I solisti dell'Orchestra Barocca Siciliana and Raffaele Schiavo for Note senza tempo festival
From 06 April 2024 to 06 April 2024/ Italy / Sassari
the soloists of the SICILIAN BAROQUE ORCHESTRA
Orpheus Britannicus in the Stars with Diamonds
subject by Piero Cartosio
stage performance by Raffaele Schiavo Andrea Beatriz Lizarraga, violin
Luca Ambrosio harpsichord
Raffaele Schiavo, cantor
Piero Cartosio recorder and direction
Henry Purcell (1659-1695) shares with Mozart the fate of having concluded his earthly existence around the age of thirty-five. In this brief span of time, thanks to his wonderful compositions of various genres (excluding concertos), Purcell earned, while still alive, a fame that has never faded over the centuries. The first equally famous English composer after him is Britten or, changing genre, the Beatles. Some portraits show us a mild and melancholic face, but unfortunately the biographical information, anecdotes etc. relating to our Author are very few. The Purcell of our monologue finally reveals himself, taking his steps from the lively political, religious and musical climate of London in the second half of the 17th century. Fires, plagues, beheadings: death is always around the corner. The shot gradually tightens until it lingers on the paradoxical première, in the context of a girls' boarding school, of the masterpiece in the drawer Dido and Aeneas. The composer then goes on to illustrate, deliriously - and yet very concretely - how to build, brick by brick, a successful ground (the ostinato basses are one of his strong points). In the final part Purcell questions himself, implicitly inviting us to delve into his figure and into the mystery of the somewhat out-of-time insularity of English music.
Orpheus Britannicus in the Stars with Diamonds
subject by Piero Cartosio
stage performance by Raffaele Schiavo Andrea Beatriz Lizarraga, violin
Luca Ambrosio harpsichord
Raffaele Schiavo, cantor
Piero Cartosio recorder and direction
Henry Purcell (1659-1695) shares with Mozart the fate of having concluded his earthly existence around the age of thirty-five. In this brief span of time, thanks to his wonderful compositions of various genres (excluding concertos), Purcell earned, while still alive, a fame that has never faded over the centuries. The first equally famous English composer after him is Britten or, changing genre, the Beatles. Some portraits show us a mild and melancholic face, but unfortunately the biographical information, anecdotes etc. relating to our Author are very few. The Purcell of our monologue finally reveals himself, taking his steps from the lively political, religious and musical climate of London in the second half of the 17th century. Fires, plagues, beheadings: death is always around the corner. The shot gradually tightens until it lingers on the paradoxical première, in the context of a girls' boarding school, of the masterpiece in the drawer Dido and Aeneas. The composer then goes on to illustrate, deliriously - and yet very concretely - how to build, brick by brick, a successful ground (the ostinato basses are one of his strong points). In the final part Purcell questions himself, implicitly inviting us to delve into his figure and into the mystery of the somewhat out-of-time insularity of English music.
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