Aldo Moro sings his baritone voice with tragedy. It happens in Paris on Thursday, for the 'first' absolute Moro, chamber opera with a libretto by Andrea Mannucci Marco Ongaro. Nothing strange opera has finally stopped pretending that the world is finished in 1920. Some examples? Nixon in China by John Adams, the historic state visit of Nixon to Mao, has become a classic of musical theater and even just landed at the Metropolitan in New York. The 17 will debut at Covent Garden in London Anna Nicole Mark-Anthony Turnage, about life and death of Anna Nicole Smith, Playmate who married an old billionaire, but he did not live to enjoy the widowhood. To stage one of too many recent tragedies Italian does not seem so eccentric, if anything weird is that work on a story as 'our' debuts, and Italian, in Paris. Already Filippo Del Corno, in 2008, had staged a Moro lyrical title: Do not look to the future. "But my approach - Mannucci says - is very different. Not only from a musical standpoint but also from the drama. "
Mannucci & Ongaro are now tested a couple. Moro is their third title lyric after the cook felon and Kiki de Montparnasse, a comic opera and a biography. We must not think of a guide in direct of the kidnapping, imprisonment, the "process" and finally the assassination Moro: "To me - says Ongaro - interested in finding, beyond melodrama, tragedy. And a few contemporary events are like that of Moro, a powerful suite of power and the end of life. We did not want to sing and could perhaps even Paul VI or the Red Brigades, but tell the agony of a man. " So Moro is seen in the painful solitude of the hideout of the Red Brigades, and duets with a soprano and a tenor-Cassandra-Angel who represent the religious and secular culture: "All stylized as in a classical tragedy - adds Ongaro -. Let's say we did the opposite of what is fashionable today to the theater, where you give contemporary surroundings in classic events, like the Heracles-agent stock market I've just seen the Comédie-Française. We instead take a historical fact and we make a classical tragedy. How, moreover, Bellocchio has made in his film. " The list of sources is challenging Ongaro: "The letters of the statesman, the book by Miguel gotor on the event, and Nietzsche's Birth of Tragedy." Words first and then the music: "The beginning is violent - so Mannucci says his score -. But as he accepts his fate Moor music seems to fold in on itself. " Contemporary subjects for the work of contemporary fashion or necessity? Mannucci has no doubts: "The need, even to retrieve a" social "role that we composers of today we have lost. And to give content to the music we write. "
Meet in the church (Calvinist) Batignolles for the production of a company called Opera de Poche 'pocket opera': three singers, chamber orchestra, director Luigi Cerri, director of the emerging Andrea Battistoni, sponsored by the Institute Italian Cultural Institute of Paris and Dante Alighieri. But why Moro in Paris? "I've been wondering too - sigh Ongaro -. I proposed the work in Italy and Verona in particular, which is my city and where there is a lyrical body, already three years ago, for the thirtieth anniversary of the tragedy. In Italy we had no answers, so in France. E 'opera "small", long hour and a chamber organ, suitable for this time of crisis and hardship. But in Verona debut on March 12, thanks to the bishop who came to know of the work, wanted to read my book and decided to represent it in the Cathedral to open Lent. In France our Moro is staged in a Protestant church in Italy in a Catholic cathedral strikes me as significant. It is very beautiful. "
Alberto Mattioli
www.lastampa.it
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