Luigi Ceccarelli

ceccarelliLC_Vimeo_logo LC_Youtube_logoLC_Soundcloud_logo LC_Flickr_logoLC_Facebook_logoHe is a co-founding member of the “Edison Studio” and  since the 1970s he has worked as a composer of music with live electronics. He is interested in all forms of sound, irrespective of genre, and in the relationships between music and the performing arts.

 His work as a composer has brought him international recognition (Bourges Festival Prizes, UBU Prize – given by Italian theatre critics, Ars Electronica – Linz, MESS Festival Prize in Sarajevo, Special Prize at the BITEF Festival in Belgrade, “Hear” Prize by Hungarian Television, Opus Prize” from the “Conseil de la Musique du Quebec”). His works have been chosen many times for performance at the International Computer Music Conference and

 he has written various works for radio produced by the Italian broadcaster RAI and he composed work for theatre with “Teatro delle Albe”, “Fanny & Alexander”, and work for dance with “Wee Dance Company” and Robyn Orlin.
 Luigi Ceccarelli has held the post of Professor of Electronic Music Conservatory of Music of Latina.


Faust – Beijing Opera

Music for theatre, Musical theatre and performance 2015

LC_Faust-saluti-wFAUST – A Research on the Language of Beijing Opera

text by Li Meini based on the tragic play “Faust, Part One” by Johann Wolfgang Goethe
Translation Fabrizio Massini
Concept and Direction Anna Peschke
Assistant Director Xu Mengke

Original Music
Luigi Ceccarelli
Alessandro Cipriani
Chen Xiaoman
Liu Dake – Faust
Xu Mengke – Valentin
Wang Lu – Mephistopheles
Zhang Jiachun – Gretchen
Vincenzo Core (Electric Guitar and Live Electronics)
Wang Jihui (jinghu)
Niu LuLu (gong)
Laura Mancini (percussions)
Ju Meng (yueqin)
Giacomo Piermatti (Double Bass)
Wang Xi (bangu)
Set Design Anna Peschke
Stage Lights Tommaso Checcucci
Costumes Akuan
Make-Up Li Meng
Technical Director Robert John Resteghini, Head Stagehand Massimo Abbondanza, Stagehand Alfonso Pintabuono, Head Electrician Tommaso Checcucci,
Sound Engineers Alberto Tranchida, Filippo Cassani, Giampiero Berti
Tailor Li Jian

Set design elements were built in Emilia Romagna Teatro Lab by Gioacchino Gramolini Emilia Romagna Teatro Fondazione / China National Peking Opera Company

October 8-14, 2015 – Bologna (Ita) – World Premiere – Arena del Sole, VIE Festival 2015
October 20-25, 2015- Modena (Ita), Teatro delle Passioni, VIE Festival 2015
November 12, 13 2015 – Beijing (China), Tsinghua University, Meng Minwei Concert Hall
August 3-4 2016 – Beijing (China), Teatro Mi Lanfang
October 16 2016 –2016 Shanghai (China), R.A.W! – China Shanghai International Arts Festival, Shanghai Yi Fu Theatre
November 3-13 2016, Modena, ,Teatro delle Passioni
November 17 – 20, 2016, Ravenna, Teatro Alighieri
November 22 2016, Piacenza, Teatro Municipale
November 24-27 2016, Cesena, Teatro Bonci
November 30  – december 4 2016, Cagliari, Teatro Massimo.
February 28 March 1  2017,  Vignola, Teatro Ermanno Fabbri
March 3-5 2017, Parma, Teatro2
March 7-12 2017, Roma, Teatro Argentina
March 16-19 2017, Teatro Metastasio, Prato
March 21-26 2017, Milano, Teatro Elfo Puccini

LC_Faust-G1-wWhile tackling an ancient tradition such as Chinese Opera you can discover many unexpected aspects of it. For instance you could realize how shallow could be to consider pentatonic music as “simple music”. When you work together with professional Chinese musicians you discover many aspects of rhythmic complexity in those melodies and the extreme indissoluble bond between those rhythmic patterns the physical movements and phrasing of the actors. LC_Faust-M1-w

We decided to respect that organic world made of text, theatre, motion and music, by creating a different layer, parallel to the Chinese one, but completely integrated. We realized many timbre expansions of the sounds of the Chinese instruments and of the Italian ones with the intention of finding their common elements, to represent a kind of mutual need of each other to find new possibilities for both musical languages.

The electronic parts are only made by processing the sounds coming from the Chinese and Italian instruments.
This way, the use of electronics represents a sort of magnifying lens by which you can listen to those instruments in a different way, a magnifying lens as a bridge between cultures. The electronics is also used to set and move the sounds in a multidimensional sound space, to form the acoustic environment of the narration which evolves along with the drama.
Luigi Ceccarelli e Alessandro Cipriani
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