In Miami, on October 17, the New World Symphony conducted by Michael Tilson Thomas will perform for the first time Castiglioni’s Inverno In-ver with a visual installation created by British director, designer and video artist Netia Jones. The installation is a co-commissioned by NWS and Chicago’s Harris Theater. The event will be taken two days after in Chicago.
First Italian performances in Venice for Luca Francesconi's Let me bleed for chamber choir, Mauro Lanza’s, Ludus de morte regis for choir and electronics and Marco Stroppa’s, Perché non riusciamo a vederla? Cris, appels et clameurs for a cappella choir and viola. The concert will take place on October 13 at Teatro alle Tese, as part of the 2013 Biennale Musica.
World premiere for Alberto Colla’s Pasticche Verdi (Green Tablets) for flute and piano. Raffaele Trevisani, flute and Paola Girardi, piano will present the composition in New York on October 13 at Baruch Performing Arts Center, Engelman Recital Hall.
On October 12, Azio Corghi’s Preludio ”ad una stella” for voice and five instruments, will have it's American premiere in Philadelphia, Caplan Center of Performing Arts, with the Ensemble Nuove Musiche under the direction of Guido Maria Guida.
The composition, written for the Verdi anniversary year 2013, is made up of a re-working of two of Giuseppe Verdi’s pieces for voice and piano: L’abandonnée (composed for Giuseppina Strepponi) and Ad una stella.
The first part, purely instrumental in nature, acts as Preludio to the second, which reproduces Verdi’s vocal part in its entirety.
Acting as background to the two pairs of instruments – the Flute/Clarinet and the Violin/Cello, which re-work the original piano part – is the Vibraphone: a sonoric point irradiating its own light (the star), symbol of the romantic passion of Verdi’s opera, in which the mystery of femininity appears with all its fascinating power of attraction.
Additional performances in Washington, Auditorium of the Italian Cultural Institute, Italian Embassy, on October 15, in Chicago, Logan Centre, on October 16 and in Boston, Sanders Theatre at Harvard University, on October 18.
A ‘sacred dialogue’ between Giuseppe Verdi and Pier Paolo Pasolini on the figure of the mother idealised by Christianity and by poetry lies at the heart of Madreterra, Azio Corghi’s new work for soprano, male reciting voice, flute and two pianos, the world premiere of which will be performed at the Teatro Regio in Parma on October 9, 2013 as part of the Festival Verdi.
Commissioned by the Teatro Regio, Madreterra draws its musical substance from the enigmatic scale used by Verdi in the Ave Maria of his Quattro pezzi sacri, associating the poetry present in this musical idea with the music inherent in the deeply-felt verses of Pasolini’s Supplica a mia madre drawn from Poesia in forma di rosa. The interpreters are: the soprano Teresa Camellini, Massimiliano Sbarsi (reciting voice), Davide Formisano (flute) and the duo Canino-Ballista on pianos.
On the same evening the duo Canino-Ballista will perform another work by Azio Corghi, the suite for two pianos Un petit train de plaisir from Gioachino Rossini’s Péchés de vieillesse.
On October 8, the Ensemble Adapter and the Aasello String Quartet, under the baton of Scott Voyles, will perform the Finnish premiere of Franco Donatoni’s Chantal, for harp solo, flute, clarinet and string quartet. The concert will take place in Helsinki, Sibelius Academy, Camerata - Music Centre.
The magic of the birth of sound, which springs forth in the babbling of a baby: Claudio Ambrosini’s new work for boys’ choir and orchestra, Fonofania, is an inquiry into the miracle of the birth of language, a miracle which man alone is capable of, a miracle which goes beyond any form of cultural or racial distance. In Fonofania Ambrosini continues a research into fundamental questions that he began in his operas: Big Bang Circus (2002) and the Killer di parole (2010).
Commissioned by the 57th Venice Biennale, the world premiere of Fonofania will take place on 5 October at the Teatro alle Tese, with the Orchestra and Boys’ Choir of the Teatro Comunale di Bologna under the direction of Roberto Abbado.
The precious papers of a famous, imaginary, now-deceased poet, Jeffrey Aspern, are jealously guarded by two women in the decaying splendour of a magnificent Venetian palace; an unscrupulous writer introduces himself onto the scene to put his hands on the rare documents but the younger of the two women consigns them irremediably to flames.
Aspern, a singspiel in two acts, drawn by Salvatore Sciarrino and Giorgio Marini from Henry James’s The Aspern Papers, is an opera in which the timbric marvels of Sciarrino’s music envelop an action of phantasmagoric tension, in which the sense of a renunciation of life shares with the world of dreams and oblivion the full weight of the anguish and mystery that both drives and attracts us towards the obscure.
A huge success when first performed in 1978 under Giorgio Marini’s masterly direction at the Teatro della Pergola in Florence, (and later revived in Stuttgart in 1981, Freiberg in 2004 and Munich in 2008), Aspern now returns to the stage at the Teatro Malibran in Venice on October 2 (additional performances on 5, 6, 8 and 10) with the Orchestra del Teatro La Fenice under the direction of Marco Angius, the stage direction, scenery, costumes and lighting by the Faculty of Design and Arts at Venice’s Univeristà Iuav, Francesco Gerardi as the Narrator and Zuzana Marková as the Singer.
The last two performances form part of the Venice Biennale’s 57th Festival of Contemporary Music.
The opera is produced by the Teatro La Fenice.
Studi per l’intonazione del mare for contralto, 4 flutes, 4 saxophones, percussion, one hundred flutes orchestra and one hundred saxophones orchestra by Salvatore Sciarrino, will be premiered in Portugal on October 1. Iris Oja, contralto, Nuno Aroso, percussion, Pã Quarteto, flutes quartet, QuadQuartet, saxophones quartet, one hundred flutes orchestra and one hundred saxophones orchestra, will be conducted by Pedro Neves in Porto, at Casa da Musica, Suggia Hall.
This composition was written by Salvatore Sciarrino during the celebrations of the rebuilding of the Basilica Superiore church in Assisi, three years after the 1997 earthquake and of the 2000 Jubilee. The concept that underpin the work is the idea of travel as an existential metaphor and solidarity as a life form.
From 1 to 6 October Fabio Vacchi will be in Montréal. A guest of the University of Montréal’s Faculty of Music, home to the eminent musicologist Prof. Jean-Jacques Nattiez, the composer will hold a series of meetings with teachers and students. On 5 October, under the direction of Jean-Francois Rivest, the Orchestre de l’Université de Montréal will perform the Canadian premiere of Dai calanchi di Sabbiuno.
In Brisbane on September 27 will take place the Australian premiere of The skin of the onion for flute, clarinet, violin, cello, piano and percussions by Mauro Lanza. The composition will be performed by the Kupka’s Piano Ensemble at the Judith Wright Centre of Contemporary Arts.
After the huge success of the revival of Quartett, which took place over the last few months in Paris (Cité de la Musique) and Amsterdam (Holland Festival), a new production of Luca Francesconi’s opera will be performed on 24 September in Oporto (the Portuguese premiere). The soprano Allison Cook (Marquesa de Merteuil) and baritone Robin Adams (Visconde de Valmont), accompanied by the Remix Ensemble, will be conducted by Brad Lubman. The stage direction, scenery and costumes are by Nuno Carinhas and the lighting by Nuno Meira. The IRCAM electronic music component has been entrusted to Serge Lemouton; IRCAM’s Sébastian Naves is the sound engineer. This new production by the Casa da Música and IRCAM, supported by the Réseau Varèse, is in collaboration with Festival Musica in Strasbourg, which will host the work on 28 September.
Still in the context of 2013 season of the Casa da Música – where Francesconi is currently composer in residence - on 28 September the Orquestra Sinfónica do Porto will perform the Portuguese premiere of the composer’s Cobalt and Scarlet.
On 21 September in Bari, the Orchestra Sinfonica del Teatro Petruzzelli will perform the world premiere of Fabio Vacchi’s Triplo Concerto for two flutes and harp. The piece, which was commissioned by the theatre, strengthens the tie that the composer has had with the theatre since April 2011, when it hosted the world premiere of his opera The Same See, drawn from the homonymous novel by Amos Oz.
The soloists Giampaolo Pretto, Manuel Zurria and Patrizia Radici and the Orchestra del Teatro Petruzzelli will be conducted by Renato Rivolta.
Niccolò Castiglioni’s Mottetto for ten wind instruments, will have its Swiss premiere on September 20 in Lugano. The Wind Ensemble of the Italian Swiss Conservatory, under the baton of Omar Zoboli, will perform the work at the S. Croce Church, Riva S. Vitale.
On September 19, Unfolding for string quartet and electronics, by Francesca Verunelli, will be performed for the first time in Germany. The concert will take place in Berlin, Institut Français Berlin, and will be performed by the Kammerensemble.
On 19 September in Turin (Teatro Regio, Maria Callas Hall - Caminetto), in the context of MiTo SettembreMusica, the presentation of the recently released CD dedicated to Goffredo Petrassi and containing the Magnificat and Psalm IX will take place. This recording by Chandos forms part of the broader project ‘Musica italiana’ that the conductor Gianandrea Noseda has undertaken with the recording company, in collaboration with Casa Ricordi.
The jury of the first International Sacred Music Competition, organised by the Veneranda Fabbrica del Duomo di Milano, Casa Ricordi and Festival MITO SettembreMusica, , has unanimously proclaimed the winner of the first prize: Leonardo Schiavo, 30, from Montecchio Maggiore, the writer of a Magnificat for orchestra, soloists and choir. The jury was chaired by Luis de Pablo, and comprised of Enzo Restagno, George Benjamin, Azio Corghi, Fabio Vacchi and Don Claudio Burgio, maestro di cappella of Duomo cathedral.
The world premiere of the Magnificat will take place in the course of a large concert on the 18 September at the Duomo di Milano, with the Giuseppe Verdi Orchestra and Symphonic Choir of Milan, conducted by Ruben Jais, in the context of the 7th MITO Settembre Musica Festival. The piece by Leonardo Schiavo will be published by Casa Ricordi.
On September 7, Carlo Boccadoro’s Antigone, for ensemble (concert version), will be premiered in Milan by the Ensemble Sentieri Selvaggi conducted by the composer himself. The concert is part of the MITO SettembreMusica Festival and it’s devoted to the 50th Boccadoro’s birthday. It will take place at the Teatro Elfo Puccini, Fassbinder hall, and forseen the performance of some other Boccadoro’s compositions: Soul Brother n. 1, for vibraphone and ensemble, Le sette stelle, for four instruments and Hot shot Willie, for violin and ensemble.
On August 30 in Ostrava, Marianne Pousseur, soprano and the Ostravská Banda, conducted by Roland Kluttig, will perform the Czech Republic premiere of Salvatore Sciarrino’s Lohengrin, ‘azione invisibile’ for soloist, instruments and voices. The stage direction is by Jiři Nekvasil and David Bazika. The concert will take place at the Antonin Dvořák Theatre, as part of the Ostrava Days Festival.
On August 29 in Roskilde (Danmark), Alberto Colla’s Quartetto N. 2. Diario di giorni ordinari, will have it's Danish premiere. The Delian Quartett will perform the work as part of the Schubertiade Roskilde.