Reviews

A Spanish Haydn—Chichon Brings It to Life Alongside Roberta Gottardi
..Nestled within the Hispanic program, the world premiere of a symphonic work by Fabio Cifariello Ciardi, a 46-year-old Roman composer, who here tackles a fantastic idea. Thanks in part to the decisive contribution of the clarinet played by the highly talented Trentino concert artist Roberta Gottardi, and to a “Haydn” ensemble particularly committed to the novelty and originality of the composition, the creation of an imaginative soundscape—framed within an effective fusion of music and theater—is fully brought to life.
(Andrea Bambace, Alto Adige, 2/8/07)

Delightful sonic inventions.
The captivating Haydn Orchestra at the Bolzano Auditorium

…” “Ankaa” begins with a sort of energetic cadenza for solo clarinet; the soloist moves from the audience toward the stage, and upon reaching it, gives the cue to the orchestra. The musicians do not pick up their instruments but stamp their feet, and only at this point does the conductor enter the stage, take his place at the podium, and conduct. The music unfolds, offering ever-changing sonic landscapes. The piano is also played with percussion sticks; the percussionists’ arsenal even includes a plastic bottle and a large steel chain, and the harpist uses a tool to rub the strings of her instrument—but none of this is mere showmanship; it is the necessary performance required to achieve sounds of delightful invention. Roberta Gottardi’s performance is, of course, impeccable; she concludes by leaving the orchestra.
(Mauro Franceschi, L’Adige, February 8, 2007)

Dynamically conducted, virtuosically played

Dynamic conducting, virtuosic performance. … Next comes the premiere of “Ankaa,” a commission by the Haydn Orchestra of Trento and Bolzano: Fabio Cifariello Ciardi has set the orchestra in contrast with a solo clarinet. Roberta Gottardi enters the auditorium through a side door, already playing, while the orchestra remains silent. She addresses the audience, challenges them, teases them. The score demands extreme virtuosity from her. She masters it with strength and elegance. Finally, she reaches the stage. The orchestra members stamp their feet; the conductor enters and restores their voices. The piece is now staged, like a theatrical performance. Exotic sound objects such as plastic bottles and aluminum chains remind us that even the most complex music can be art and a play of sounds and noises. At its core lies the story of a hard-won union. In the tradition of Sufi poetry, mystical union with the transcendent is symbolized in its ultimate stage by a bird, the Ankaa. At the end of the piece, the clarinet silently leaves the stage. The orchestra has embraced its voice within itself.
(Bettine Ties, Dolomiten 2/8/2007)