MITO Settembre Musica turns on the “Light” in Milan and Turin: the program


Sign up for our newsletter to stay updated on show news

Restart the MITO SettembreMusica Festivalwhich in its sixteenth edition acquires a particularly symbolic value well expressed by the general theme “Lights“. From 5 to 25 September 2022, in Turin and Milanare on the bill 116 concerts for an artistic proposal that in a historical moment made up of many “shadows” wants to “bring light” through great music, be inclusive, welcome and embrace an audience of all ages. One of the objectives of the Festival is in fact to offer moments of meeting, comparison and socializing that the shared listening to the masterpieces of our cultural heritage – an indispensable common good – can give birth and grow and that MITO wants to encourage and promote. Furthermore, in 2022, MITO SettembreMusica was recognized by the Italian Parliament – on the proposal of Minister Dario Franceschini – “Festival of absolute international prestige” and therefore received an important extraordinary funding of one million euros.

Following the leitmotif of the “Lights” theme, all the concert programs are specifically designed to offer the public a new listening experience, investigating the relationships between music and light: these are synaesthesia between sounds and images that sometimes emerge explicitly from the indications written by the composer in the score, such as clear, dark or lightand at other times they are the result of reflections suggested by listening to music.

«The idea, the game of light is applied to a billboard that deliberately offers many masterpieces, fundamental pages, cornerstones of classical music – explains the artistic director Nicola Campogrande. Because, especially in a complicated and dramatic period like the one we are going through, it seems beautiful and important to us to do some sort of appeal to the passages that have marked history, metaphorically inviting them to be with us, to manifest themselves in the concert hall as fixed points, cultural holds ». This edition therefore intends to “illuminate” the great pages of the history of music through unpublished combinations, original interpretations and new interpretations, even with first-run pieces. “Light that chases away darkness, light of reason, light at the end of the tunnel, light that warms, light of the spirit, light of rebirth, this is music – says the President Anna Gastel. A language that we hope will also reach new listeners, in a program for everyone, beginners and experts, in which everyone can create their own schedule and follow the concerts of the two cities day by day with tickets at popular prices ».

Some of the pillars on which the 2022 edition is based – that is internationality, cornerstones of classical music and novelties – are already evident in the opening night of the Festival entitled “Imaginary lights”, scheduled Monday 5 September at the “Giovanni Agnelli” Auditorium of the Lingotto in Turin And Tuesday 6 September at the Teatro alla Scala in Milan. The protagonist is a large team renowned throughout the world such as the Londoner Philharmonia Orchestra directed for the occasion by John Axelrodwhich offers masterpieces such as Peer Gynt by Grieg e Shéhérazade by Rimskij-Korsakov, combined with the first Italian performance of The imagined forest by the very young and award-winning English composer Grace-Evangeline Mason. Or again in the Mozartian final concert entitled “Crystals”, Saturday 24 September at the Turin Conservatory And Sunday 25 September at the Milan Conservatorywhere the Mahler Chamber Orchestraa European formation founded in 1997 under the aegis of Claudio Abbado, presents an unusual program with Leif Ove Andsnes as a soloist. Among the other symphonic appointments not to be missed, the very welcome return to the Festival, in the double role of conductor and soprano, of the Canadian Barbara Hanniganwho on the podium ofOrchestra of the National Academy of Santa Cecilia proposes the Symphony The miracle by Haydn and Mahler’s Fourth Symphony singing in the final Lied Das himmlische Leben (Heavenly life), on the 16th at the Dal Verme Theater in Milan and on the 17th at the Auditorium del Lingotto in Turin. The inevitableRai National Symphony Orchestraled by its principal guest conductor, the American of Mexican descent Robert Trevinowhich flanks the Symphonie Fantastique by Berlioz at the Italian premiere of The wonder of life by Régis Campo, on the 9th at the Rai Auditorium in Turin and on the 10th at the Milan Conservatory. Festive concert, then, to celebrate the two hundred years of Brazil’s independence with the youth of the effervescent Neojiba Orchestra – Bahia State Youth Orchestra, conducted by Ricardo Castrotogether with a piano institution such as the Portuguese Maria João Pires playing the Third Concerto op. 37 by Beethoven. South American rhythms, colors and instruments are part of the evening thanks to the pages of Antônio Carlos Gomez, Heitor Villa Lobos and Jamberê Cerqueira, on the 13th at the Milan Conservatory and on the 14th at the Auditorium del Lingotto in Turin.

Other expected returns to the Festival are the legend of the piano Ivo Pogorelichengaged in the recital “Wandering Lights” with fantasies by Mozart, Chopin and Schumann and with the Prélude by Ravel, the refined English tenor Ian Bostridgewho sings Les illuminations op. 18 by Britten, and again the violist Nils Mönkemeyerwhich plays with the Bach Consort Wien in a concert that explores the baroque and the twentieth century between South America and Europe. Scrolling through the MITO program, lovers of Baroque music, and in particular Johann Sebastian Bach, find a rich offer declined in concerts with prestigious musicians and proposals in which the pieces are combined in an unusual way or some milestones of the repertoire are rethought. Four of the most famous pages of the great German composer are interpreted byAmsterdam Baroque Orchestra directed by Ton Koopmanwhile the concert entitled “The double art of fugue” is curious, in which the composer Reinhard Febelwith his Eighteen Studies on Bach’s Art of the Fuguereinterprets the masterpiece, of which all the notes can be heard, in a sort of remix – which sounds very current in the digital age – entrusted to Duo Tal & Groethuysen. And it is still listening to an unusual Bach that of Goldberg variations performed by the accordionist Samuele Telarijust as it is a truly singular concert with two harpsichords tuned in two different ways and played by Luca Guglielmi.

So much is the attention that this year MITO SettembreMusica dedicates to the public of the little ones, expanding and enriching the artistic proposal with absolute novelties and great performers. And the three melologues for adults and children which contain well two commissions of the 2022 Festival in absolute first performance: that a Carlo Boccadorowhich he created Animalia – on texts by Martino Gozzi – for “Bestial Lights” (10 in Turin and 11 in Milan), and the one in Federico Gonwhich he composed Little Franz and the Pied Piper for “Monelli” (on the 24th in Turin and on the 25th in Milan). On the stage of the first concert Laura Curino as reciting voice and the Chamber Ensemble of the Turin Philharmonic Orchestra directed by Boccadoro himself, and of the second helium as narrator (on his return after last year’s edition) and the Orchestra of the students of the Conservatories of Turin and Milan conducted by Andreas Gies. Finally, the young de LaFil driven by Marco Secowith the reciting voice of Licia T-Shirtare the protagonists of the appointment entitled “Elephants”, which proposes a double Babar: the famous one ofHistoire de Babar le petit éléphant of Poulenc and that of the composer François Narboni entitled Le voyage de Babarcreated using an original text by Brunhoff not used by Poulenc (17 in Turin and 18 in Milan). It is in first ever performancein addition, the new chamber version of the melologue Enoch Arden op. 38 by Richard Strauss made by Ruggero Laganàalso engaged at the piano, which sees the actress as the protagonist Lella Costa as narrator (19 in Turin, 20 in Milan). Light on, then, on first Italian executionsamong which stand out One by James MacMillan e I still dance by John Adams interpreted respectively byOrchestra I Pomeriggi Musicali directed by James Feddeck (8 in Turin and 9 in Milan) and from that of Teatro Regio of Turin driven by Stanislav Kochanovsky (23 in Turin and 24 in Milan), involved in two programs between England and Scotland and between the United States and France.

The 2022 edition of MITO SettembreMusica introduces two other important innovations. The first is the presence of a festival within a festival with fourteen Italian pianists which offer in decentralized places in the two cities as many monographic concerts dedicated to great composers, to deepen their stylistic code, poetics and piano technique. From Beethoven’s Andrea Lucchesini al Rachmaninov’s Alessandro Tavernafrom Schubert’s Filippo Gorini to the Skrjabin of Mariangela Vacatellopassing through the Chopin of Gloria Campanerthe Liszt of Maurizio Baglini and Tchaikovsky’s Benedetto Lupo, just to name a few. The other sees – for the first time – the birth of one artistic residency at the Festival. This is Finnish Meta4 Quartetalready applauded in the last edition, which holds three concerts in both capitals: plays in Absolute Jest by John Adams together with the Milan Symphony Orchestra (Patrick Fournillier on the podium), page that refers to Beethoven and his Not atscheduled thanks to the participation of the Chorus of the Teatro Regio di Torino, after having retraced the entire history of the string quartet, from Boccherini to Adams, in two different appointments. One of the distinctive aspects of the Festival is to offer appointments at different times throughout the day, from those in the evening in prestigious venues, such as the “Giovanni Agnelli” Auditorium of the Lingotto, the Teatro alla Scala, the Auditorium Rai “Arturo Toscanini. “, the Teatro dal Verme and the respective conservatories of the two cities, to the diurnal ones, to extend to decentralized places. The introductions to listening to the concerts are confirmed, this year curated by Alberto Brunero and Stefano Catucci in Turin and by Gaia Varon, Oreste Bossini and Nicola Pedone in Milan. THE prices they are once again very low: those for the evening concerts range from 10 to 25 euros (but those born from 2008 onwards pay only 5 euros); those in the evening in decentralized places with the 14 Italian pianists, the afternoon appointments and for children are instead offered for 5 euros; there is no shortage of free concerts.

Furthermore, in Turin, the parallel exhibition MITO per la città is being prepared: live musical moments in non-canonical places and aimed in particular at those who cannot reach the concert venues, especially precious after the period of the pandemic. MITO SettembreMusica is a project of the cities of Turin and Milan, with the contribution of Ministry of Culturemade by Turin Cultural Foundation and from I Pomeriggi Musicali Foundationwith the support – since the first edition – of the Partner Intesa Sanpaoloand of Compagnia di San Paolo Foundationof the sponsors Iren, Pirelli AndFiera Milano Foundation and with the contribution of CRT Foundation: «With great pleasure we confirm our support for MITO SettembreMusica, one of the most renowned classical music festivals in Europe, of which we have been a partner since its inception. This important initiative, which involves Milan and Turin, the two cities where the Bank is rooted, has always been in full harmony with Intesa Sanpaolo’s goal of making music and art a universal heritage, accessible to all and in particular to young people. “, commented Fabrizio Paschina, Executive Director Communication and Image Intesa Sanpaoloat today’s press conference.



Source-tg24.sky.it