Il Pergolese pays tribute to 18th century composer Giovanni Battista Pergolesi (1710 – 1736), and considers his relationship to the art music and the popular music of Naples, from a highly contemporary perspective. The text of the Stabat Mater – translated into Neapolitan by Maria Pia De Vito – and the opera arias, are transformed into songs and vivid narrative, open frames providing the key to reinterpreting Pergolesi. François Couturier's arrangements widen Pergolesi's structures, offering space for improvisational interaction. But this is a real group project, a discourse among acoustic sounds, with rhythms of drums and metals, and sampled and real-time electronics. Sound textures grow dense with the richness of instrumental counterpoint or are set free in electronic soundscapes and along coloristic, percussive lines, as cello becomes voice or voice becomes an instrument. The project was commissioned by the Festival Pergolesi-Spontini of Jesi in 2011. The present version was recorded in Lugano in December 2012, and produced by Manfred Eicher.
La produzione di ECM è sconfinata ed estrarne una raccolta antologica sarebbe stato davvero improbo. Musica Jazz ha voluto così sottolineare un aspetto non sempre chiaro ai più, ovvero la qualità artistica e strumentale dei musicisti italiani, caratteristiche che hanno meritato l’attenzione di Manfred Eicher e del suo staff. E anche in questo caso la selezione non è stato semplice, costringendo a trascurare – obtorto collo ma per prosaiche ragioni di spazio – alcune eccellenti produzioni del passato.
Casa del Jazz - a place that has become a mecca of jazz in Italii.Eto - a complex of buildings located in Rome (Villa Osio) .Concerts in the Casa del Jazz extend continuously, and acts as a lot of young performers from different European countries. Performers are also the best Italian jazz concerts which are published every year under the auspices of RadioCapital and newspaper La Repubblica.
Lunedì 4 aprile, il concerto di Rita Marcotulli "A Pino", un omaggio a Pino Daniele, con il quale ha collaborato a lungo, da parte della pianista Rita Marcotulli. Con lei sul palco alcuni dei più prestigiosi musicisti del panorama musicale nazionale ed internazionale: Tore Brunborg, sax, Luca Aquino, tromba, Nguyên Lê, chitarra, Matthew Garrison, basso, Alessandro Paternesi, batteria, Michele Rabbia, percussioni, e Maria Pia De Vito, voce. Un omaggio alla musica di Pino Daniele, soprattutto alla sua musica, il concerto sarà quasi esclusivamente strumentale, Maria Pia De Vito improvviserà con la sua straordinaria voce su alcuni brani.
The composition of Maria Stuarda was fraught with complications. After the completion of Lucrezia Borgia in 1833 the librettist Felice Romani withdrew from further collaborations and Donizetti, who was already contracted for a production at San Carlo in Naples, more or less in panic engaged the amateur poet Giuseppe Bardari in Romani’s place. The music was composed during the summer of 1834 and in September the dress rehearsal took place. The following day, however, the King of Naples cancelled the performance of the opera on the grounds that ‘the presentation of operas and ballets of tragic arguments should always be prohibited’. Donizetti reworked his opera into Boundelmonte in less than a fortnight, the premiere took place on 14 October with the action moved from Tudor England to Renaissance Italy. It was not a success.– Göran Forsling, MusicWeb International
Donizetti composed Pia de’ Tolomei during the summer and autumn of 1836 in Naples, where he was living at the time. In December he set out for Venice, where the premiere was planned for February the next year at the Teatro La Fenice He travelled via Livorno and Genoa but when he arrived in Genoa he was met by the news that the theatre had been destroyed by fire on the night of 12/13 December. He realized that there was a great risk that the premiere would be jeopardized. However the production was moved to Teatro Apollo and the premiere took place on 18 February 1837 as planned. Fanny Persiani, who had been the first Lucia di Lammermoor a couple of years earlier, took the title role. The opera was not an immediate success and Donizetti reworked it twice. The second time was for Naples in 1838, where the censors enforced important changes and a happy ending. The present production is based on the critical edition published by Ricordi, where the original tragic finale is restored…