“Cantata per lo sposalizio del Principe di Sansevero” by Mariano Bauduin e Alessandro De Simone (Italy)
By Stefano • May 18th, 2008 • Category: Agenda| June 10, 2008 | ||
| 9:30 pm |
CANTATA PER LO SPOSALIZIO DEL PRINCIPE DI SANSEVERO
directed by Mariano Bauduin
music by Alessandro De Simone
production Napoli Teatro Festival Italia
10th June 9.30pm
First night
language Italian
duration 70′
location: Cappella di Sansevero
serenade and oratory by Mariano Bauduin and Alessandro De Simone
apocrypha pieces Alessandro Caricchia
with Alessandro Caricchia, Massimiliano Rossi, Giovanni Mauriello, Marco Caricchia, Maria Ercolano, Bernadette Siano, Daniela Del Monaco
director Renato Piemontese
chorus director Anna Sorrentino
costumes Zaira De Vincentiis
costumes assistant Marianna Carbone
set-design Gennaro Vallifuoco
music by Alessandro De Simone
text and direction Mariano Bauduin
organizzation Sara Marrucci
artistic secretariat Rosa Manfredi
wardrobe manifacture G.P. 11 Roma
periwigs Sorrentino
shoes Pompei
stage director Niko Mucci
scenography realized with the collaboration of Filomena Amadoro Luca Migliozzi, Mariano Ferreri, Maria Sorvillo, Elisabetta Marrazzo, Claudia Cirillo, Simone Coppeta, Lina Paradiso, Delia Ferreri, Mariarosaria Vestale, Gennaro De Rosa, Salvatore Morrone, Alessandro Rusciano
Bauduin’s work draws its inspiration from the cantata for the wedding of Don Raimondo de Sangro Principe di Sansevero written by Giovan Battista Pergolesi in 1735. Pergolesi set to music the first part of it only: Il tempo felice.
Pergolesi’s cantata (we have the complete libretto of it only) is the pretext to create a new performance-concert on the figure of the Principe di Sansevero, on the importance of this “cantata” in the Neapolitan 18th century characterised by a rich sacred music production. A scientist, philosopher, aeshete, alchemist, freethinker, the Prince, as suggested by the author of the Cantata, can be considered as a sort of pre-follower of the Enlightenment movement, an intellect that does not leave out of consideration any human, divine and religious experience. Through his figure, and all the stories about De Sangro’s house, a new approach to the idea of Enlightenment is suggested: as explained by Bauduin, «it is not the progressive idea as such what creates the new modern man, rather his mental and intellectual ability, the ability of an individual who knows that he can think, freely».
The Cantata consists of different dramaturgy levels: performance of the music by Leonardo Leo, Nicola Porpora (specifically reviewed, devised and composed by Alessandro De Simone and Mariano Bauduin), alternated with a number of recited passages, including the apologetic Testament by Mariano Bauduin, La Santa Rosa di Francesco Zacconi, and various works for the wedding of the Principe di Sansevero by Giambattista Vico and others.
Mariano Bauduin has a close cooperation with Roberto De Simone; he deals with the setting up of opera, theatre and cinema performances, installations for music performances. His latest works as assistant director include the staging of Eden Teatro (2003), Histoire du soldat (2004), Il ratto dal Serraglio (2004), La donna vendicativa (2006), Là ci darem la mano (2007), Cavalleria rusticana (2007) and Falstaff (2008) directed by Roberto De Simone. He directed the Don Giovanni di Mozart (2005) at the Opera Theatre of Bilbao, the secular cantata Canto e Scanto per San Gennaro by M. Bauduin and D. Napolitano (Terenzio Gargiulo Prize for Composition 2006), Il silenzio muore senza lutto (2003) by and with Edoardo Sanguineti, the adaptation of Gianni Schicchi (2007) and Socrate immaginario (2007). Since 2004 he has been carried out research works on ethnomusicology and anthropology in Campania, under Roberto De Simone’s direction, on behalf of the Accademia di Santa Cecilia in Rome and the museum of folk arts and traditions of Rome.
Related Posts:
Stefano is
Email this author | All posts by Stefano
