ADRIANA ASTI
BERTOLT BRECHT
KURT WEILL
Bertolt Brecht'sopera is an immense, disturbing, fascinating and provocative lyrical diary. The theater, poetry, songs, splinters, fragments, and excruciating observations on the world and art build a true literary, cultural and social biography of the first half of the 20th century. The performance that Adriana Asti dedicates to the "maestro" is meant to be a tribute to his art. A look at the "short century" between immense tragedies and new conceptions of the world and humanity. A look, Brecht's, that knows how to be accusatory towards human miseries and vileness, but also good-natured, light-hearted and full of amazement at the small and great riches that like plums "perhaps they will continue to to bloom." Which knows how to become pure abstraction, luminous tension, but also knows how to become flesh, prose, to become a very human voice. A gaze that, accompanied by the pungent and revolutionary notes of one of the greatest protagonists of the musical scene of the last century, which was Kurt Weill, becomes an authentic human cry that opens the door to a world as torn as it is relevant today. In this performance, therefore, alongside some of the German master's great masterpieces, space will also be given to to lesser-known sides. Not only, then, to the poet of commitment, demonstration, allegory, but also to the one of the flesh, to the one who mingles among the people. Jadasmeeristblau (title taken from from a song by Happy End) is composed from a varied repertoire of Brechtianopera and is a new opportunity for Adriana Asti to devote herself to a "total" performance. After the great success of Stramilano, it is in fact another real "operina" performed together with the piano by Alessandro Nidi, who is also the author of the arrangements and musical direction. Surprising passages between the songs of Happy End, those ofOpera from three money, and Brecht's poems. Struggle, pain and pity, but also lightness, kindness and irony. At the center is the striking theatrical fresco of The Jewish Wife, transformed into an exciting dialogue between words and music.
musical direction ALESSANDRO NIDI
clarinet **Massimo Ferraguti **
accordion Nadio Marenco
lights Daniele Nannuzzi
production assistant** Silvia Rigon**
sound engineer Sergio Barlozzi
production Fondazione Teatro Metastasio di Prato
stage design director **Ottorino Neri **
technical direction
technical direction coordination Daniele Di Battista
general technical secretariat Silvia Preda
lighting manager **Graziano Albertella **
machinist sector manager **Paolo Zappelli **
stage director Rodolfo Santoni
chief engineer Michele Colella
machinists Enrico Calabresi, Massimiliano Marotta
moving light console operator **Fiamma Baldiserri **
chief electrician** Roberto Gelmetti**
electricians Baldoni David
chief toolmaker **Patrizia Valentini **
toolmaker Eleonora Briguori
tailoring manager Chiara Crisolini Malatesta
seamstresses Clelia De Angelis, Giuliana Rossi
set design** technical staff Festival dei Due Mondi**
audio service** OPERA26 GROUP**
lights Luce E' S.r.l Florence
pianos **Angelo Fabbrini **
transport GBANG S.r.l.
E.T.C. light adjustment computer. Italy www.etcconnect.com
the songs
1- BALLATA OF SEXUAL SLAVE - L'opera from three money
2 - SURABAYA JOHNNY - Happy End
3 - MANDELAY SONG - Happy End
4 - BARBARA SONG - L'opera from three money
5 - BILBAO SONG - Happy End
6 - BALLATA OF AGIATEZZA -_ L'opera from three money_
7 - **JENNY'S SONG **- L'opera from three money
8 - MATROSEN TANGO - Happy End
9 - **The SONG OF INADEQUACY **- L'opera from three money
10 - **MACKIE MESSER'S BALLADE **- Theopera from three-money
11 -_ ALABAMA SONG - Rise and fall of the city of Mahagonny_
Throughout her theatrical career she has been directed by, among others, from Strehler, Visconti, Ronconi, Harold Pinter, Susan Sontag, Alfredo Arias interpreting with recognized mastery great characters of classical and modern theater. She has inspired authors such as Ginzburg, Siciliano, Patroni Griffi, Cesare Musatti and Franca Valeri, who have created for her unforgettable protagonists for our stages. from many years she also acts in French and has managed to to introduce some of her heroines, with great success, on the stages of Paris. She has written two plays, Dear Professor and Alcohol, performed for more than 200 performances, and two novels published in France, Rue Ferou and Se souvenir et oublier. The latter also published in Italy from Edizioni Portaparole under the title Ricordare e dimenticare. She has participated to more than 60 films directed by, among others, from Visconti, De Sica, Pasolini, Bertolucci, Bolognini, Brass, Giordana, Techiné and Bunuel._ Stramilano_, nostalgia in music for her city, and_ Ja das Meer ist blau_, poems and songs by Brecht and Weill, shows from she devised, see her in her new role as a singer. For her performances she has received the Ennio Flaiano Award, three Maschere d'oro, four Nastri d'argento, the David di Donatello, the Grolla d'oro, the De Sica Award and the Ciak d'oro. He has been a Grand Officer of the Italian Republic since 2004. In 2009 Robert Wilson directed her in Samuel Beckett's Happy Days. In 2011 she was awarded the title of Chevalier dans l'Ordre des Arts et de Lettres. In 2013 she starred in_ The Human Voice/The Beautiful Indifferent_ by Jean Cocteau directed from Benoit Jacquot. In 2014 she was Alice in _Danza macabra_ by August Strindberg directed by Luca Ronconi, a show with which she toured nationally and internationally until 2016. In 2017 she narrated herself in Memorie di Adriana, a stage adaptation from the book Ricordare e dimenticare, a conversation between Adriana Asti and René De Ceccatty, directed by Andrée Ruth Shammah. Also in 2017, he wrote Un futuro infinito. A short autobiography published from Mondadori. In 2018 she plays the role of _Donna Fabia _in the film Installation by Marco Tullio Giordana, from the poem by Carlo Porta.
Composer, conductor, arranger and pianist. In 1985 he began an intense collaboration with the "Toscanini" symphony orchestra working to several productions, offering himself also as an author and arranger, contaminating pop with classical music. In 1987 he conducted the world premiere of Franco Battiato'sopera , Genesi. He collaborates with various artists from the world of opera, pop and drama. He has worked with R. Kabaivanska, M. Pertusi, C. Gasdia, M. Freni, R. Bruson, to. La Scola, L. Dalla, F. Battiatio, M. Gazzè, F. Guccini, M. Ovadia, Elio e le storie tese, to. Ruggiero, I. Danieli, N. Marcorè, G. Russo, Alice, E. Pieranunzi, to. Asti, M. Crippa, V. Pivetti. He has composed operas, oratorios, musicals and stage music for various Italian and European theaters (Salzburg Festival, Ravenna Festival, Madrid Scenic Arts Festival, Teatro alla Scala, etc.), collaborating with directors such as: P. Stein, G. Dall'Aglio, W. Le Moli, L. Quintavalla, G.B. Corsetti, E. De Capitani, D. Abbado, F. Montecchi, G. Ferrara, C. Pezzoli, M. Martone, M. Ovadia, C. Lucarelli. In addition to his compositional and conducting work, Nidi has an intense teaching activity: in a special course, designed with the Fondazione Toscanini, he teaches elementary school children the art of conducting. He is artistic director of the Teatro Nuovo in Salsomaggiore Terme.
He completed his musical studies at the Conservatory "to. Boito" of Parma. Since 1982 he has held the position of first part with the orchestras of the Teatro Carlo Felice in Genoa, Teatro Comunale in Bologna, Fondazione Arturo Toscanini in Parma, and also collaborates with the Orchestra from chamber of Mantua, Gruppo Musica Insieme in Cremona, and Nextime Ensemble. He has given concerts as solo saxophone with the "Arturo Toscanini" Orchestra and the S. Remo Symphony Orchestra. He is the founder of the "E. Varese" Ensemble, the "Traiettorie" Festival, the "Trio Gardel" and the "Uberbretll Ensemble." He has given concerts for major Italian and foreign institutions such as the Salzburg Festival, Wien Modern, Wiener-Festwochen, Oporto Christmas Festival, Festival d'Automne in Paris, Festival d'Avignon, Edinburgh Festival, Cervantino Festival in Mexico, Conservatorio "Ciaikovskj" in Moscow, Teatro dell'Opera in Beijing, Accademia di S. Cecilia, Teatro alla Scala, Settembre Musica Torino, Accademia Filarmonica Romana, Ravenna Festival, Teatro dell'Opera in Nice. He founded in 2004 the "Giuseppe Verdi" Symphony Orchestra of Parma, of which he is Artistic Director, and with which he has performed numerous concerts and opera productions, in prestigious settings. Since 2010, he has also been General Manager and Artistic Director of the Orchestra and Choir of the Veneranda Fabbrica del Duomo in Milan. He has reconstituted the "Nuovo Concerto Cantoni" personally taking care of the revision and historical reconstruction of the scores, recording two CDs published under the patronage of the Fondazione Teatro Regio di Parma, as well as conducting it in prestigious settings. He collaborated with the Fondazione Teatro Stabile di Parma and Teatro delle Briciole in the creation of stage music for the Teatro Festival di Parma and for important plays, with which he participated to several festivals and tours in Italy and Europe, working, among others, with Maddalena Crippa, Adriana Asti, Elisabetta Pozzi, Massimo Popolizio, Renato Carpentieri, Ninetto Davoli, Isa Danieli, Veronica Pivetti. He has collaborated in the Jazz field with important artists such as D. Liebman, K. Weeler, J. Surman, E. Pierannunzi. Since 1984 he has been a tenured professor of saxophone at the Conservatory "to. Boito" in Parma.