Humor Bizzarro 2017: i saluti

Anche se qualcuno è già partito il divertimento continua con gli “English Pastimes”

Con qualche scatto dal saggio-spettacolo e dalla giornata conclusiva de L’Humor Bizzarro 2017 salutiamo e ringraziamo allievi, docenti, artisti ospiti, partner e collaboratori che hanno reso possibile questa bellissima edizione dedicata alla musica e alla danza inglese, in occasione del bicentenario di Jane Austen.

Arrivederci a settembre con le foto del workshop e il video dello spettacolo!

Andrea e Claudia

 

 

Per informazioni sul workshop, guarda il precedente post

Spettacolo conclusivo della XVI edizione de “L’Humor Bizzarro” al Teatro Belli

Maestri e allievi del workshop internazionale de Il Teatro della Memoria in scena il prossimo Sabato 5 Agosto

Trastevere_-_teatro_Belli
La XVI edizione del Workshop internazionale L’Humor Bizzarro – Intarsi di musica e danza antica si avvia alla conclusione e i numerosi corsisti, giunti da tutto il mondo, sono attualmente impegnati in un intenso lavoro presso la sede della storica Scuola Popolare di Musica di Testaccio sotto la guida di artisti attivi a livello internazionale. Per la danza: Claudia Celi (Danze fra ‘500 e ‘600), Ilaria Sainato (Danze e contraddanze in Inghilterra e Francia tra ‘600 e ’70, Gestualità retorica per i cantanti) e Paolo Di Segni (Danze di società di inizio ‘800); per la musica: Rosanna Rossoni (Canto rinascimentale e barocco), Marco Rosa Salva (Flauto dolce), Angela Paletta (Oboe barocco, Qi Gong), Paolo Tagliapietra (Accompagnatore al cembalo). Al fianco dei maestri, il prezioso lavoro di accompagnamento al canto e alla danza e la partecipazione alla musica d’insieme di Fabrizio Carta (tiorba e chitarra barocca) e di Nazarena Ottaiano (violoncello), che già corsista de L’Humor Bizzarro vi torna in qualità di artista ospite. 

Il tema del workshop di quest’anno è English pastimes, un fil rouge che attraversa le classi di canto, di strumento e di danza con particolare attenzione al periodo Regency, quale omaggio al bicentenario della scrittrice Jane Austen che ricorre quest’anno.

Come sempre nello spettacolo conclusivo i corsisti verranno affiancati dai docenti e dai maestri ospiti, ponendo particolare attenzione al rapporto fra musica e danza (sempre accompagnata dal vivo anche durante le lezioni) . 

Con l’occasione Claudia Celi e Andrea Toschi – direttori artistici de Il Teatro della Memoria – desiderano ringraziare tutti coloro che negli anni a vario titolo hanno dato il loro contributo alla realizzazione delle varie edizioni de L’Humor bizzarro.

Teatro Belli – p.za Sant’Apollonia 11 – Roma (rione Trastevere)
5 agosto 2017 – ore 18,30 – Ingresso libero
È necessaria la prenotazione al n.  320-0557319 entro le ore 12 del 5 agosto
e-mail:
info@teatrodellamemoria.org

Il Teatro Belli è, fra quelli attualmente attivi, uno dei più antichi teatri di Roma, noto anche per aver ospitato un discorso politico di Garibaldi agli elettori romani. Per una breve storia di questo spazio è possibile leggere la scheda sul sito del teatro.

 

locandina Saggio 2017

clicca sull’immagine per scaricare la locandina

Humor Bizzarro 2017: Angela Paletta – Baroque oboe and QiGong

Course program and teacher’s curriculum

The course is open to amateurs or professionals who wish to approach the baroque and classical repertory with the period instrument or with the modern one. The program will focus on performing and interpretative aspects and on reed building tecniques. Particular attention will be given to the study of respiration with specially aimed QiGong exercises. Individual and collective classes will aim to the study of the soloistic and chamber repertory of the period, both sacred and profane, possibly in conjunction with singing, dance or theatre classes. It’s possible to agree with the teacher on a special repertory proposed by the student. A limited number of study instruments, kindly supplied by the maker Alberto Ponchio (website http://www.anciuti.com), will be available for the class; students are therefore advised, if possible, to bring their own instrument.

A limited number of study instruments, kindly supplied by the maker Alberto Ponchio (see the Anciuti website), will be available for the class; students are nonetheless advised, if possible, to bring their own instrument. Oboi_Ponchio_2

ANGELA PALETTA,  after obtaining her diploma in Oboe at the  “A. Boito” Conservatory in Parma, has followed perfecting courses with I. Goritzki, P. Pollastri, P.W. Feit, P. Grazzi and A. Mion. She collaborates, playing both oboe and cor anglais, with several orchestras, among which Orchestra del Teatro Comunale di Bologna, Orchestra Sinfonica “G. Verdi” in Milan, Orchestra “Mozart” in Milan (where she also been in charge of the orchestra), Orchestra Filarmonica di Verona, Orchestra del Festival “T. Varga” at Sion (Switzerland), Orchestra Filarmonica di Torino, led by distinguished conductors and soloists such as H. Schiff, T. Varga, J. Horowitz, G. Cassone, Y. Kless. M. Rogliano, V. Sardelli. She took part in many chamber concerts with Trama Ensemble and with several ensembles in Italy and abroad. Since 2001 she collaborates as cor anglais and principal oboe with Orchestra Sinfonica di Adria and with Silver Symphony in Padova; since 2006 with Orchestra “G. Verdi” di Parma and Orchestra da Camera “F. Gonzaga” in Mantova. With the latter in May 2010 she has recorded the Concerto per oboe e archi by A. Marcello. She is also often active in the field of performance with period instruments, collaborating regularly with several early music groups among which Accademia di Musica Antica di Bazzano, Orchestra Barocca di Berna and with the “Il Teatro della Memoria” early music and dance company. She teaches Oboe at Scuola di Musica “Rinaldi” in Reggiolo and at Associazione Musicale ”Santa Cecilia” in Reggio Emilia.

Info about workshop costs and registration is available at this link.

Humor Bizzarro 2017: Marco Rosa Salva, Recorder

Course program and teacher’s curriculum

English music from the second half of the 17th century.
The course is open to students of any level and will deal specifically with music by John Jenkins, Matthew Locke, Henry Purcell, John Blow. Individual lessons and ensemble consort classes will be featured (a number of replicas of historical instruments will be avaiable). For the individual lessons, students can suggest pieces of their choice, also different from the main theme of the course.
 

Marco Rosa Salva studied recorder with Aldo Bova in Venice and with Pedro Memelsdorff in Bologna, where he also graduated with a dissertation of Musical Dramaturgy. He has achieved a vast concert activity, collaborating with many medieval, Renaissance and baroque ensembles, such as Sonatori della Gioiosa Marca, Accademia di S. Rocco – Venice Baroque Orchestra, Cappella Ducale di Venezia, Pastime, Ensemble Antonio Draghi, Cappella della Pietà dei Turchini, L’Aura Soave, Il Complesso Barocco, Consort Veneto, I Barocchisti, Delitiae Musicae, Il Viaggio Musicale, La Venexiana, En Chordais, Cantar Lontano, performing in Italy, Europe, Turkey, United States, Mexico, China, in festivals among which Megaron Musica (Thessaloniki), Silk Road Festival, (Hong Kong), Gubbio Arte Medievale, Festival de Sablè, Settimane musicali al Teatro Olimpico (Vicenza), St. Galler Festspiel, Tage alter Musik (Regensburg), Lufthansa Festival (London), Festival di Cremona, Trentomusicantica, Notti malatestiane (Rimini). He has recorded for RAI, ORF and for the labels Stradivarius, Echo, Fonit Cetra, Tactus, Nuova Era, Skira, Naxos, Opus 111, Glossa. With the ensemble La Girometta (as a player of recorder and director) he deals in particular with the reconstruction of Italian 15th  Century dance music, producing shows, masterclasses and lecture demonstrations. He teaches at Scuola di Musica Antica di Venezia since 1993 where, since 1998, he holds the post of director; he teaches courses and seminars at several Conservatories in Italy and abroad and at Italian Universities.

Info about the workshop costs and registration form are available at this link.

Humor Bizzarro 2017: Paolo Di Segni, “Quadrilles at the time of Jane Austen”

Course program and teacher’s CV

“Quadrilles at the time of Jane Austen”
Early 19th century Social Dances

The course, open to students of any level, will focus on the technique and the steps of dances featuring in the balls described by Jane Austen, following the handbooks and treatises of the early 19th century.

Paolo Di Segniborn in Switzerland and introduced to music and rhythmics according to the Jaques Dalcroze method, has studied pianoforte and violoncello. Since 1976 he specialized in historical dancing under the guidance of such teachers as B. Sparti, F. Lancelot, S. Wynne. He has taken part in many concert tours in Italy and abroad with Early Dance ensembles such as Gruppo di Danza Rinascimentale di Roma, La Cortesia del Ballo, La Follia, Il Teatro della Memoria. Since many years he devotes himself to the reconstruction and popularization of 19th Century social dances, presenting them through performance, Ball openings or as Maitre de Cérémonie. He has curated TV programs on the Quadrille for TeleMontecarlo, taken part in Telethon ’97, ’98 and ’99, held seminars at Scuola di Ballo del Teatro dell’Opera di Roma and in Catania for Balletto di Sicilia.

In Naples, in collaboration with Associazione Dimensione Polifonica, he has held courses and directed performances and events on the Renaissance and on the 19th century for Comune di Napoli, Provincia di Napoli and Regione Campania (Marzo DonnaMaggio dei Monumenti, Valzer in Villa). He has collaborated with the Orchestra del Teatro Petruzzelli di Bari conducted by J. Acs; in Rome he regularly  directs 19th century Balls in venues such as Palazzo Barberini, Palazzo Taverna, Hotel Quirinale, Borgo di Tragliata, Accademia Nazionale di Danza.

Info on the workshop costs and registration is available at this link.

Humor Bizzarro 2017 – Ilaria Sainato: “Cupid’s Garden – Le Jardin de Cupidon” – Dances and Contredanses in England and France between the 17th & 18th century and Rhetorical Gesture Seminar

Course program and teacher’s curriculum

Ilaria 2“Cupid’s Garden – Le Jardin de Cupidon” – Dances and Contredanses in England and France between the 17th & 18th century
The course is aimed towards dancers, musicians and whoever wishes to approach or to further the knowledge of baroque dance technique.  The theoretical and practical classes feature warm-up, study of basic choreutic technique and of choreographies, mainly reconstructed from the Beauchamp–Feuillet notation; part of the classes will be devoted to questions pertaining sources, dance notation and treatises, choreographic repertory, giving a particular attention to the connection and integration between music and dance, with reference to problems of performance of dance music. During the course, the choreographic  and
musical correspondences, borrowings and  influences between England and France will be investigated through the study of choreographies by André Lorrin, Mr. Isaac and John Essex. The choregraphic numbers will be chosen by the teacher according to the level and the needs of the participants.

Rhetorical Gesture Seminar
The seminar is aimed towards singers, dancers, actors, musicians and whoever is interested in the repertory of musical theatre of the 17th and 18th centuries. It offers to the students a further tool for performing such repertory through an in depth examination of the typical features of baroque theatre, of rhetorical gesture and of themes such as the stage proxemics, the roles and typical characters, the theory of affections.

Ilaria Sainato graduated in Musicology at the Università degli studi di Pavia-Cremona, with a dissertation in Phylology about Italian dance of the Quattrocento. She has studied Renaissance and Baroque dance with Veronique Daniels, Barbara Sparti, Deda Cristina Colonna, Ana Yepes. She teaches Renaissance dancing at Scuola di Musica Antica di Venezia and gives courses and theoretical-practical seminars at schools, institutions and associations in Italy and abroad. She organizes shows about dance of the 15th to 17th Century in collaboration with several ensembles and companies; in particular with La Girometta she deals with the reconstruction of Italian dance repertory of the Quattrocento and Cinquecento from the original treatise sources taking in to account their musical concordances. She has extended her research to problems in reconstructing 17th and 18th Century theatrical performance with music, in particular regarding staging and gesture, collaborating to several stage productions such as  Don Giovanni by W. A. Mozart, Il Ballo delle Ingrate by C. Monteverdi, La Fida Ninfa by A. Vivaldi, Atalanta Fugiens by M. Maier, Flavio Cuniberto by G. D. Partenio; she has also directed this latter. She has been assistant direcctor for: Mulier Fortis by J. B. Staut, The Fairy Queen by E. Purcell and Così fan tutte by W. A. Mozart (directed by Deda Cristina Colonna), Madama Butterfly and Turandot by G. Puccini (directed by Hiroki Ihara), Rigoletto by G. Verdi (directed by Ivan Stefanutti), Sonnambula by V.Bellini (directed by Stefano Vizioli). She collaborates with As.Li.Co. – Teatro Sociale di Como as Stage Manager.

Full info about the workshop costs and the registration form are available at this link.

Humor Bizzarro 2017: Claudia Celi – “We’ll measure them a measure” – Dances of the 16th-17th centuries

The program of the course and the teacher’s curriculum

“We’ll measure them a measure”
Dances of the 16th and 17th centuries

The course – aimed at dancers, actors and musicians – is open to students of any level and features the technical study of basic steps and of dance forms named in the works by William Shakespeare. As usual, the classes will be coordinated with the activities of the instrumental music and ensemble music courses in view of the realization of the students’ concert.

Info about registration and costs, with online contact form, is available at this link.

Claudia Celi after graduating in History of Theatre and Spectacle at Università di Roma – La Sapienza, specialized in early dance performance with internationally known teachers such as Barbara Sparti, Francine Lancelot, Shirley Wynne, and Angene Feves. Since 1982 she has taught History of Dance at the Accademia Nazionale di Danza in Rome; from 1991 to 1995 she was also deputy director of this institution. Currently she also teaches for the specialized degree in Spettacolo, moda e arti digitali at the Università di Roma – La Sapienza and has taught Dance History at the ballet school of the Teatro dell’Opera di Roma. In 2001 she was appointed by the Italian Education, University and Research Ministry as a member of the Working Group for Dance Education with the purpose of drafting the new charters of Italian Academies and Conservatories. She has presented communications at international conferences and has collaborated with research centers and universities. She contributed articles to specialized journals, such as ChorégraphieCairon (also as a member of the editorial board), La Danza Italiana and La Nuova Rivista Musicale Italiana. Among her publications are the chapters on italian XIX century ballet for Musica in Scena – Storia dello spettacolo musicale published by UTET and several entries for the International Encycolpedia of Dance, the Dictionnaire Larousse de la Danse and the Dizionario Biografico degli Italiani. Alongside the academic activity she has continued her performing activity in the field of historical dance, that she began in 1977 with the Gruppo di Danza Rinascimentale di Roma directed by Barbara Sparti; with this group, that in 1981 was awarded the “Jia Ruskaja” prize for dance didactics and culture, she has performed in many European festivals. Within her continued activity of popularization of historical dance she attended congresses in Italy and abroad, has been a member of competition panels, has taught courses and seminars for theatres, universities, conservatories and research centers such as Fondazione Teatro Massimo di Palermo (Officina-Laboratorio delle Arti e dei Mestieri del Palcoscenico), Scuola Internazionale dell’Attore Comico (Reggio Emilia), A.N.I.D. (Associazione Nazionale Insegnanti di Danza), Conservatorio A. Casella (L’Aquila), Centro Sperimentale di Cinematografia (Roma) and has been in charge of didactic events and performance of historical dancing for the Scuola di Ballo del Teatro dell’Opera di Roma and for the Accademia Nazionale di Danza. At this latter institution she regularly teaches – from the academic year 2005/06 onwards – classes in Historical Dances.