Concert cycle: Accademia Bartolomeo Cristofori
The cycle of five concerts “Sulle ali del canto” , a collaboration between the Teatro del Maggio and the Bartolomeo Cristofori Fortepiano Academy.
From April 16th to the 20th, four more concerts in the Mehta hall at 8pm
Florence, April 15th, 2024 – The cycle of five concerts “Sulle ali del canto”, collaboration of the Teatro del Maggio with the Accademia del Fortepiano Bartolomeo Cristofori.
From 16th to 20th April, four other very interesting and precious concerts are scheduled which will see Maurizio Baglini on the 16th; Jin Ju on the 18th; Francesco Libetta on the 19th and Yuang Sheng on the 20th, sitting at the vintage fortepianos from the Academy's collection. All concerts are held in Sala Mehta and will start at 8pm.
Single seat for 20 euros.
“Sulle ali del canto” retraces in five concerts salient moments of great expressive intensity inspired by vocality.
The term "cantabile" occurs very frequently in instrumental music, particularly piano music, which has vocality as its reference, in a period that goes from the end of the 18th century to Biedermeier up to late Romanticism.
As evidence of this stylistic feature, "The art of singing applied to the piano" by S. Thalberg, published in 1850, codifies a trend that influences the piano production of an extraordinary period for its richness of inspiration, and launches a challenge to the keyboard instrument : imitate the expressive subtleties of the human voice, of "singing".
The piano cantabile today is an art appreciated by professionals and enthusiasts, thanks to the perfection and beauty of modern instruments, but the road to reaching the result we know today was long, and can only be fully understood and appreciated by retracing it on traditional instruments. era.
The event included in the programming of the Maggio Musicale Fiorentino Festival is in collaboration with the Accademia Bartolomeo Cristofori and offers an exquisite opportunity to retrace this path.
We started with the voice of mezzo-soprano Teresa Iervolino accompanied by Francesco Pareti, who ranged from famous chamber arias with an incursion into the most popular repertoire of Neapolitan song and then investigated the multiple possibilities of "singing" on the keyboard. After the first Iervolino/Pareti concert performed the day after the opening of the Festival, internationally renowned performers and specialists in performance practice on period instruments such as Maurizio Baglini, Jin Ju, Francesco Libetta and Yuan Sheng will be asked to sit at the fortepiano.
Three instruments - which together with the performers become the protagonists of the concerts themselves - that the public will be able to admire and listen to in this exhibition: a Johann Schantz from the early 19th century, a Carl Stein from 1830, and a Pleyel from 1849, all in perfect state, which will be able to restore the sound that all the great composers on the program heard in their era.