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.


Ouverture Alcina

Musical theatre and performance 2004-2009


for voice and elaborated horn sounds
surround diffusion 9.1

production Teatro delleAlbe
voice Ermanna Montanari
text Nevio Spadoni
direction Marco Martinelli
duration 40′
1st performance: Firenze, Tempo Reale, Cantieri Goldonetta – 06 Novembre 2004
Ouverture Alcina is a reworking of the Isola di Alcina in concert form. Stage structure has a more basic version of the previous and the ratio of acting is listening, they are not being more mediated by the scene and characters of contour, it is more direct and intense.
duration 40 minutes

Ouverture Alcina—a frightening, hypnotic bit of recitative—scratches a very, very specific itch. Are you, for instance, a fan of minimalist stagings, but histrionic actresses? Do you like opera—but have a secret desire to hear one butchered for its sonic parts? In Teatro delle Albe’s strange spoken-word aria, rending things apart is the order of the day. Ermanna Montanari speaks, shrieks and growls her Romagnol text—Nevio Spadoni’s updating of the seductive witch from Orlando Furioso—as though it’s being clawed directly from her voicebox. Around her screams the tempestuous electronic score by Luigi Ceccarelli, a noise so insane it seems to have ripped itself violently away from the libretto. Co-devisor Marco Martinelli cuts the space with icy stripes of light—though Montanari often prefers to back slightly away from us, leaving her face in darkness. The effort is to divorce every element from every other element, and to make the susceptible among us feel torn apart as well.
The short work is only seven short sections: Alcina bemoans her fate, hurls a decent amount of invective at men (memorably she likens them to pig-shearing, “all that noise, so little wool”) and takes leave of her senses, all while flickering just at the edge of our vision. There’s no need to follow the story, since it is brutally simple. (Alcina has betrayed her sister by seducing her lover. Then she loses it.) We’re really here to revel in Montanari’s extraordinary control, her painted eyes, her full-throttle staginess. In various avant-garde experiments I’ve seen recently, characters from the great silent movies find themselves spliced into modern work. Here, without any recourse to video trickery, Teatro delle Albe gets the same effect.
(Helen Shaw, 7 Gennaio 2011, New York –

CD – Ouverture Alcina
music Luigi Ceccarelli
text Nevio Spadoni
voice Ermanna Montanari
duration totale: 40′
Edition Teatro delle Albe – Ravenna

Ouverture Alcina is a battle between the power of the voice and the power of the music, an alchemy that draw the figure of the love-woundedsorceress in her iconic immobility, a ghost that howls an untreatable pain. A “canto” in Romagnol dialect, an ultra-local language, harsh and archaic, which makes a strongpoint, objective music, of its own incommunicability. The sorceress is alone on stage, moves in the dark, here and there crossed by flashes of light which show her acting body, like that of a butoh dancer, within a sound space orchestrated live by the composer himself. What springs forth is a concert-performance where voice and music form the same stage material. No action, no drama: only the wandering of a vagabond voice, a fabulatory vision in which you can get lost, as in the wrench of dreams. The term overture is employed in music chiefly as the introduction to an opera, but in the 19th century it also designated autonomous symphonies. It’s in this sense that we chose the term, also because of its being suspended and ambiguous between the musical and and psychic spheres: “overture”, opening, introduction to Alcina’s mental universe, to her headlong whirling. (Marco Martinelli, Ermanna Montanari)

 rappresentazioni di Ouverture Alcina
06 Nov 04 – Firenze, Tempo Reale, Cantieri Goldonetta
26 Ago 05 – Crest (Francia) Futura 05, Espace Soubeyran
07 Giu 07 – Ferrara, Aterforum, Teatro Comunale
05 Apr 09 – Villa Raspa di Spoltore (Pe) Magfest, Spazio Alici
10 Apr 09 – Roma, Rai Radio Tre Sala A, in diretta radiofonica
24 Apr 09 – Wroclaw (Polonia), Festival Giving Voices
2-8 Nov 09 – Trieste, Il Teatro Rossetti, stagione teatrale
13-15 Nov 09 – Tunisi (Tunisia), Journèes Theatrales de Chartage
25-26 Set 10 – Limoges (Fra), Festival Les Francophones en Limousin, CCM John Lennon
6-7 Nov 10 – Berlino (Germania), Festival Teatro/Theater, Theater an der Parkaue
5,6,9,10 Gen 10 – New York City (USA), COIL Festival, Performance Space 122
10-11 Mar 11 – Bologna, Università di Bologna La Soffitta 2011
5-6 Giu 11 – Torino, Festival delle Colline Torinesi
9 Dic 11 – Mosca (Russia), Stanislawsy Foundation, International Theatre Festival
17 Dic 11 – Roma, Teatro Valle occupato
6 Feb 12 – Ravenna, Nobodaddy, Artificierie Almagià
30 Apr 12 – Genova, Teatro Akropolis
11-12 Mag 13 – Milano, Teatro dell’Elfo Puccini