Tuesday, August 11, 2015 , 4:45 a.m.
Belvedere di Villa Rufolo
Orchestra Filarmonica La Fenice
Alvise Casellati, conductor
Michelangelo Carbonara, pianist
Josu De Solaun*, pianist – Stefan Tarara*, violinist – Eun-Sun Hong*, cellist
Music by Beethoven, Dvořák, Carrara**
*First prize at International Competition “George Enescu”, 2014
** World première
Single place: 60 e.
See more at: Ravello Festival
Music by Cristian Carrara
Sunday, 12 July, Piazza Santa Margherita, L’Aquila, at 9.30 p.m.
Drama and production: Maria Cristina Gianbruno
Conductor: Flavio Emilio Scogna
Performers: I Solisti Aquilani
Sunday 12 July, Piazza Santa Margherita, L’Aquila
Tuesday 14 July, Largo Madonna delle Grazie, Teramo
Thursday 16 July, Teatro Marrucino, Chieti
Sunday 26 July, Ex-Aurum, Pescara
Tuesday 28 July, Belvedere, Castelbasso
Faust Bojan, also called Faustus, is the protagonist of a German folk tale that has been used as the basis for numerous works of fantasy. Faustus, scholar eager for knowledge, unable to settle for the academic knowledge, makes a pact with the demon Mephistopheles: absolute knowledge and the services of Lucifer’s emissary at the price of his soul. Maria Cristina Giambruno makes ad adaptation of Faust from the work of the Bohemian Guidus Bonnesck, that inserts in the history Kasper, traditional character of puppetry in central and Northern Europe. He, shrewd Faustus’s servant, will succeed where his master will instead have failed: cheat the devil.
“The musics for this Faust have little of gloomy, demonic. They are quite a journey, with different colors, in the universe of man. That Faust that it often resembles us, suggested me to write the music very close to each of us. Musics that I hope create closeness, sometimes identification with the characters that follow one another on stage. Because, after all, the story of Faust speaks of man in general, and of all its weaknesses. So this music. All characters have their own musical theme. Except Mephistopheles. That has no face. Or rather, it has many faces. And for this he hasn’t a his “music”. He hides behind various musical “faces”. Mephistopheles is changing, mimetic, undefined and indefinable. So Mephistopheles can not have his own musical profile. I chose to write musics that are a cross between stage music, commentary, and music typical of the musical theater, and more present, more thematically defined.” ( Cristian Carrara)