The myth of Orpheus is reinvented in a contemporary key, between baroque, popular tradition and electronic experimentation.
On Saturday, October 11th, at 8:30 PM, the Teatro Civico in Sassari will host "Io la musica sono," the previously unreleased opera that opens a new chapter in the reinterpretation of Claudio Monteverdi's masterpiece. The performance is part of the 7th International Early Music Festival "Note senza tempo," organized by the Dolci Accenti association.
Born from an idea by ethnomusicologist Nico Staiti, with direction and musical reworking by Mario Tronco, the production promises to revolutionize the way we understand opera. Not a simple revival, but a faithful reinterpretation of Monteverdi's original spirit, intertwining 17th-century instruments with modern and popular sounds.
The opera retains the musical structure of the 1607 "Orfeo," but the score opens up to new worlds of sound: alongside theorbos, flutes, and court trumpets, there's room for bagpipes, shawms, friscaletti, and Calabrian lyre, all the way to electric guitars, synthesizers, and sound processing software. "We imagined an Orpheus who not only sings, but also listens," explains Mario Tronco, "an Orpheus who brings together memory and invention, wounds and celebration. Music is the only place where everything can coexist."
Adding further depth to the work, Alessandro Striggio's original texts are complemented by verses by Rainer Maria Rilke , Robert Browning, and Gennaro Antonio Federico, creating a poetic interweaving that spans eras and languages. The opera is also the fruit of a collaborative effort: the scenic and dramaturgical materials were enriched through training workshops with young musicians from the Tchaikovsky Conservatory in Catanzaro.
(Unioneonline/Fr.Me.)
