The space dedicated to contemporary creativity also includes the Conference
QUO VADIS OPERAInternational Study Days curated by musicologist Michele Girardi.
The future of opera and musical theatre is a hotly debated topic that has become increasingly relevant in the light of the pandemic events that have affected theatre life.
What is lacking in “contemporary” opera to attract the same number of spectators as the famous “repertory” title?
This highly topical debate will be the subject of an international conference at Torre del Lago during the Puccini Festival, coordinated by Michele Girardi, one of today’s foremost scholars of musical dramaturgy.
Now that musical theatre has entered its fifth century, it is more necessary than ever to reflect on its narrative and formal mechanisms, on its relationship with a world that has changed radically, especially in recent decades. The storyteller of the past no longer has to narrate his stories only to the spectators of traditional theatres, but has to measure himself with the developments of information technology and the users of the internet, taking into account the aesthetic experiences of the past in order to imagine the times to come.
The theatre on Lake Massaciuccoli, dear to Giacomo Puccini, and the auditorium dedicated to one of the first musical legends of the modern era, Enrico Caruso, are ideal places to host a group of artists and scholars who propose to mix their skills in order to draw up a concrete diagnosis of the musical theatre of the near future. Quo vadis opera? is the question that will be discussed in four sessions devoted to key themes, such as the investigation of the operatic ‘canon’, theatrical narration today, in the context of directing theatre and Media, the role of performers, stage space and more.
The role of one of the most important composers of the post-war musical avant-garde, Sylvano Bussotti, a versatile musician-librettist-director-scenographer, who was artistic director of the Torre del Lago Festival at the beginning of the 1980s, will be critically examined in this context, pointing to a constructive relationship in opera-making between Puccini and the current state of musical production.