Lunedì, 27 Ottobre

h.21 Auditorium San Fedele

OPTICKS
Spettacolo multimediale sui principi

Musiche di:
Olivier Messiaen, Maurizio Azzan, Pablo Galaz, Danilo Girardi

Interazione suono/immagine a cura di:
Elena Castellini e Pierluigi Vienna

Pedagogical advisor video: Andrew Quinn

Pedagogical advisor musicale: Giovanni Cospito

ENSEMBLE INTERCONTEMPORAIN
Pierre Strauch (violoncello)
Jérôme Comte (clarinetto)
Hidéki Nagano (pianoforte)

Tecnico di sala: Tony Correnti

PROGRAMMA

A) Sguardo dall’alto sulla Creazione
Olivier MESSIAEN (1908 – 1992)
– Regard du Père, per pianoforte (da Vingt Regard sur l’Enfant Jésus)
– Abîme des Oiseaux, per clarinetto (da Quatuor pour la fin du temps)
– Louange à l’Éternité de Jésus, per violoncello e pianoforte
(da Quatuor pour la fin du temps)

B) OPTICKS
performance audiovisiva sui principi della luce di Isaac Newton
Maurizio AZZAN, Pablo GALAZ, Danilo GIRARDI (compositori)
Elena CASTELLINI, Pierluigi VIENNA (videoartisti)

ITINERARIO I per Trio
Maurizio Azzan
ITINERARIO II per acusmonium
Danilo Girardi
ITINERARIO III per Trio e live electronics
Pablo Galaz

Second multimedia evening on the theme of Creation, produced by the finalists of the 2013–2014 San Fedele Prize for young artists. OPTICKS was conceived as a collaborative project involving two video artists and three composers. Through the reference in its title to the famous Newtonian treatise published in London in 1704, the work unfolds from the many aspects linked to light, both in its physical and symbolic dimensions. In the three sections that structure the piece—ideally conceived as pre‑light, light, and post‑light—different and sometimes contrasting perspectives emerge, presenting light as a fundamental element of Creation and of everything that follows from it.

From a scenic and visual standpoint, the OPTICKS project was conceived by video artists Elena Castellini and Pierluigi Vienna using video‑mapping techniques. The multiple surfaces of the Auditorium stage become autonomous projection areas, where video content—generated in real time and reacting in various ways to the sound—creates a new and immersive three‑dimensional experience.

From a musical perspective, three different paths of investigation into light unfold. At times they explore possible correspondences between light and sound; at other times they traverse territories of the indistinct, still in the process of taking shape, gradually moving toward a point of stabilization; and at other moments they evoke polished light or the predominance of darkness.