"Al gran sole carico d'amore" una ópera comunista de Luigi Nono con textos de Fidel Castro, Che Guevara, Karl Marx y Vladímir Lenin. Hoy 29 de enero de 1924 nace Nono

Al gran sole carico d'amore (En el sol radiante lleno de amor) es una ópera (designada como una 'azione scenica') con música de Luigi Nono, basada principalmente en obras de Bertolt Brecht, pero incorporando también textos de Fidel Castro, Che Guevara, Karl Marx y Vladímir Lenin. El mismo Nono y Yury Lyubimov escribió el libreto. Se estrenó en el Teatro de la Scala el 4 de abril de 1975.

La historia esta centrada en torno a la Comuna de Paris de 1871 y la Revolución Rusa.

En las estadísticas de Operabase aparece con sólo 3 representaciones en el período 2005-2010, siendo la primera y más representada de Nono.

Grabación
Teldec 8573-81059-2: Claudia Barainsky, Maraile Lichdi, Melinda Liebermann, Stella Kleindienst, Lani Poulson, Roderic Keating, Markus Marquardt, Peter Kajlinger, Urs Winter, Helmut Holzapfel, Mark Munkittrick, Carsten Wittmoser; coro y orquesta de la Staatsoper Stuttgart; Lothar Zagrosek, director.

Crítica de la Revista Gramophone

Nono Al gran solo carico d'amore

Nono’s musical ‘fresco’ on revolution in a vividly sung and played live recording

Composer or Director:
Luigi Nono

Genre:
Opera

Label:
New Line

Magazine Review Date:
10/2001

Catalogue Number:
8573 81059-2

Al gran solo carico d'amore
Luigi Nono Composer
Lothar Zagrosek Conductor
Stuttgart State Opera Chorus
Stuttgart State Opera Orchestra
Urs Winter Soldier
Maraile Lichdi Louise Michel
Melinda Liebermann Deola
Carsten Wittmoser Dimitrov (3)
Stella Kleindienst (mez) Haydée Santamaria
Mark Munkittrick Fidel (2)
Mark Munkittrick Dimitrov (2)
Carsten Wittmoser Bass solo (2)
Carsten Wittmoser Favre
Carsten Wittmoser Worker (3)
Carsten Wittmoser Fidel (3)
Helmut Holzapfel (ten) Official
Helmut Holzapfel (ten) Director
Mark Munkittrick Bass solo (1)
Mark Munkittrick Communard
Mark Munkittrick Worker (2)
Markus Marquardt (bass) Bismarck
Peter Kajlinger Baritone solo
Peter Kajlinger Worker (2)
Peter Kajlinger Fidel (1)
Peter Kajlinger Gramsci
Peter Kajlinger Dimitrov (1)
Stella Kleindienst (mez) Vietnamese Woman
Lani Poulson (mez) Mother
Lani Poulson (mez) Contralto solo
Roderic Keating (ten) Thiers
Roderic Keating (ten) Director
Markus Marquardt (bass) Pavel
Claudia Barainsky (sop) Soprano solo
Claudia Barainsky (sop) Tania

Al gran sole carico d’amore is the culmination of the overtly political phase in Nono’s output‚ begun with his previous ‘scenic action’ Intolleranza 1960 (Teldec‚ 10/95).

Written for La Scala‚ but premièred at Milan’s Teatro Lirico in 1975‚ it reflects the polarity between political left and right which was still a defining issue‚ as was the concept of revolution leading inevitably to the future.

In fact‚ Al gran sole conveys the essence of revolution rather than depicting it historically‚ or as a linear sequence of events. Part 1 relates events leading to the collapse of the Paris Commune in May 1871 through a montage of writings‚ notably the memoirs of participant Louise Michel. Part 2 takes the 1905 uprising in Russia as its basis‚ over which are laid allusions to post­war political events. All of these were failures‚ while all aspiring to wider social and political change. Yet how to interpret them from the ‘present’ is not specified by Nono‚ resulting in a musical and dramatic experience designed to provoke as much as compel.

Musically Al gran sole takes the visceral impact of Nono’s earlier work to its limits. The mesh of individual and collective voices‚ the concentration on female vocals at extremes of register (the ‘forgotten’ role of women in revolutionary activity is central to the dramaturgy)‚ the fractured allusions to revolutionary songs‚ the massive 12­note chords that punctuate more lyrical reflections in Part 2 – all ensure active and unsettling listening. Yet the ethereal vocal and orchestral polyphony which sets the increasingly fragmented representation of events in relief is something new to Nono’s musical thinking; a clear pointer to the calm‚ inward intensity of his late work – ‘change’ as a state of mind rather than an act of becoming.

There can be little but praise for Lothar Zagrosek’s marshalling of the diverse forces required‚ or his projection of the complex musical tissue with such unfailing immediacy. Claudia Barainsky delivers her exacting ‘everywoman’ role with conviction; a telling contrast to the male voices‚ whose cameos of reactionaries and revolutionaries emerge at focal points in the drama. The live recording gets a believable spatial perspective without lessening dramatic focus. There are absorbing accompanying essays‚ but the multilingual libretto comes with no English translation – regrettable in a work where communication is enhanced by prior knowledge of the texts involved.

En la imagen Luigi Nono con su esposa Nuria Schoenberg y el compositor Bruno Maderna.