Thoughts

Stylistic mobility is essential in reaching the many aspects and various themes in musical and theatrical subjects. I listen to the adaptability with which the instrument-orchestra is treated; a huge subject, formless, able to take shape according to the vision of the dramatic arc. Subjects can be infinitely varied and changeable. For each one, the protective field of its musical representation must be identified and moulded. Shakespeare or daily life: everything can be music. For every chosen subject, I fine-tune a strategy in order to cross that field. At times it is the subject that suggests how to define the opera from a technical point of view: it points me towards the material, the chemistry needed for the alchemy that can be harmonically rich or piercingly noisy. Grainy or soft. In this case, the subject reveals the instruments. It defines worlds of different sounds. It is possible to re-interpret Shakespeare. The magic of these texts, liquid and bodiless, enables them to continuously change shape and take on a new identity. By highlighting contemporary, current elements, we can access infinite ways to tell the same story. This is one of the privileges bestowed upon a myth compared to an ideology that is bound by time: to confer an absolute abstract to history and art. At other times, I will start from the captivating power of sound: from a vision of joining together sounds that have their own intrinsic power, their own theatrical features. I work on it; I develop it without weighing it down with any particular significance. Even in this case, my music tells a story. But not in a didactic way: it is a narrative that leads us to what is inside a sound, from the magmatic mass of an orchestra to the most faint and supple key. It is a fabula in and around sounds. Created to lose the connotations of sound, to forget its common definition. Re-interpreting the original. It is a multi-stratified score and each layer offers a new dramatic element. By interpreting and listening to it on various levels, we begin a process towards musical knowledge that can be accomplished from different angles. I don’t take anything for granted nor do I offer only one version of listening. Gradual access to a deeper level of the score is left to the artistic sensibility of the performer. This way, there is always something left to discover. I think that the possibility of allowing for various levels of interpretation, of offering many listening points, represents the power of the work of art in itself.