ODB©Gérard Cunin pic

Dijon Bourgogne Orchestra/Gergely Madaras
TUESDAY, 23TH AUGUST 2016- 9 P.M

Città di Castello, Church of San Domenico

Dijon Bourgogne Orchestra
Gergely Madaras conductor

 

 

MAURICE RAVEL Tombeau de Couperin orchestra version
GEORGES BIZET L’Arlésienne Suite n.1
JACQUES OFFENBACH La Vie parisienne: Ouverture (arrangement by Thibault Perrine)
JACQUES OFFENBACH La Fille du tambour-major: selection
JACQUES OFFENBACH La Grande-duchesse de Gérolstein: selection
JACQUES OFFENBACH Souvenir des Bouffes-Parisiens: extracts
JACQUES OFFENBACH La Vie parisienne: Can-can (arrangement by Thibault Perrine)

La belle Hélène, La Fille du tambour-major, La Vie Parisienne are just some of the operettas of Jacques Offenbach which resounded in Paris theatres in the late nineteenth century. Offenbach, who is considered to be the father of this genre, was one of the most popular authors in France. And the Festival devotes to him the opening concert, with a programme that includes famous overture and some of his most popular pages, then as now – including, for example, the unforgettable Can-can. Even the Arlésienne Suite by Bizet, a drama of passion set in the picturesque Provence, refers to the musical theatre, while the Tambeau de Couperin by Ravel is a homage to the composer and to the French music of the seventeenth century. This song, written between 1915 and 1917 dedicates each movement to a friend who died in the First World War, and it is inextricably connected to the memory of the Great War, a theme that characterizes the three-year project of the Festival started last year with a tribute to Austria .
The Dijon Bourgogne Orchestra, conducted by Gergely Madaras from 2013, was born in 1987 from the merger of the Orchestre de l’Opéra and the Camerata de Bourgogne it has become an independent structure capable of delivering in Dijon a symphonic, lyric and chamber music season.

Labèque_© Umberto Nicoletti

Katia Labèque/Marielle Labèque
WEDNESDAY, 24TH AGOSTO 2016- 9 P.M

Città di Castello, Church of San Domenico

Katia Labèque piano, Marielle Labèque piano

MAURICE RAVEL Ma Mère l’Oye
MAURICE RAVEL Rapsodie espagnole
IGOR STRAVINSKIJ Le Sacre du printemps version for 2 piano

May 29, 1913, at the Théâtre des Champs-Elysées in Paris, for the first time was staged  Le Sacre du printemps by Igor Stravinsky with choreography by Vaslav Nijinsky , scenes and costumes by Nicholas Roerich. The representation unleashed a real fight in the hall, and the reactions were contradictory ; between those who, like Maurice Ravel, were enthusiastic and those  who were disgusted by the ‘noise’. What is certain, is that the evening was unforgettable, and that the public presentation of the ballet, performed by the Ballets Russes, spelled the end of an era, the storage of the romantic musical forms and the beginning of modernity in music. The sisters Katia and Marielle Labèque – a  unique piano duo in the world music scene, for the magical alchemy given by their complicity and for the great success since their debut – will offer a  transcription for two pianos of what today is considered  to be the Stravinsky’s masterpiece, made by the composer in that fateful 1913. For  the Labèque sisters it is a strong suit, here flanked by two other great classics of their repertoire: Ma Mère l’Oye and Rapsodie espagnole by Maurice Ravel.

QuatuorZaïde©Neda-Navaee

Zaïde Quartet
THURSDAY, 25TH AUGUST 2016- 9 P.M.

Citerna, Church of San Francesco

Zaïde Quartet
Charlotte Juillard violin
Leslie Boulin Raulet violin
Sarah Chenaf viola
Juliette Salmona cello

CÉSAR FRANCK String quartet in D major
FRANCESCA VERUNELLI Secondo Quartetto ITALIAN PREMIЀRE
MAURICE RAVEL Quartet in F major

The last Quartet of César Franck written in 1890 and the first, and only, of Maurice in 1904. The young Zaide Quartet challenges itself with these two jewels of the chamber music heritage. The Quartet, composed solely of women, was born in 2009 and now it is considered to be one of the most interesting French string quartets on the international scene. Just to name a few, the Quartet has already performed at the Musikverein and the Konzerthaus in Vienna, the Concertgebouw in Amsterdam, the Barbican Centre in London, at the Théâtre des Champs-Elysées and at the Cité de la Musique in Paris. Not to mention the accolades, among which the first prize and three special prizes at the Haydn Competition in Vienna.
The Quartet’s repertoire ranges from classical to contemporary music, for which the formation has a special fondness. The programme they will perform also shows it: next to two of the greatest French authors, the ensemble interprets the Secondo Quartetto by the Italian young composer Francesca Verunelli, piece commissioned by ECHO as part of the Rising Stars programme, presented last year in the most important European capitals and now in Città di Castello as an Italian première.

Daniele_Lombardi©Fabio-Mantegna-Blois

UNE SOIRÉE À PARIS
FRIDAY, 26TH AUGUST 2016- 6 P.M

Sansepolcro, Auditorium of Santa Chiara

UNE SOIRÉE À PARIS

Daniele Lombardi critical introduction
Winner singers of the 2015-2016 contests
from the Teatro Lirico Sperimentale of Spoleto «A. Belli»

Enrico Cicconofri, Luca Spinosa e Daniele Lombardi piano

ALBERTO SAVINIO Les Chants de la Mi-mort Suite
GIAN FRANCESCO MALIPIERO da Cinq mélodies: Chanson morave,
Le Jeux Couleur du temps, Pégase, texts by di Victor Margueritte
ALBERTO SAVINIO Chants étranges: extracts
JACQUES OFFENBACH Ba-ta-clan: selection

In the early twentieth century Paris is already an international city: still excited by the Impressionist revolution, this is where the greatest artists of all time meet, and the ‘key word’ for arts and music is ‘freedom of expression’. The optimism of the Belle Époque era is fading, nothing can be the same again. It is the beginning of modernity. Let’s think about Malipiero: Paris was decisive for his artistic career, after attending the première of Le Sacre du printemps, he decided to repudiate much of the works composed before 1913. Soon after he arose the Cinq mélodies. Or let’s consider Alberto Savino, one of the most subersive and anti-academic artists: in 1914 he introduced at the Soirées Musicales, Les Chants de la Mi-mort, playing standing and coming to hurt his hands in a performance that baffled the audience.
In this new show of the ‘Sperimentale’, the winners of the European contest for young singers, give voice to some of the paths followed by the music in that period – which coincided with the outbreak of the Great War and marked by the need for renewal. Also, it will be an occasion to remember a tragic moment in our current when we will listening to Ba-ta-clan, the operetta by Offenbach after which is named the concert hall in Paris, infamous for the bloody attack last November.

Mondelci bn

LE SAXO
FRIDAY, 26TH AUGUST 2016 -9 P.M.

San Giustino, Court of Castello Bufalini

LE SAXO

 

Le Saxo Ensemble
Federico Mondelci conductor and saxophone
Massimo Morganti trombone

JACQUES IBERT Concertino da camera for alto saxophone and 11 instruments
DARIUS MILHAUD Scaramouche for saxophone and string ensemble, winds and percussions
EUGENE BOZZA Aria for saxophone and strings
JEAN FRANÇAIX Cinq Dances exotiques per sassofono e archi
Plaisir d’Amour Suite of American and french songs (arrangements by Massimo Morganti)

 

The saxophone is the emblematic instrument of the nation which created and adopted it: France. Some original masterpieces drawn from the French literature of the twentieth century – signed by Ibert, Milhaud, Bozza and Françaix – will enable Federico Mondelci to explore the many technical and expressive potential of this instrument, which knew its popularity between the nineteenth and twentieth century, even thanks to its ease of sound it will become the protagonist of many popular genres.
Among these, of course, there is jazz: the second part of the concert will offer – next to some French songs- a suite of the most beloved songs of George Gershwin in the arrangement of the trombonist Massimo Morganti. It makes clear how subtle, in certain moment of the twentieth century, the border between classical music and jazz, and how different melodies, then become standard, are now common to both repertoires.
The Saxo includes, among its components, both classical and jazz musicians, who look thoughtful for the expression of a perfect balance between classical and improvised music. The classic sound is obtained from an ensemble of strings, winds and percussion, to which is added, in the second part of the programme, a rhythm section made up of semi-acoustic guitar, drums and bass.

PETRA MAGONI e FERRUCCIO SPINETTI
Eutropia Festival
Citta' dell'Altra Economia
Roma 25 Luglio 2014

MUSICA NUDA
SATURDAY, 27 TH AUGUST 2016- 9 P.M

Città di Castello, Church of  San Domenico

 

 

MUSICA NUDA
Petra Magoni voice, Ferruccio Spinetti double bass

in DES RONDS DANS L’EAU

JACQUES BREL Non andare via (Ne me quitte pas), CLAUDE NOUGARO Le Vie en noir
ÉDITH PIAF/LOUIS GUGLIELMI La Vie en rose, SERGE GAINSBOURG Couleur café
JACQUES BREL La canzone dei vecchi amanti
MOGOL/PIERO SOFFICI Tout s’arrange (French version by André Salvet and Claude Carrère)
FRANÇOISE HARDY Des Ronds dans l’eau, PAOLO CONTE Les Tam-Tam du paradis
HENRI SALVADOR Mon Amour, NINO FERRER Mirza
GILBERT BÉCAUD Quand il est mort le poète , GEORGES BIZET/THE BEATLES Carmen/Come together

 

Le Chat Noir by Rodolphe Salis was a famous club in Paris in late nineteenth century, where he held cabaret shows, shadow theatre and performances by chansonnier. Located at the foot of Montmartre, soon became the symbol of the bohemian life and a meeting place for artists and poets such as Verlaine, Debussy, Satie and Strindberg … Retrace the sparkling atmosphere of one of those evenings at the club is what Petra Magoni and Ferruccio Spinetti- respectively, voice and bass of the duo – Musica Nuda– intend to do. The duo, born almost by chance, is today much sought- after for its peculiar and multifaceted style with which they face the most diverse repertoires. Since 2003, Petra and Ferruccio have made more than a thousand concerts worldwide, also reaching prestigious stages such as the Olympia in Paris and the Hermitage in St. Petersburg.
Des Ronds dans l’eau, their new project dedicated to France – country, , where the two artists are particularly appreciated – is specifically designed for this year’s Festival, in order to explore and reinvent the great French songwriters from the famous song of Françoise Hardy up to the great classics of Brel, Piaf, Gainsbourg and Bécaud, with some impressive cameo by Paolo Conte or The Beatles.

MICHELE MARASCO flauto
MARTA CENCINI pianoforte
DANILO ROSSI viola
STEFANO BEZZICCHERI pianoforte
FESTIVAL DELLE NAZIONI 2012
4 SETTEMBRE
CITERNA
CHIESA DI SAN MICHELE

Danilo Rossi/Stefano Bezziccheri
SUNDAY, 28TH AUGUST 2016 -6 P.M.

Umbertide, Collegiata Church of Santa Maria della Reggia

 

Danilo Rossi viola
Stefano Bezziccheri piano

JOHANNES BRAHMS Sonata n. 1 in G major op. 78 (transcription for  Viola and Piano by Thomas Riebl)
HENRI VIEUXTEMPS Sonata in B-flat major for viola and piano op. 36
LOUIS VIERNE Deux Pièces for viola and piano op. 5

 

Danilo Rossi and Stefano Bezziccheri have been playing in a duo for over twenty years and have explored the entire repertoire for viola and piano: come as no surprise then that for this concert in tribute to France they chose an original programme and certainly poorly attended in the Italian concert halls. Beginning with the Sonata op. 78 n. 1 by Brahms composed for violin and piano but here proposed in the transcription for viola by Thomas Riebl: a piece of sublime lyricism, built using thematic material of his Regenlied. Together with the music of Brahms, they will play Vieuxtemp, composer of Belgian origin, but star of a cosmopolitan violin career (he also lived in Paris and performed in all the major European capitals, for some years he played at the imperial court in St. Petersburg). In addition to the violin, Vieuxtemp also develop a passion for the viola, composing some pages of great interest as it is this Sonata of 1863. Finally Louis Vierne: organist of Notre-Dame from 1900 to 1937, he performed in concert in Europe and North America and raised the necessary money for the restoration of the precious organ of the cathedral. Its production for other instruments is not very known, but hides some small jewels, such as Deux Pieces, Le Soir and Légende, composed before taking the prestigious role.

Ensemble Suono Giallo ©Emanuele Vanni ok

Suono Giallo Ensemble
SUNDAY, 28TH AUGUST 2016 -9 P.M.

Città di Castello, Palace Vitelli alla Cannoniera

 

Suono Giallo Ensemble
Andrea Biagini flute
Michele Bianchini saxophone
Fabio Battistelli clarinet
Simone Nocchi piano
Laura Mancini percussions

L’ARGENT OR THE UNIVERSAL BANK loosely based on L’Argent by Émile Zola dramaturgy and and voice over by SANDRO CAPPELLETTO music by PIERRE THILLOY PREMIÈRE commissioned by the Festival delle Nazioni

THEOCHARIS PAPATRECHAS condamné à son éternité paralysée PREMIÈRE

GIOVANNI SCAPECCHI Prière à Dieu from Traité sur la tolérance by Voltaire PREMIÈRE

A subject of topical, as the story of a financial failure has inspired L’Argent or The Universal Bank, a music project in première by the French composer Pierre Thilloy commissioned by the Festival delle Nazioni, with dramaturgy by the writer and music historian Sandro Cappelletto. The inspiration does not come from the news of these days – as at first you might think – but from a work by the late nineteenth century French literature: the novel L’Argent (Money) by Émile Zola, inspired by the parable of the banker Paul Eugene Bontoux and his investment bank the Union Générale failed in 1882.
Thilloy, born in 1970 in Nancy, began his musical studies rather late, he is a prolific composer and with an eclectic style, he composed symphonies, concertos, a large number of chamber works, transcriptions and adaptations. Young, but already established, are the other two authors of the music performed in the première of the second part of the evening: Theocharis Papatrechas, born in Athens in 1988, and Giovanni Scapecchi, born in Arezzo in 1977.
The theme of this evening, dedicated to contemporary music, is the interpretation of the Ensemble Suono Giallo, which distinguished itself in recent years for the composition of several new pieces on the occasion of the centenary of Alberto Burri.

CAPUCON RENAUD_Marc Ribes (c) FLC- ADAGP, Paris 2007

Renaud Capuçon/Jérôme Ducros
MONDAY, 29TH AUGUST 2016- 9 P.M.

Città di Castello, Church of  San Domenico

Renaud Capuçon violin
Jérôme Ducros piano

WOLFGANG AMADEUS MOZART Sonata n. 21 in E minor for violin and piano KV 304 / KV6 300c
MAURICE RAVEL Sonata n. 2 in G major for violin and piano
MAURICE RAVEL Tzigane version for violin and piano
RICHARD STRAUSS Sonata in E-flat major for violin and piano op. 18

Two prestigious interpreters and a beautiful programme, from Mozart to Ravel, make of this concert one of the most anticipated events in 2016 Festival edition. Renaud Capuçon does not need many presentations: he is one of the most interesting violinists of the scene today. Born in 1976 in Chambéry, and in career for over twenty years, playing an instrument Guarneri del Gesù ex-Panette dated 1737, the same precious violin that accompanied Isaac Stern for about fifty years, bought for him by the Banque Suisse Italienne. In dialogue with Capuçon, there is a close-knit musical partner, the pianist Jérôme Ducros, with whom he has already recorded concerts in the most prestigious halls.
The programme is challenging and traces three crucial stages in the history of the Sonata for this duo. From the classicism of Mozart’s Sonata KV 304 – composed in 1778 during his third stay in Paris- to the ‘extremes’ of the genre with two pages of the twenties of the twentieth century; the Tzigane and the Sonata no. 2 of Ravel, for which he said that violin and piano are two “essentially incompatible instruments”; in between there is the op. 18 by Richard Strauss, the last of his youthful compositions, composed between 1887 and 1888.

SUN HEE YOU ok

Sun Hee You
TUESDAY, 30TH AUGUST 2016- 6 P.M.

Città di Castello,  Palace Vitelli alla Cannoniera

 

 

Sun Hee You piano

ALEKSANDR SKRJABIN Fantasie op. 28
SERGEJ RACHMANINOV Prélude op. 23 n. 4 in D major
SERGEJ RACHMANINOV Prélude op. 32 n. 12 in G-sharp minor
SERGEJ RACHMANINOV Prélude op. 23 n. 6 in E-flat major
SERGEJ RACHMANINOV Prélude op. 23 n. 7 in C minor
SERGEJ RACHMANINOV Prélude op. 32 n. 10 in B minor
SERGEJ RACHMANINOV Prélude op. 23 n. 2 in B-flat major
ERIK SATIE Gymnopédies n. 1 and n. 3
FRANCIS POULENC Trois Pièces 1953 version
NIKOLAI KAPUSTIN Variations op. 41

 

Among the most ‘revolutionary works’ of France in the late nineteenth century a place of primary importance concerns the stunning Gymnopédies by Erik Satie, pieces of mystical calm and relaxed simplicity that aroused wonder and fascination in the audience of that time, as the one of today – were published in Paris in 1888. The Impressionism was for Satie a reference and inspiration, even for the Group of Six and Francis Poulenc, as it could be noticed in his Trois pièces of 1928, then revised in 1953. To these two great French musical figures the program combines the Fantasie by Scrjabin, the most visionary of Russian composers, and the virtuosity of the Preludes by Rachmaninov, unavoidable test for every pianist.
Among the most interesting emerging talents, the Korean Sun Hee You is meeting great approvals both from the critics and the juries of competitions. Since her debut as a soloist with the orchestra Yangeum of Seoul, she has managed to transform the qualities of a prodigy child in the expressive and technical maturity of a complete artist. In her wide repertoire, stands a certain fondness for the music of the twentieth century: after recording some works of Alfredo Casella, his attention now turns to the music of the Ukrainian Nikolai Kapustin, who interprets the jazz variations based on the very beginning of Le Sacre du Printemps by Stravinsky.