The Torre del Lago Festival, dedicated to Giacomo Puccini who chose the Tuscan town, and then Viareggio, as his place of residence, goes beyond his usual Puccini titles for a staging of the Satyricon by Maderna, co-produced together with Music for Rome and toEnsemble Auditorium Parco della Musicawith direction, sets and costumes entrusted to Manu Lalli and the conducting of Tonino Battista.
Sayricon it is one of the last works written by Maderna, in his period of serious pathologies mainly linked to his addictive smoking, a vice that sees him sharing his end with Puccini. On a libretto by Ian Strasfogel adapted from the novel of the same name by Petronius Arbiter, Satyricon it has its own originality, being made up of sixteen interchangeable “numbers” and with characters that are expressed in four languages (English, French, German, Latin). The work is thus a pastiche, a jumble of cacophonies and melodies torn apart by an anthology of previous compositions, from Bizet to Puccini, from Wagner to Weill. The irony and the ferocious satire that borders on parody are especially appreciated in the latter. The moral decadence of the original text is all taken up here in a non-place, in a non-story that unfolds its reason by virtue of an absolute freedom that the author himself intends to perpetrate, leaving the choice of the succession of numbers to the freedom of the director, of the ‘stand builder. How Beggar’s Opera the composer intends to leave the work indefinite, to be varied and composed according to the intentions. Here, the paintings linked to sex, absolute greed for money, unshakable faith in the laws of the market. Maderna deliberately distorts reality, the material of the pieces that he re-proposes amplified, distorted. He twists his voice and bends the lyric singing to the actor’s singing, to a set of single declamations. In this sense, all the members of the Parco della Musica ensemble are good, giving us a sound universe made of uniqueness based on the simple pronunciation of the singular assumptions that often end in cut-up, in caesuras, such as Trimalchio’s flute. The scene is colorful and resembling a circus, the direction is effective and the costumes are beautiful.
If, once again, the Caruso Auditorium presents the same defects of vastness and practicability of the scene, especially with such significant organic, the Puccini Festival Foundation demonstrates an unexpected vitality, proposing a comparison between music in Puccini’s time and music of today, providing the protagonists of today’s musical world with terms of comparison updated and made concrete by a conference, contemporary to the Satyriconwhich thanks to the commitment of Giorgio Battistelli And Michele Girdardi he found unexpected life in a three day named Quo vadis opera? which has seen the protagonists of today’s music, among others, Roberto Fabbriciani (flutist) e Francesco Gesualdi (accordion), Marco Stroppa, Francesco Filidei, Claudio Ambrosini (opera composers)Antoine Ginot (director), Gianluigi Mattietti, Giordano Ferrari And Marco Mazzolini (musicologists) reflect and discuss the reality and perspectives of the opera genre today.
The review refers to the event of 25 August 2022