A new commission for Silvia Colasanti, who begins her three-year artist-in-residence program with LaVerdi Symphony Orchestra in Milan. This precious creative collaboration provides the platform for a new world premiere by Colasanti in each of the three years of the composer’s stint with LaVerdi. They’ll also be working on some of her other, most representative works, an across-the-board portrait in sound to delight audiences.
The project kicked off with live performances at Milan’s Auditorium, April 26 and 27, of the world premiere of Dove si disperde, infine spento, il canto della morte? conducted by Karen Kamensek, featuring soprano Valentina Varriale.
Among Colasanti’s upcoming works, Time Will Come, two sonnets for countertenor, string quartet and percussion, based on William Shakespeare and commissioned by the Arena Sferisterio Association of Macerata.
Dove si disperde, infine spento, il canto della morte? (2021)
per soprano e orchestra, su frammenti di Eschilo
Commissioned by: Fondazione Orchestra Sinfonica e Coro Sinfonico di Milano Giuseppe Verdi
World premiere: Milano, Auditorium di Milano Fondazione Cariplo, 26-27 aprile 2021 Orchestra Sinfonica di Milano Giuseppe Verdi – direttore Karen Kamensek, soprano Valentina Varriale
Instrumentation: S / Ott, 2 Fl, Ob, Cr ingl, 2 Cl in Sib, Cl b, Fg, Cfg, 2 Cr., 2 Perc, Archi (minimo 10,8,6,4,3)
Over the course of the past few months, we grew increasingly aware that we were not moving in the direction we’d hoped for. That’s when I decided to use fragments from Aeschylus’ The Libation Bearers, decontextualized from the tragic episode it is based on. They have to do with what we’re going through right now. Suspended time that still crosses our path, with a very powerful blast of truth.
The sounds depict a miniature theatrical scene. The eternal voice of Aeschylus – here underscored by the ancient sound of the Greek language – at the onset presents images of natural phenomena that tell the story of Earth rebelling against Man. Against the backdrop of sounds that sway amid magmatic gloom, spectral restlessness, and even violence.
There follows a brief lament for the unhappy fate Man is condemned to. Then the contradiction – which is merely apparent – between hope for the future and the desperation revolving around the present. Up until one final question, regarding the meaning of it all. Which the music leaves unanswered, in nostalgia-laden song that slowly fades away.