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La Testa Di Santa Caterina

a mono-opera for soprano and chamber ensemble

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Motivic fragments freely moved in and out of the overall texture; the composer created contrasts by engineering momentary confluences of these disparate elements.

Joel Schwindt The Boston Musical Intelligencer

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Growing up in Moscow, one of the most memorable (and terrifying) experiences of my childhood was the annual trip to the Mausoleum — a black tomb not unlike the tombs of the Egyptian Pharaohs, in which the Soviet communists preserved the body of Vladimir Lenin. The image of the mummified Lenin bathed in a yellowish glow, surrounded by plastic flowers, remains ingrained in my memory.
 
I had a similarly chilling, yet somehow thrilling experience this past summer when I encountered the mummified head of St. Catherine in the Basilica San Domenico in Siena. Even though it dates from 1383, with the right angle and a trick of light we imagine the beautiful woman Catherine once was. St. Catherine, who believed herself to be the bride of Jesus, died of starvation at thirty three and was buried in Rome. Her head was cut off, stolen from its grave by her fellow Sienese, who wished to bury St. Catherine in her native city.
 
The text is based on St. Catherine’s last letter, written in 1377. Caterina, who at this point had nearly starved herself to death, describes an hallucination – likely a clinical death experience. Despite its subject matter, the text of this letter conveys something rather naive, even joyful, in the voice of a young girl, who is ready to accept death playfully. As if predicting her future, Caterina talks about her own head, separated from her body.
Mátti Kovler

ОЦЕНКА

ДЕТАЛИ

ПРЕМЬЕРА

Small Version

sopr, ct/cl/cello/vibr

Chamber Version

sopr, ct/cl/string quartet/vibr

June 5, 2010

 

Accademia Chigiana, Siena

Alda Caielo - Soprano

Original text © Letter XXVII of St. Catherine of Siena (Italian).

Italian adaptation by Mátti Kovler, Daniela Terranova and Ippolita Nuti.

ОБЗОРЫ

Soprano Ariadne Greif displayed an impressive level of engagement, moving effectively between sung and spoken portions of the text while remaining firmly engaged in the drama itself. Kovler’s composition was often highly abstracted, as motivic fragments freely moved in and out of the overall texture; the composer created contrasts by engineering momentary confluences of these disparate elements. The strongest confluence of motivic and even harmonic structure was when Saint Catherine speaks of her vision, in which her head was separated from her body — foreshadowing the post-mortem removal of her head, which was done so that some part of her body could rest in her native town of Siena (she was interred in Rome).

Joel Schwindt The Boston Musical Intelligencer

La Testa Di Santa Caterina | Williams Hall

Ariadne Greif, Tomas Cruz

12:51, full

La Testa Di Santa Caterina | Jordan Hall

Ariadne Greif, Tomas Cruz

12:40, full

La Testa Di Santa Caterina

Ariadne Greif, Tomas Cruz

3:48 min, excerpt

КОНТАКТ

 

БРОНИРОВАНИЕ  |  ВВОД В ЭКСПЛУАТАЦИЮ  |  ЗАПРОС ДЛЯ ПРЕССЫ

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