as a result of interac-tion with the public but thereis no longer a limited, albeitinvisible, number of respon-ses to a stimulus as with in-teraction (…) These are thecharacteristics that makeGalizia’s and Lupone’s rese-arch an important example ofthe post-human scenario asboth produce work that al-lows the aesthetic expe-rience to take the form ofchange, hybridisation in act.(…) Consequently, culture isa creative non-equilibrium.

Franco SperoniFrom Interaction to Adaptive Volumes.Reflections on change in act, 2007

The installation “Music in Forms” consists of two sculptural-mu-sical works: Trio plastico and In coro, which are capable of com-plementing each other musically, of interacting with the publicand of adapting to environmental conditions such as light, mo-vement and surrounding sounds. The innovative conception of these works consists in the com-plete integration of the music and the plastic form: the musicscore in fact is based on the timbres and pitches generated bythe forms in vibration or made to resonate with appropriate elec-tronic devices, the Planephones®. Time and space, respectivelythe privileged domain of the music and the plastic form, convergeto finally coincide in a new experience of fruition, both as a mu-sical and as a visual work. The complexity of this installation, the correlation between theexpressive requirements and the technologies chosen deman-ded a work of interdisciplinary research and constituted the firstartistic result of a research project promoted by MIUR-Alta For-mazione Artistica e Musicale and by the Department of Music &

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Programme

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Music in forms: “In Coro”, Planephones® in painted iron

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New Technologies of the “A. Casella” Conservatory of L’Aquila,in collaboration with L’Aquila University–Dews Centre, PAC-Con-temporary Art Project of L’Aquila and CRM – Centro RicercheMusicali of Rome. The project has been inserted in Best Practi-ces of the European Year of Creativity and Innovation.

Planephones®The Planephones® are a most innovative art sound creation.They are resonant systems consisting of wooden panels (or othermaterials) of different forms; they are not loudspeakers but dif-fuse the sound according to specifications which depend on thestructure of the material, on the geometry of the design, on the

orientation and curvature of the surfaces, on the plastic volumesoccupied. The Planephones give sound the tone characteristics of the ma-terial utilized and permit, through point-source radiation on thewhole surface, to design the acoustic space in relation to the ar-chitectonic space. The Planephones, derived from studies on the vibrational qual-ties of the various materials carried out by CRF-Fiat ResearchCentre in collaboration with CRM-Centro Ricerche Musicali, aregenuine “works of art” which integrate the emerging aspects ofsound and visual perception (form, material, sound, languageand expression) and give life to a new way of appreciating a workof art.

Music in forms: “Trio plastico”,Planephones ® in painted iron

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Interacting with the volumesof Music in forms

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MICHELANGELO LUPONE

Michelangelo Lupone was born at Solopaca (Benevento) in1953. Eclectic composer and researcher, his work is characteri-zed by an interdisciplinary approach which has enabled him to in-tegrate music, science and technology. He completed his studiesof Composition with Domenico Guaccero and of ElectronicMusic with Giorgio Nottoli. Since 1980 he teaches Music at theConservatory of L'Aquila and since 2004 is Director of the De-partment of Music and New Technologies of the same Conser-vatory.

In 1983 he designed the Fly 10 computer and in 1989 the Fly 30,two innovative digital systems intended for the production andperformance of electroacoustic works.

His artistic activity includes music for orchestra and chamber aswell as various works for electronics and multimedia applicationsrealized in collaboration with visual artists and choreographers

(Momo, Pistoletto, Uecker, Moricone, Galizia, Paladino) whichhave led to a music theatre that is always more directed towardsthe integrated use of the listening space (Art sound installationsand “Theatre of Listening”) and has given rise to realizationsbased on technologies hehimself created (SoundPipes, Planephones®, Holo-phones, Waveguides, Reso-nators, Reflecting Screens)and to out-of-the-ordinary in-struments (Feed-drum).

His creations have been pre-sented at important eventsand international festivals.He has received awardsfrom the Hungarian Aca-demy of Sciences, Buda-pest, from the JapanFoundation and the FrenchMinistry of Culture; he hasalso had special consultingcommissions from Texas In-struments and Centro Ricer-che Fiat as well as fromleading music institutions (in-cluding Tanzhaus Dussel-dorf, Maggio MusicaleFiorentino, Teatro RegioParma, Kyoto Philarmonic Orchestra). In 2004 the Superintendency of the Archaeological Heritage ofPompei commissioned Lupone to realize an interactive (perma-nent) art sound installation in the excavations of the Grand Gym-nasium.

Since 2005 he has collaborated with visual artist Licia Galiziawith whom he presented an art sound installation entitled StudioI su Volumi Adattivi on the occasion of “ArteScienza 2006”. Thiswork led to a research project supported by MIUR and byL’Aquila Conservatory which gave rise to the first series of workswith adaptive criteria that consent self-modifications in time like“Music in forms” (Best Practices 2009), presented at the ItalianCultural Institute of Belgrade in 2008 and at the Ara Pacis Mu-seum, Rome in 2009.

In 2007, for the Galleria dell’Alto Calore, Lupone realized toge-ther with artist Mimmo Paladino a permanent musical work inte-grated with a sculpture on Mount Pizzuto di Solopaca(Benevento).

The artists

The artistic, scientificand technical staff

protagonists in setting-up the art sound

installations teach,study or have studied atL'Aquila Conservatory,

MNT - Department (E. M. School)

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LICIA GALIZIA

Her research is characterized by constant reference to the ae-sthetic-conceptual problems which centre on the perception andcomprehension of space-time, within the limits of its artistic defi-nability and its continual evolution and mutation of shapes and re-lations.

The abstract severity, in some cases aimed at the discovery anddiscussion of new geometries, is outlined right from the begin-ning in lucid and complex images within which the relationshipwith the figurative space, chosen or compulsory, is as importantas the sign which defines it.

The choice of expression - sculpture and/or architectonic ratherthan painting - is not prejudicial but indicative of a progressivematurity and different awareness of the affinity between the mindthat conceives the work of art, the hand that executes it and thematerials used. The work of Licia Galizia therefore is intended to

be “work in progress”, as her artistic and existential curriculumdemonstrates.

In 1992 her work was exhibited at the Mara Coccia Gallery, Romeand in the same year she was invited to participate in the fourthYoung Artists Exhibition at Palazzo delle Esposizioni, Rome andat the International Fair of Contemporary Art (FIAC), Paris.

In 1994 she presented Configurazione di un Mutamento at theA.A.M (Architettura Arte Moderna) Gallery in Rome while in1995 she realized an installation with the same title for the Tem-ple Gallery of Rome University.

In 1996 she participated in the Quadriennale and in 1998 in theLavori in corso exhibition at the G.C.A.M.C., Rome. In the same year she was invited by Lucia Latour, choreographerof the “AltroTeatro” group, to take part in Du vu du non vu, a per-formance of contemporay dance and visual art which was pre-sented in 2001 not only at various theatres in Italy, but also at theInternational Festival of Dance at the Balleteatro Auditorium ofPorto.

In 2000 she exhibited Sistemi at the Museo Laboratorio di ArteContemporanea of “La Sapienza” University, Rome.

In 2002, with the composer and clarinet player Paolo Marchettini,she presented Interferenze, music and sculpture, in the EasternBastion of the sixteenth-century Castello of L'Aquila and in 2003,for the “White Night” of Rome, she again presented Interferenze,with the participation of ethnic vocalist Mauro Tiberi, in the pre-mises of Fastweb S.p.A. in Palazzo Sforza Cesarini. At the same time she presented at the A.A.M Gallery, in collabo-ration with Rosa Pierno, an important installation with poetry, Iltesto retto.

The year 2005 was marked by the beginning of an artistic colla-boration with composer Michelangelo Lupone, with whom shepresented, in May 2006, a sound installation entitled Studio I suVolumi Adattivi at the Goethe-Institut on the occasion of the In-ternational Biennial “Arte Scienza 2006”. During the same year she was invited to take part in the X Bien-nial of Architecture of Venice where she presented an artisticwork in the Italian Pavilion on one of the Vema bridges designedby architects Menegatti and Nencini.

In 2007 she presented a solo exhibition, Costruttivo aggettante,in the Livio Nardi Gallery of Nuremberg and other works at theKroyman Autohaus Ferrari-Maserati of the same city.

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DEPARTMENT OF MUSIC AND NEW TECHNOLOGIESOF L’AQUILA CONSERVATORY OF MUSIC

L'Aquila Conservatory is one of the main Italian centres for Elec-tronic Music, where Italian composers like Franco Evangelistiand Domenico Guaccero taught during their lives.Since 1980 composer Michelangelo Lupone has taught Electro-nic Music at the Conservatory and since 2003, when the reformof the Italian Conservatories made these institutions very similarto Universities, he has been Director of the Conservatory’s De-partment of Music and New Technologies.The course offered by the Department has two branches of tea-ching: composition and interpretation. Each branch has an artisticand scientific curriculum covering the planning and realization ofmusical works, sound installations and performance that integratenew technologies and traditional orchestral instruments.

The interdisciplinary approach of the Department, which inclu-des composers, physicists, engineers and computer scientists,has given rise to numerous collaborations in research projectswith universities and research centres both in Italy and abroad,including: L’Aquila University - Faculty of Engineering, DewesCentre, Department of Electrical Engineering and Information Te-chnology, Department of Information Science; “La Sapienza” Uni-versity of Rome; “Roma Tre”; Accademia di Belle Arti, L’Aquila;CRM-Centro Ricerche Musicali, Rome; EMS, Stockholm; ZKM,Karlsruhe; IRCAM and INA - GRM, Paris.

In addition, the Department has finalized permanent agreementsof cooperation with Belgrade University, Faculty of Architecturewith the object of setting-up a Course of Interdisciplinary Studiesand with the GRM for the development of music software.The Department also collaborates frequently with music institu-tions and in particular with the “ArteScienza” Biennial of Rome.

2008, Consrvatory gardenA department’s exhibition

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2008, Conservatory hallA department’s exhibition

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CENTRO RICERCHE MUSICALI - CRM

A non-profit cultural centre, CRM was founded at Rome in 1988by a group of composers and researchers for the purpose of pro-moting research into the aesthetic, analytical, musicological andscientific aspects of music.

Today the centre is supervised by the composer Laura Bianchini.In 1990 CRM was officially recognized as a “Music ResearchCentre” by the Ministry for University Education and Scientific &Technological Research and subsequently, in 1993, by the JapanFoundation.

The work of CRM is also formative and didactic, involving a staffof musicians and scholars in an activity of theoretical and appliedresearch carried out in collaboration with Italian and foreign re-search centres, ensembles and music and scientific institutions(conservatories, universities). Complex digital systems havebeen realized by the CRM laboratories, under the direction ofphysicist Lorenzo Seno, for sound synthesis and processing inreal time (“expert” computers); for musical composition; for plan-

ning listening spaces; for studying physical models finalized forthe development of virtual musical instruments.

Multiphonic sound diffusion systems have been designed anddeveloped, many of which have been used by major scientific in-stitutions, like the CRF-Fiat Research Centre, and applied in twoEuropean psychoacoustic research projects: Soqcrates, for stu-dying the quality of sound; Obelics, for studying the effects ofnoise on man.In addition the systems have been utilized in the realization ofimportant events: Gran Galà Verdi (Teatro Regio of Parma); atthe Colosseum in collaboration with the Archeological Superin-tendency of Rome (2003); at the first Euro-Mediterranean Con-ference of the Ministers of Agriculture (Venice 2003); as art soundinstallations for the exhibition “Masterpieces from the ForbiddenCity” (Museo del Corso, Rome 2007-2008) as well as for per-manent ambient installations.

CRM promotes and organizes the international forum “MusicaScienza” and the international biennial of art, science and con-temporary culture “ArteScienza”.

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Carmela Remigio sopranoMonica Bacelli mezzosoprano

Marcello Bufalini conductor

Orchestra Sinfonica Abruzzese

Orchestra Giovanile Abruzzese

Coro lirico del Teatro MarrucinoFabio D’Orazio chorus master

Coro Fondazioni all’OperaPaolo Speca chorus master

Tatiana Vanderlei De Figueiredo solo voice

VOICES

SECTION II

Operatic-symphonicconcert

for solo voices,chorus,

symphony orchestra

Programme

Gioacchino RossiniOverture

from Semiramide

Wolfgang Amadeus MozartSesto’s Aria

“Parto, ma tu ben mio” from La Clemenza di Tito K 621

Giacomo Puccini Mimi’s Aria

“Sì, mi chiamano Mimì“ from La Bohème

Gioacchino Rossini Duetto

“Quis est Homo” from Stabat Mater

Giuseppe Verdi“Te Deum”

from Quattro Pezzi Sacri for double chorus and orchestra

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In terms of creative excellence, musical tradition in Italy has itsroots deep in antiquity progressing from gregorian chant and me-dieval and renaissance polyphony to baroque instrumental splen-dour and finally to the birth of the melodrama. As is universally recognized, the operatic production of the ei-ghteenth and nineteenth centuries remains an inaccessible peakof this incomparable musical form. A theatre of dreams to whichthe singing, lavishly, adds unbelievable unique emotions. No-one,in fact, would dare to attribute to the prodigious vocal performan-ces required by opera (for strictly dramatic purposes and the indi-spensable emotional “climax”) a merely acrobatic value, acommonplace proof of muscular power, but instead more simplythe tangible proof of the authenticity of the dream. For the vocal “dressing” of the eighteenth-century melodramatichero Italian Opera resorted to the castrato or “en travesti” singer,since the hero was neither man nor woman but a demigod whodemonstrated all the turmoil of a character halfway between rea-lity and dream. Such a hero is “Sesto”, an almost pre-romantic hero for his senti-ments divided between love for a woman and fedelity to his sove-reign, not yet the tenor of nineteenth-century opera but a“woman-man” to whom Mozart in La clemenza di Tito assignedthe most noble afflictions and sentiments. At Prague, 6 September 1791, the opera already enjoyed a greatsuccess with its premiere at the National Theatre: the last ventureof the Salzburg composer in Italian Opera which he, like Haendel,Gluck, Hasse and many other “greats” of European music, endo-wed with immortal masterpieces. Sesto’s aria is accompanied by clarinet obbligato, an instrumentwhich was immensely loved by Mozart at that time and for whichhe composed the Concerto K622 which alone (if necessary) wouldhave granted him immortality.Rossini too, at the same time illogically but happily pre- and post-romantic, employed heroes en travesti for his great dramatic ope-ras (how can one forget Tancredi?). The protagonist of Semiramide, of which we are going to hear theOverture, remains an asexual heroine notwithstanding the extremevehemence of her feelings which have always demanded high-class singers ever since the revival of the opera at La Scala ofMilan in 1960. On 3 February 1823, at Teatro La Fenice in Venice,Semiramide marked Rossini’s farewell to Italy; afterwards, every-thing took place in Paris up to the “grand silence” of theatricalworks in 1829.In La Bohème Puccini sings of youth, its troubles, its splendoursand its misfortunes. Mimì, the fragile, gentle Mimì falls under thespell of the penniless poet and writer Rodolfo and is portrayed mu-sically more perfectly and truthfully than by a photograph of Nadaror a biographical romance of Dumas. Rossini’s Stabat Mater was given at Paris on 7 January 1842 andat Bologna a few weeks later, conducted by Gaetano Donizetti. A difficult score originating in the fancy of a prelate to have for him-

self a work by the Pesaro composer, which took around ten yearsto complete, that is from 1832 to the date of the Paris premiere. Anenthusiastic public, tepid critics with the conventional accusation:sacred music in melodramatic style….. the usual Italians! Today, in front of the master-piece – despite its creationovercast by the moodinessand indolence of a Rossiniwho only at the end foundagain inspiration and techni-cal perfection - any doubt isswept away by enrapturedadmiration, especially withpages like the duet for so-prano and contralto Quis esthomo. The Quattro Pezzi Sacri ofVerdi reflect a deeper sacredstylistic consciousness andinclude the Te Deum, thehymn which brings the con-cert to an end. These too are the result of aten-year gestation, presentedfor the first time (without ho-wever the initial Ave Maria) inParis on 7 January 1898:Verdi entrusted Arrigo Boito(his closest collaborator du-ring those last years, andalso the librettist of Otello and Falstaff, after the anti-Verdi outburstof the Milanese musician and man of letters) to deputize for himat Paris: he felt too old to undertake such a long voyage. Three years later, on 27 January 1901, Verdi died in Milan. ThePezzi are an intimate spiritual exercise. The composer never thought of their publication nor of their per-formance: all his life he remained sceptical on questions of reli-gion, almost on the borders of atheism, and seems to be on apermanent quest exploring the depths of the inexplicable mysteryof life and death. The result is a masterpiece in which the doubtsof an old man confronting the supreme moment despite the con-victions reached (which however remained hidden in his inwardthoughts) create pages of an elegant lucidity and of a dramatic ca-pacity of involvement. They go beyond “use purposes” to speak to the heart of the liste-ner in the language of serenity and peace. This is a programme in which the grand Italian vocal repertoiremeets the cities of Europe that saw the first performances of thesepages – Paris, Prague, Venice, Bologna, Turin, they too affectedby the universal enthusiasm which makes Italian opera one of themost widely diffused art forms in the world.

Programmenotes

byFrancesco Sanvitale

Director Emeritusof Istituto Nazionale

Tostiano of OrtonaArtistic Director

of “Fondazioni all’Opera”

CARMELA REMIGIO

Carmela Remigio, soprano, born in Pescara, pupil of Aldo Protti and Leone Magiera, won the“Luciano Pavarotti International Voice Competition” at Philadelphia (USA) in 1992. After first engagements in the early and baroque repertoires, she made a name for herself inthe principal Mozartian roles: a fundamental step in her international career was her participa-tion in the memorable edition of Don Giovanni with Peter Brook (director) and Claudio Abbado(conductor). As well as Mozart, she also appears in Rossini, Donizetti, Verdi and Puccini and has establishedherself as the ideal heiress of Italian operatic tradition. Her repertoire ranges from early to con-temporary and also includes sacred and chamber music. During these years she has frequen-tly sung with renowned conductors like Abbado, Maazel, Chung, Pappano, Bertini, Tate,Harding, Dudamel, Inbal, Gatti, Chailly, and orchestras at worldwide opera houses and concerthalls (Teatro alla Scala, Milan; Grand Théătre de Genève; Carlo Felice, Genoa; San Carlo, Na-ples; Teatro de Madrid; Philharmonie, Berlin; Accademia Nazionale di S. Cecilia, Rome) as wellas at festivals (Ferrara Musica, Aix-en-Provence, Salzburg).She has worked with directors like Peter Brook, Karl-Ernst Hermann, Denis Krief, Graham Vick,David McVicar, Mario Mar-tone and Pierluigi Pizzi,who enriched even moreher outstanding dramatictalent. Carmela Remigio hasmade numerous recor-dings, including two edi-tions of Mozart’s DonGiovanni, with Claudio Ab-bado (Deutsche Grammo-phon) and Daniel Harding(Virgin), a Cd of Arie SacreVerdiane with Myung-WhunChung (Deutsche Grammo-phon) and, with Leone Ma-giera at the piano, an albumof Tosti’s Arie and a recentCd dedicated to Rossini(Decca).

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The Artists

The soloists,conductor, orchestras

and choruses, protagonistsof this evening’s concert,

represent the voiceof our land,

with which L’Aquilaand the Abruzzo associate

with pride.

MONICA BACELLI

Monica Bacelli, mezzosoprano, born in Chieti, pupil of Maria Vittoria Romano and Donato Mar-torella, winner of the Belli Competition, made her debut singing Mozart roles at Spoleto’s Tea-tro Sperimentale. Since then she has had a flourishing career, guest of important opera houses (from Teatro allaScala of Milan to Vienna’s Staatsoper, from Florence’s Teatro del Maggio to London’s CoventGarden and the San Francisco Opera, from Turin’s Teatro Regio to the Sāo Carlos of Lisbon),of leading music institutions (Accademia Nazionale di Santa Cecilia, Rome; Philharmonie, Ber-lin; Concertgebouw, Amsterdam) and of renowned festivals (Salzburg, Maggio Musicale Fio-rentino, London Proms).She has sung with conductors Abbado, Bolton, Bychkov, Chailly, Chung, Gergiev, Dudamel,Haitink, Harding, Harnoncourt, Jacobs, Marriner, Mehta. Muti, Oren, Ozawa, Pinnock, Rattle,Thielemann, Zedda. Monica Bacelli is an exceptionally versatile artist, equally at ease in Mo-zartian roles and Italian belcanto, in light-hearted Rossini and early and baroque music (Mon-teverdi, Handel), in French music of the nineteenth and twentieth centuries and contemporarymusic theatre.

Protagonist in numerouspremieres, she was one ofthe favourite singers of Lu-ciano Berio, who wrote se-veral roles for her. In 1999,accompanied by MaurizioPollini at the piano, she pre-sented Berio’s composition,Altra voce, at Salzburg Fe-stival, which was thentaken on tour to New York,Tokyo and Rome aspart ofthe Pollini Project. Monica Bacelli was awar-ded the Premio Abbiati ofthe Italian music critics asbest female singer.

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MARCELLO BUFALINI

Marcello Bufalini is one of the most highlyappreciated Italian conductors of his ge-neration.Conductor, composer, musician of wide in-ternational experience, as well as meetinghis numerous commitments in the sym-phonic and operatic fields on the invitationof important institutions in Italy and abroad,he has dedicated himself over the years tothe formation of young Abruzzi musicians,both as a teacher of orchestral conductingat L’Aquila Conservatory and as a guide ofyouth orchestras. A constant reference point for the musicallife of the area, he collaborates repeatedlywith the symphonic and theatrical institu-tions of the Region.

Born in Rome in 1963, he graduated inviola and conducting. His teachers wereBruno Giuranna and Piero Farulli viola,

Bruno Aprea conducting and Carlo N. Bel-landi composition.He followed the specialization courses ofconducting held by Ilya Musin, MyungWhung Chung and Valery Gergiev at Ac-cademia Chigiana of Siena. He also stu-died early music performance praxis andwas a member of the orchestras of ChiaraBanchini and Alan Curtis.

In 1994 he began his international careeras a conductor and was frequently theguest of famous orchestras, including: Or-chestre de la Suisse Romande, Mozar-teum Orchester of Salzburg, MünchnerRundfunkorchester, Mitteldeutsches Run-dfunkorchester, Teatro La Fenice Orche-stra of Venice, Orchestra Sinfonica“Giuseppe Verdi di Milano”, Orchestra del-l’Arena of Verona, Tonkünstler-Orchesterand Radio Symphony Orchestra ofVienna, Orchestra Regionale Toscana, Or-chestra Sinfonica Abruzzese, Orchestradel Teatro Marrucino, etc. ., in concert-halls like the Musikverein and Konzerthausof Vienna, Grosses Festspielhaus of Sal-zburg, Gewandhaus of Leipzig.He has conducted operas at Strasbourg(Opéra du Rhin), at Vienna (Kammeroper),at Bratislava (National Slovak Theatre) aswell as in Italian theatres (Ravenna, Cre-mona, Mantua, Pavia, Brescia, Sassari,Cosenza, Lucca, Teramo).

In 2001, Luciano Berio assigned him thedirection of the European project “The Artof Fugue”, realized by Spoleto’s Teatro Li-rico Sperimentale in collaboration with lea-ding European schools of composition.In 2006 he accomplished the philologicaltask of completing and reconstructing anunfinished score of Felix MendelssohnBartholdy, the Concerto in E minor forpiano and orchestra, which was performedinternationally (Berlin, Leipzig, Vienna,Salzburg, Bregenz, Tokyo, Turin, London,Liverpool. Milan, Rome) and recorded byRiccardo Chailly and his Gewandhaus Or-chester for the complete edition of Men-delssohn’s works (Decca).

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ORCHESTRA SINFONICA ABRUZZESE

The Orchestra Sinfonica Abruzzese is anoffshoot of the Istituzione Sinfonica Abruz-zese (ISA) which was founded in 1970,one of the 12 Istituzioni Concertistico-Or-chestrali (Resident Orchestras) recogni-zed by the Italian State. Protagonist of the revival of musical vitalityin the Abruzzo and Central Italy, ISA is re-sponsible for the creation of an extensiveand significant cultural activity through itsOrchestra which has rapidly gained a po-sition of high regard with the principalstructures of music production in Italy.

Up to now the Orchestra has given overtwo thousand concerts attaining, in fortyyears of uninterrupted activity, an outstan-ding artistic level. Conductors and soloists of internationalrenown have been guests of the Orche-stra: Carlo Zecchi, Vladimir Ashkenazy,Gianluigi Gelmetti, Bruno Aprea, Nino An-tonellini, Massimo De Bernart, André Ber-nard, Donato Renzetti, Katia Ricciarelli,Renato Bruson, Salvatore Accardo, Mau-rice Andrè, Uto Ughi, Hermann Baumann,Nina Beilina, Michele Campanella, Seve-rino Gazzelloni, Rudolf Firkusny, LeonidKogan, Pierre Amoyal, Paul Tortelier, Ga-briel Tachinò, Massimiliano Damerini,

Bruno Canino, Enrico Rava, MicheleCampanella, Derek Han, Maria Tipo, BorisPetrushansky, Massimo Quarta, BarbaraHendricks, Mario Brunello, Enrico Dindo,Rocco Filippini, Andrea Bocelli, Milva,Amii Stewart, Ilya Grubert, Sylvano Bus-sotti, Domenico Nordio, Roberto Pros-seda, just to mention a few. The Orchestra has recorded numerousCDs for well-known labels as well asmany first performances for RAI-Radiote-levisione Italiana of works dedicated to theOrchestra by contemporary composers. Since its foundation, ISA has availed it-self of the artistic direction of VittorioAntonellini.

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ORCHESTRA GIOVANILE ABRUZZESE

Since its foundation, the Orchestra Giova-nile Abruzzese has been a fundamental re-ference point for the professional andartistic training of young musicians from theAbruzzi Region. The Youth Orchestra is a typical Abruzzofeature, uniting culturally and artistically thecentres and inhabitants of the entire region,to which it dedicates its commitment to arti-stic and civil progress. The most talented graduates and studentsof the advanced courses of the AbruzzoConservatories come together in the Or-chestra, which educates and prepares them

in its campuses for their professional care-ers by means of stages and concerts ofchamber and symphonic music; up to now€500.000 study grants have been awarded.Founded in 1995 on the initiative of L’Aquilamusicologist Walter Tortoreto, the Orchestrawas established as an institution by theAbruzzo Regional Administration. During past years, the Orchestra has trai-ned and launched numerous talented in-strumentalists professionally who havebecome principal parts or members of im-portant European orchestras and soloists inchamber ensembles. The Orchestra has held concerts in variousvenues of central Italy: it has realized con-

certs in collaboration with the Presidency ofthe Republic, Vatican City, RAI headquar-ters in Rome (broadcast live on internationaltelevision) as well as with Universities, Con-servatories, Theatres, Municipalities andProvinces of the Abruzzo Region.The repertoire of the orchestras includesworks from the traditional symphonic litera-ture, but it is also active in promoting per-formances of new music as well as therediscovery of works of the past. The Or-chestra is one of the principal partners ofthe European project “Music and Territo-ries”, promoted by Gal Marsica, whichwelcomes to the Abruzzo young instrumen-talists from other European nations.

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CORO DEL TEATRO MARRUCINO

The Coro del Teatro Marrucino di Chietistarted in 1997 as a Workshop of ChoralTraining, under the artistic direction ofcomposer Sergio Rendine and the hono-rary presidency of conductor GianluigiGelmetti, becoming in 2003 the perma-nent chorus of Chieti’s Teatro Marrucino. Directed by musicians of international re-nown, including Riccardo Muti, GianluigiGelmetti, Massimo de Bernart, FrancoMannino, Piero Bellugi, Marzio Conti,Marcello Bufalini, Fabrizio Carminati,Claudio Desderi, the Chorus has collabo-rated with soloists such as Monica Ba-

celli, Cecilia Gasdia, Josè Carreras,Raina Kabaiwanska, Luis Bacalov. Since 1998 it has been protagonist in allthe operas staged by the Teatro Marru-cino and also in the first performances ofoperas by Sergio Rendine worldwide te-lecast from the Sala Nervi of Vatican City(Missa di Beatificazione in onore di PadrePio da Pietrelcina, Passio et Resurrec-tio). In addition, the Chorus took part in thefirst modern revival of Isidoro Capitanio’sopera Pasqua Fiorentina at the TeatroGrande of Brescia. The Chorus has been on tour in Europeand in the Middle East and has made se-

veral recordings for the Naxos label. Since 2002 the chorus has been directedby Fabio D’Orazio, organist, harpsichor-dist and chorus master.

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CORO “FONDAZIONI ALL’OPERA”

The Coro “Fondazioni all’Opera” was setup in 2001 within the Progetto Lirica of theTercas Foundation of Teramo and is thepermanent chorus for operas realized bythe Teatri Comunali of Teramo and Atri.The Chorus is made up of the most talen-ted operatic singers selected in the Pro-vince of Teramo and the Abruzzo Region.It has sung in important operatic produc-tions (La Traviata, Il trovatore, Rigoletto, Ilbarbiere di Siviglia, L’elisir d’amore, Pa-gliacci) and has collaborated with conduc-tors and producers such as RenatoBruson, Massimiliano Stefanelli, MaurizioNichetti, Massimo Ranieri. Since its foundation the Chorus has beendirected by Paolo Speca, baritone, com-poser, musicologist and chorus master.

TATIANA VANDERLEI DE FIGUEIREDO

Born in Sāo Paulo, Brazil, Tatiana Vander-lei de Figueiredo studies at the “A. Casella”Conservatory of L’Aquila. She graduated in Jurisprudence and Sin-ging and obtained her Master’s degree inMusical Interpretation in Brazil. Then she moved to Italy, where she wasawarded prizes in international singingcompetitions: Special Prize at the VII In-ternational Competition of Biella and FirstPrize at the International Singing Competi-tion of Sangemini (Terni). She appeared as soloist in Carl Orff’s Car-mina Burana at the concert held to cele-brate the fortieth anniversary of thefoundation of the Conservatory of L’Aquila.

Violins IMONDINI CLAUDIO concertmasterLUCIO SANTARELLIANTONIO SCOLLETTALORENZA MAZZONETTOMAURO PINELLIROBERTO FERRARALAURA ANN PAOLINIFEDERICO CARDILLIEUNICE CANGIANIELLO

Violins IIDANIELA MARINUCCIJOANNA GRIFFITH-JONESANTON MIRCEA POPESCUSERGIO COLANTONIFEDERICO MICHELIMARCO LANCIELDA CANTERAMARGHERITA DI GIOVANNI

ViolasFRANCESCO NEGRONILUIGI GAGLIANO

MARCO DI TONNOMARCELLO MANFRIN

CellosMAREK KRUSZCZYNSKIMARIA LAURA ZINGARELLILIVIO FABIANIANDREA CRISANTE

Double bassesMARCO BOFFAANTONIO DE LAURENTIIS

TimpaniCRISTOFANO PASQUALE

HarpCASTRONOVO MARZIA

FlutesROMOLO BALZANIEMMA PUCELLO

OboesRICCARDO BRICCHI

SILVIA NESI

ClarinetsGIANLUCA SULLILUCA IACOBACCIMONIA ESPOSITO

BassonsMASSIMO MARTUSCIELLOGIUSEPPE REGGIMENTI

HornsALESSANDRO MONTICELLIVITTORIO SETTE

TrumpetsGIUSEPPE ZANFINILUCA DE IULIIS

TrombonesLUIGINO LEONARDIGIULIANO ESPOSITODARIO MARTELLINISERGIO SAUDELLI

Violins ALESSANDRO PENSADAVIDE PERRUCCIPATRICKRUGGIERI RAVALSONSARA TORTORETO FRANCESCO VENGA

ViolasANDREA BISEGNALUANA DE RUBEIS LUNA MICHELE CHIARA PIERSANTI

CellosUMBERTO ALEANDRI FILIPPO DI DOMENICO

Double bassesPAOLO DI CAMILLO FRANCESCODI GIOVANNANTONIO

OboeFABIO ODOARDI

FluteANNALISA TIBERTI

BassoonsFRANCESCO PALUMBO SILVIA RANDAZZO

TrumpetVALERIO MARCANGELI

HornsVINCENZO PIO CELOZZILUCA DI FRANCESCO

PercussionsANTONELLO CANCELLI CLAUDIO CICCOZZI

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OrchestraSinfonicaAbruzzese

OrchestraGiovanileAbruzzese

Sopranos ITatiana BELOOUSSOVASabrina DAVIDEMaria FORLINIEva GALIÈLoredana GASPARIYllka GERRODong Hee HANRossella LA ROVERE

Sopranos IIAnita DI CLEMENTEFabrizi LIDIAMargarita GUGLIELMIGabriella GUSMargherita HIBELAnna Maria PALANZAEmanuela RICOAnna Gabriella TATASCIORE

Mezzosopranos (Altos I)Gianna CABRIOLUPatrizia CIARCELLUTI

Paola INCANIOzge KALELIOGLUNara MONTEFUSCO

Altos (Altos II)Daniela FRULLINILucia GIUSTISilvia LAZZARISonia POLIDOROFlavia VOTINO

Tenors IAntonio CAMELAEllery LATORREAlberto MARTINELLIRoberto MATTIONIOrlando POLIDOROStefano STELLA

Tenors IIFabio CITTADINILuca D'ALONZONico DI CRESCENZO

Pietro DI PIETROAlessandro GALLORossano GUERRAFrancesco MEDAGLIA

Baritones (Basses I)Isik Nejat BELENAlberto DE SANCTISMimmo GUERRARaffaele PISANIManuel RAPINI

Basses (Basses II)Paolo BOCCOMINIFabrizio CAMPETTAEmanuele DELL’OSOAlessio PELLEGRINIVittorio PRUDENTE

Sopranos IBarbara DE ANGELIS Daniela SANTUCCI Chiara D'ANGELO Martina CAPASSO Simona MARZILLI Rita TUNDO Eleonora DI CINTIO

Sopranos IILinda FERRARI Alessandra SANTOVITO Stefania CAMPICELLI Claudia SILVETTI Silvia OTTAVIANI Federica BONOLIS Valentina BONCI

Altos IAlessia MARTINO Flavia PETINII Ilaria MICARELLIFederica SERPENTE

Laura TORO Paola DI FABRIZIO

Altos IIStefania FORCUCCIAntonella GNAGNARELLI Alessia DI CENCIO Lucia BROGLIO MONTANI Maria Elena DEL FERRO Ilaria DI MARCO

Tenors IGiancarlo RUGGIERI Carlo VELENOSI Davide CIARROCCHI Eliseo ROSSI Liberto BONCOMPAGNI Andrea AMADIO

Tenors IIMauro FARAGALLI Alberto MARTINELLI Zin CHONG

Tommaso MANGIFESTA Vincenzino Di LUIGI Mimmo LERZA

Basses IFrancesco Paolo PILOTTI Gerardo CERCA Lucio DI GIOVANNI Bruno VENANZI Danil ACETO Lorenzo IZZO

Basses IISiro ANTONELLI Alessandro SPADANO Davide FILIPPONI Carlo BONELLI Stefano FAGIOLI Francesco AMELI

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CoroTeatro

Marrucino

CoroFondazioni

all’Opera

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MIUR – MINISTERO DELL’ISTRUZIONE, DELL’UNIVERSITÀE DELLA RICERCAAlta Formazione Artistica e MusicaleDirector Bruno Civello

CONSERVATORIO DI MUSICA “A. CASELLA”, L’AQUILAPresident Rinaldo TorderaPrincipal Bruno CariotiDeputy Principal Rosalinda di MarcoAdministrative Director Mirella Colangelo Chief Accountant Luisa Spennati Professors Michelangelo Lupone, Marcello Bufalini, LuisaPrayer, Carla Di Lena Staff member Roberta Lucrezi

MIBAC- MINISTERO PER I BENI E LE ATTIVITÀ CULTURALIDirezione Generale per lo Spettacolo dal Vivo

ISTITUZIONE SINFONICA ABRUZZESEPresident Ludovico O. NardecchiaVice President Giorgio SpezzaferriArtistic Director Vittorio Antonellini Secretary General Giorgio ParavanoArtistic Secretary Gianluca SulliStaff members Vittorio Ciccarella, Fiorella Tomei, Lorenza Masci,Sante Ippoliti, Marsisa Rosa, Giuseppe Reggimenti, PasqualeMilesi.

UNIVERSITY OF L’AQUILARector Ferdinando Di OrioFaculty of Engineering – Dews Centre Director Maria Domenica Di BenedettoDepartiment of Electric Engineeringand Information TechnologiesProfessor Carlo Cecati Department of InformaticsDirector Paola Inverardi

CENTRO RICERCHE MUSICALI – CRM, ROMEManaging director Laura BianchiniArtistic director Michelangelo LuponeScientific director Lorenzo Seno

ASSOCIAZIONE CULTURALE PIETRE CHE CANTANOOCRE, L’AQUILAPresident Luisa Prayer

ASSOCIAZIONEORCHESTRA GIOVANILEABRUZZESEPresident Walter TortoretoExecutive Sara Tortoreto

TEATRO MARRUCINODI CHIETI,COMUNE DI CHIETIMayor Francesco RicciCulture councillorCarmelina Di CosmoArtistic directorGabriele Di Iorio

FONDAZIONI ALL’OPERA,TERAMOPresidentMario Nuzzo Artistic directorFrancesco Sanvitale

ASSOCIAZIONE ZACCARIA DA TERAMO, TERAMOArtistic director Paolo Speca

PROGETTO ARTE CONTEMPORANEA – PAC, L’AQUILAPresident Licia GaliziaVice President Pietro Ranalli

ISTITUTO GRAMMA, L’AQUILAArtistic director Maria Cristina De Amicis

AGORÀ, L’AQUILAExecutive Wolfango De Amicis Administrative director Vittorio De Amicis

FOX SOUND, L’AQUILAExecutive Carlo Volpe

TEATROSERVICE, L’AQUILA Massimiliano Giannone, Domenico Argentieri, Attilio Martelli

Partners

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Progetto grafico, illustrazione, impaginazioneORTO ONIRICO - Strategia e immagine globale

Irene Gentile Art Director

Stampato negli stabilimenti diUNION PRINTING

Viterbo

A City to listen to is a testimony to the intense cultu-ral and artistic atmosphere which has made L’Aquilaso exceptionally alive: a City which today we cannotsee, but which we can listen to. A wide-ranging re-presentation of the artistic, intellectual, scientific andtechnological forces of the City and of the Region hascontributed to the realization of this interdisciplinaryand multimedia event in which the multiform profileof the local community can be identified as well asthe significant and determined participation of theyoung in the project. The cult of tradition and thelaunching into innovation together represent the lifeand soul of the City, merging to give rise to a grandchoral score, a series of variations on the theme ofthe Hymn, the song that gives voice and form to theaspirations and hopes of a community.

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