Orchestra Filarmonica Salernitana ‘Giuseppe Verdi’
Conductor Lorenzo Passerini
Peer Gynt, suite n.1 Morning mood
Tosca, Introduction act III (dawn on Rome)
1.Sinfonia. 2.Serenade. 3.Scherzino: Allegretto-Andantino. 4.Tarantella. 5.Gavotta with two variations. 7.Vivo. 8.Minuetto – Finale.
Symphony n.4 in A major, op.90
Allegro vivace – Andante con moto – Scherzo con moto moderato – Finale: Presto.
The famous Morning mood by Edvard Grieg (1843-1907) belongs to the stage music that the Norwegian composer wrote in 1870 for the poetic drama Peer Gynt by the compatriot dramatist Henrik Ibsen. A theatrical work halfway between the picaresque-satirical drama and philosophical meditation, between a critique of short-sighted nationalism and an invitation to inner research. The Morning mood is the time when Peer, having become a mature capitalist, goes to Africa. The evocation “does not describe a fresh spring morning in the Norwegian mountains as we all imagined listening to it for the first time, but the sunrise in the Sahara Desert, although the message it communicates is that wherever he goes, Peer brings with him his being Norwegian, his “norwegianess”. The introduction that Giacomo Puccini (1858-1924) wrote for the last act of the Tosca (1900) describes the magic chimes of the bells that wake up the Eternal City, before the tragic epilogue of the opera occurs with the shooting of the protagonist Mario Cavaradossi on the bastion of Castel Sant’Angelo. Rome was also a source of inspiration for Felix Mendelssohn (1809-47) who conceived his “Italian” symphony (1833) starting from the journey made in Italy a few years earlier, where carnival and folk dances such as the saltarello illuminate the masterful score. Igor Stravinskij (1882-1971), also fascinated by the Belpaese, accepted the idea of the impresario Djagilev to derive a ballet on a scenario of the Commedia dell’Arte (Picasso painted scenes and costumes), using pre-existing music by Pergolesi. The reworking of the ancient material in Pulcinella (1920-2) became the quintessence of the “neoclassicism” of the Russian composer: “Pulcinella was my discovery of the past: a look backwards, the first of many amorous adventures in that direction”.
Lorenzo Passerini was born in Morbegno in 1991. He graduated with honours in trombone at Como Conservatory in 2009. He then took a masters degree at Aosta Conservatory, graduating in 2014 with full honours again. As a trombonist, he has toured worldwide under the baton of famous conductors such as John Axelrod, Andrey Boreyko, Fabio Luisi and Riccardo Muti. At the same time as starting his career as a trombonist, he began studies in conducting in 2010 with Ennio Nicotra. He also undertook tuition from John Axelrod, Massimiliano Caldi, Gilberto Serembe, Pietro Mianiti, Oleg Caetani and Antonio Eros Negri. He began his conducting career in December 2011. He has worked with internationally renowned musicians such as Francesco Manara, Giuliano Sommerhalder, Maxim Rysanov, Roberto Cappello, Michel Becquet, Freddy Kempf, Luciana Serra, Daniela Mazzucato, Bruno Praticò and Sumi Jo. He has had new works dedicated to him by contemporary composers Piergiorgio Ratti, Antonio Eros Negri and Andrea Battistoni. Lorenzo Passerini has also worked with classical opera; he conducted Don Pasquale in 2013, Elisir d’amore in 2014, La Traviata in 2015, Il barbiere di Siviglia and La serva padrona in 2016, La sonnambula in 2017, Turandot and Rigoletto in 2018.
In January 2017 he assisted Oleg Caetani in his production of Shostakovich’s Lady Macbeth at Helsinki Opera Theatre. Since 2015 he has worked with Nicola Luisotti in some of the most important European theatres, such as Royal Opera House in London, Teatro Real in Madrid and Teatro Alla Scala in Milan. As of September 2018 he has been assisting Luisotti in his production of Turandot in Teatro Real in Madrid. 2016 saw his debut as guest director of ICO Orchestra Magna Grecia and Orchestra Regionale Filarmonia Veneta for the 28th Iris Adami Corradetti International Opera Competition. In 2017 he conducted the Milan’s Giuseppe Verdi Symphonic Orchestra, Orchestra Fondazione Arena of Verona, Regional Tuscanian Orchestra, Romanian National Opera Orchestra, Symphonic Orchestra of Grosseto, Symphonic Orchestra of Sanremo, Orchestra CamerataVienna, Mexico State Orchestra and Milano Chamber Orchestra. In 2018 he conducted again Orchestra Fondazione Arena and he debuted with Orchestra di Padova e del Veneto, Bari Metropolitan Symphonic Orchestra and DITTO Orchestra during his Korean tournée with soprano Sumi Jo. Since 2011 has been the artistic and musical director of Orchestra Antonio Vivaldi. Since 2017 he has been musical director of Associazione culturale “Amici della musica di Sondalo”, for whom he programmes the symphonic seasons at Teatro Sociale in Sondrio.