Martina Franca

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Among the many monologues by Gigi Proietti circulating on the net, there is also the one, really hilarious, dedicated to research theater and avant-garde music, often foreign to the taste of those who went to attend a show. But to understand how a certain type of twentieth-century music had drastically moved away from the public’s interest, an extraordinary Alberto Sordi had already provided in 1978 with “The intelligent holidays”, the third and last episode of the film “Where are you going on vacation?”.

A ferocious satire of intellectualism by two Roman greengrocers (Sordi and Anna Longhi), who, driven by their intellectual and fashionable children, leave for a cultural holiday, however, having no weapons to appreciate anything, starting with the symphonic concert at the Cage with the ” tacet ”: an irresistible moment that marks the total lack of communication between the public (at least the great part) and the difficult language of contemporary music. But, fortunately, the prejudice towards the new cultured music has been decidedly attenuated, and many have been able to ascertain that the novelties are not necessarily difficult but can instead reserve some very pleasant surprises. And this also thanks to some important composers of the last generations such as the Turin Nicola Campograndecultured and prolific musician, unanimously appreciated on the international scene and also author of brilliant popular essays on music.

And that has established a privileged relationship with Puglia. In fact, at the end of May at the Petruzzelli there was the debut of The night of St. Nicholas, a single act welcomed with great success. The same reserved for the world premiere of Italian operastaged in Martina Franca as the last title of the 48th edition of the Valle d’Itria Festival, the first under the artistic direction of Sebastian F. Schwarz. The score was actually composed by Campogrande between 2008 and 2010 commissioned by the Italia 150 Committee on the occasion of the celebrations for the unity of the country; but he had not yet seen the light.

The valuable libretto, very well written and with subtle irony by helium And Pietro Bodrato, tells the recent history of Italy, included in that time span that goes from the “economic boom” to the first decade of the 21st century. The first act develops in the sixties and early seventies, with allusions to the promise of well-being, to building speculation, to the generational and revolutionary clash, to beat music, to the arrival of drugs, to the point of lapping the years of lead. The second act is placed in the middle of the Eighties, with strong references to the explosion of commercial TV, to the culture of the ephemeral, to unbridled hedonism, to the “Milan to drink”. The third act is instead realized in the present of virtual finance, minimalism, new forms of spirituality, individualism, the great fears and great promises of our future.

As for the six protagonists, Mario is in love with Opera but he let himself be fascinated by Soldini, a shrewd and not too honest entrepreneur with a big smile. Then there is Balconi, the kindhearted but opportunist doorman, the very nice villain, any “sciura” once a barricadium and today dressed in linen. And finally, the one who plays, a tenant who never appears on the scene but intervenes with the sound of his piano.

On this plot Campogrande has created a work of ingenious eclecticism, where moments linked to the traditional structure of the opera alternate with joy and intensity (in fact, there was no lack of solo arias also marked by virtuosity), with some Puccini imprint seen above all as a sort of homage to the twentieth century: in fact, there was no lack of references to musicals, jazz and even progressive rock with those intros of the electric bass and guitar that perfectly blended with the chamber and classical ensemble of the orchestra. A music that pleasantly reached the ears of the audience with an absolutely modern and new cut.

Features that the first parts ofOrchestra of the Petruzzelli Theater in Bari have shown very well thanks to the safe and precise direction of Alessandro Cadario. The excellent cast is well matched vocally and credible on the stage, starting with the soprano Cristin Arsenova in the most melodramatic part, not by chance called Opera, very well resolved with the beauty of the timbre and the safety of the high register. The contralto’s voice is more sensual Candid Guide, perfectly in line with the role of Villain. As for the male roles, Campogrande spares the usual “topos” and entrusts the heroic and amorous part to a baritone, Mario (who will eventually turn into a star), excellently played by Gurgen Baveyan; while the part of the “bad” is the prerogative of a tenor, Soldini, well characterized by Raffaele Abete. The bass effectively complemented the vocal cast Yuri Guerra in the part of Balconi, and the pianist is also good Claudio Bonfiglioalter ego of What plays.

The brilliant and linear direction of Tommaso Franchinthe essential and functional scenes of Fabio Carpenethe relevant and colorful costumes of Giada Masi and the effective and suggestive play of lights of Alessandro Carletti.

Great enthusiasm at the end and warm applause for all the performers and for Nicola Campogrande.

The review refers to the evening of August 3, 2022

Eraldo Martucci

Martina Franca – Palazzo Ducale: Italian opera