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?
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PROGRAMME
25 August, 4 p.m.
1. Puccini, Bussotti and modernity
26 August, 10 a.m.
2. Opera in the 2000s and its entanglements
26 August, 3 p.m.
3. A new canon for Opera?
27 August, 10 a.m.
4. Theatre venues and media in the opera story today
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. –
– 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.
