CARMINA CHROMATICO
10/9/2022 9:00 p.m.
Piazzetta Vittorio Emanuele II
Piazzetta Vittorio Emanuele II
Concert of Fedra ensemble: Giulio Corini, Daniele Richiedei, Simona Severini.
Con Peo Alfonsi, Olmo Chittò, Salvatore Maiore, Fulvio Sigurtà.
Fedra ensemble is an extension of the trio Fedra (Giulio Corini, Daniele Richiedei, Simona Severini) born for a commission of the Teatro Grande in Brescia in 2017, and since then always in activity, guest of several festivals throughout Italy, including in 2021 "I concerti del Quirinale" live on Rai-TV and on Rai Play.
The staff for the 'Carmina Chromatico' project extends to seven musicians, including some of the most interesting jazz musicians on the national scene (Peo Alfonsi, guitar - Olmo Chittò, marimba - Salvatore Maiore, cello - Fulvio Sigurtà, trumpet) who share a great sensitivity towards chamber sounds.
A visionary and ingenious music, which in certain technical aspects seems to have been written many centuries later. The first piece, Carmina Chromatico, is a prologue that Lasso uses to warn us that the polyphonic experiments we are about to hear are a sort of transposition into music of the spiritual ecstasy of the twelve Sybils in a prophetic trance.
Fedra is a group with a creative and free approach that explores 500 years of music history: from Monteverdi to Lucio Dalla, from Puccini to Carla Bley, from Purcell to Duke Ellington, from Orlando di Lasso to Joni Mitchell.
The staff for the 'Carmina Chromatico' project extends to seven musicians, including some of the most interesting jazz musicians on the national scene (Peo Alfonsi, guitar - Olmo Chittò, marimba - Salvatore Maiore, cello - Fulvio Sigurtà, trumpet) who share a great sensitivity towards chamber sounds.
Carmina Chromatico is a homage to the madrigal cycle Profetiae Sybilrarum by Orlando di Lasso, one of the greatest musical masterpieces of the Renaissance, dedicated to the twelve Sibyls.
A visionary and ingenious music, which in certain technical aspects seems to have been written many centuries later. The first piece, Carmina Chromatico, is a prologue that Lasso uses to warn us that the polyphonic experiments we are about to hear are a sort of transposition into music of the spiritual ecstasy of the twelve Sybils in a prophetic trance.
The reinterpretation by Fedra of some passages from this work makes even more evident a harmony that Lasso seems to have borrowed from the future, and which serves as the skeleton for a new composition, interwoven with improvisation. Starting from the creative spark proposed by the artist residency, the concert follows an extremely varied path, confirming the approach of total openness that has always characterised Fedra's concerts. We travel a great deal in space and time: from Renaissance polyphony to modern song writing, the leap can be very short.
Free concert.
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