Name: Follie Corelliane II
Start: 2017-06-27T00:00:00.000Z
End: 2017-06-27T00:00:00.000Z
Location: Basilica di Sant’Apollinare Nuovo

Admin

Ravenna Festival

Instrument

Violinist

Stefano Montanari

Violin

Valeria Montanari

Harpischord

Francesco Galligioni

Cello

Fabiano Merlante

Lute

Gianni Valgimigli

Violone

Follie Corelliane II

Ravenne

Italie

Basilica di Sant’Apollinare Nuovo

Public

12 Violin Sonatas, Op.5

Larissa Andrea Pereira

Valide

Accordionist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violino Piccolo Player

Violist

Acteur

Autre

Choeur

Chorus Director

Chorégraphie

Coach vocal

Coiffure

Compositeur

Costumes

Danse

Diffusion

Direction d'orchestre

Direction de choeur

Dramaturgie

Décors

En charge de la production

Extra

Illustrator

Livret

Lumières

Maquillage

Mise en scène

Orchestra Operations

Orchestre

Photographer

Poet

Prof

Répétiteur

Stage Manager

Traduction

Video

Wig & Makeup Designer

Writer

Writing and performance

Basse

Chanteur

Mezzo-soprano

Contralto

Baryton-basse

Soprano

Ténor

Contre-ténor

Baryton

Alto

Continuo

Rôle muet

Rôle parlant

Voix d'enfant

It is not easy to grasp the revolutionary act of a composer after an interval of centuries, especially if his work has become a classic model for generations of interpreters. And so it happens that even the best experts cannot do so: Marc Pincherle, for example, Corelli’s famous biographer, stated that the originality of the composer from nearby Fusignano lies in his “lack of originality”. A completely opposite opinion had previously been expressed by Luigi Torchi, a pioneer of Italian musicology, who had seen several “interesting [formal] news” and some technical improvements that “would immensely enrich the sound and the effects of the violin, like Corelli’s pioneering use of double/triple stops and arpeggios, which gave the melody a sort of orchestration resulting from the instrument itself.

English

Non è facile cogliere il gesto rivoluzionario di un compositore a secoli di distanza, soprattutto se la sua opera è divenuta modello classico per generazioni di interpreti. Capita così che neppure i massimi esperti ci riescano, come Marc Pincherle, il celebre biografo di Corelli, secondo il quale l’originalità del compositore nato a Fusignano sta nell’essere “privo di originalità”. Prima di lui, però, un giudizio del tutto rovesciato era arrivato da Luigi Torchi, pioniere della musicologia italiana, che aveva saputo individuare oltre a “interessanti novità” formali, il progresso tecnico che “doveva immensamente arricchire la sonorità e l’effetto del violino, se si tien conto ancora dell’uso che Corelli fece per un dei primi, di note doppie, di bicordi, tricordi ed arpeggi, i quali fornivano alla melodia come un’orchestrazione derivante dallo stesso istrumento”.

italiano

Follie Corelliane II by Corelli, A., Du (2017/2017), Basilica di Sant’Apollinare Nuovo, Ravenne, Italie

Crédits de représentation (Distribution et équipe de production )

Instrumentation

Programme, À Propos & Synopsis

Photos

Lectures complémentaires

Dates et lieux de représentation

Salles