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TRILOGY IN TWO – ROMA
November 6, 2019
TRILOGY IN TWO
a mosaic opera by Andrea Liberovici with Helga Davis and Schallfeld Ensemble.
Musical direction : Sara Caneva
Music, libretto, video, direction: Andrea Liberovici
a co-production by Teatro Nazionale di Genova and Fondazione I Teatri / Festival Aperto, Reggio Emilia with Schallfeld Ensemble
Trilogy in Two is a contemporary opera inspired by three emblematic figures and composed of two interlaced acts, as the title is alluding to. Liberovici’s dramaturgical work has always been focused on the fragment, but a fragment which is part of an overall design that, as in a mosaic, piece by piece, finally reveals its shape. Trilogy in two is a reflection on the theme of beauty as an identity (if not lost, largely in crisis) of Europe through three models of beauty.
“The ephemeral beauty of illusions, the profound beauty of solidarity, the ancient beauty of listening. Personalized respectively in three European archetypes: Faust as a fictional character, Florence Nightingale (founder of modern nursing) as an historic personality, and Venice as a listening architecture: the selfishness of the former, the attention to others of the latter (counterposed to the new racisms), the synthesis of the objective and indisputable beauty of the lagoon city, which in its architecture made of water and mosaics preserves the aptitude for listening and meeting.” (Andrea Liberovici)
The stage is dominated by the extraordinary American performer Helga Davis, the principal actor in the most recent edition of Einstein on the Beach by Robert Wilson and Philip Glass. With her on stage the Schallfeld Ensemble, an international ensemble of contemporary music based in Graz, Austria, featuring musicians of various nationalities and the talented Sara Caneva as musical director.
Liberovici in his musical and theatrical works has always favored the idea of a sound theater supported by an ‘acoustic’ set giving to viewers narrative stimuli, that should be the freest and most personal. For this reason, the sets of his works are apparently very sparse and minimal, favoring the invisible and dramaturgical quality of music, with sounds in movement and in relation to each other, which are quickly provoking emotions. In this case the musicians will share with the performer the stage where there is only one large mirror/screen on which reflections are projected, mixing unusual percussions and the wonderful voice-cameo by Robert Wilson, just to mention some of the pieces of this mosaic-opera that overcomes the separation between genres, and is at the same time concert, theatre, poetry, and visual art.
