RAVELLO FESTIVAL 2015 - INCANTO
JUNE 20TH - SEPTEMBER 5TH 2015
On the next June, 20th Ravello Festival is going to start with an evening of great international ballet, based on Richard Wagner's music, the “protective deity” of the Festival who, as in a big circular composition, will be celebrated also in the closing night consecrated to “Parsifal”, in September 5th. Between the two Wagnerian’s extremes about fifteen events will find space switching, as a consolidated tradition, among symphonic and chamber objects, jazz and pop repertoire, without missing attention to theatre, visual arts and “debates about words”. Promoted in 2003 by Ravello Foundation on the base of the project started in 1953, the Festival Format remains the same considering that, especially in the last five years, it revealed itself successful more than ever, registering a trend in constant rising for audience and media feedback.
The leitmotiv of these two months and a half of the program, outlined by the art director Stefano Valanzuolo, is “InCanto”. In this term, that Mimmo Paladino has made as a real logo with his dedicated sketch, two intents are willingly mixed: the first and principal gives attention to human voice as an expressive, melodic, poetic, rhythmic and if necessary even politic instrument.
This interpretation will imply the presence of a dense network of prestigious singers in Ravello: the charismatic Laurie Anderson, Lou Reed's muse, meets on stage (her first time in Italy) the great composer Philip Glass; the prince of Italian songwriters, Francesco De Gregori, proposes himself in acoustic; Bobby McFerrin, virtuous vocal talent without etiquettes, choses Villa Rufolo for one of his three Italian concerts of the season; Dee Dee Bridgewater goes back to New Orleans jazz's roots; Ute Lemper proposes in debut in Ravello her new project written with Paulo Coelho under the direction of Schöndorff; in addition: three big Spanish artists give force to a cycle – edited by Gianni Minà – that explores the social aspect of song: they are the glorious Catalan artist Joan Manuel Serrat, supported in this first longed Italian concert by his friend Gino Paoli; Augusto Enriquez Cuban musician involved in a meaningful tribute to the songwriter icon of his land Silvio Rodriguez; and, in the end, Maria Gadù, who represents the new Brazilian generation.
But the voice can give substance to other suggestions, all theatrical especially if we talk of the charismatic voice of Giorgio Albertazzi, a boy of ninety years old ready to debut in Ravello with Mariangela D’Abbraccio, in the name of Borges and Piazzolla.
From “In Canto”(in song) to “incanto”(enchantment), the second aspect of the leitmotiv that turns around mystery and magic, concepts subtended to the irresistible charm of the place that receives the Festival since sixty-three years. In the fairy, supernatural element many proposals will find a touch of seduction. Inspired to a enchant is, for example, the story of “Tristan and Isolde” that, 150 years after the first play, will be declined in dance, with the presence of two extraordinary étoiles of Paris Opéra and Giorgio Mancini’s choreographies; then in theatrical key, with the new “Cunto di Tristano” (Tristan's tale) committed to the director, actor and storyteller Vincenzo Pirrotta; in the end at the piano with Orazio Sciortino. The evening September,5th will be a sort of Wagnerian apotheosis, with the public invited by Valery Gergiev, directing the famous Marinskij's Orchestra and the St. Cecilia's Choir, in the “magic garden of Klingsor”, for a suggestive focus on “Parsifal” whose genesis is not accidentally linked to Ravello's gardens. It is not only the famous one from San Pietroburgo, the orchestra waited at the Festival: there is also, in fact, on the locandina, the extraordinary Gustav Mahler Jugend Orchestra (Gustav Mahler Youth Orchestra)founded by Abbado and assigned for the occasion, to the care of the glorious Herbert Blomstedt. And in addition keeping on speaking about younger orchestras, we recommend, the European Union Youth Orchestra with Gianandrea Noseda (Symphony No. 5 by Mahler), the Junge Wien Philarmonie (Vienna Youth Philharmonic Orchestra) (“Grande” by Schubert), the Orchestra dell'Accademia della Scala (La Scala Academy Orchestra ) with one of the most quoted curator of the time, the Finnish Susanna Mälkki.