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SA 23/12/2023 Hours 20:00 Tickets no longer available
Opera Carlo Felice Genova

Part one: 31 minutes
Intermission: 20 minutes
Part two: 37 minutes
Total duration: 1 hour and 28 minutes





Donato Renzetti conducts the Carlo Felice Opera Orchestra in a tribute to Maurizio Fabrizio

Music by Maurizio Fabrizio

I luoghi dell’anima
for violin and orchestra

Il mondo di Federico
for orchestra

for mezzo-soprano, tenor and orchestra

Storie di tutti i giorni
for orchestra

Strano è il mio destino
for orchestra

Alla luce del sole
for mezzo-soprano and orchestra

Sarà quel che sarà
for orchestra

Schiavo d’amore
for orchestra

for orchestra

È la mia vita
for tenor and orchestra

Almeno tu nell’universo
for orchestra

I migliori anni della nostra vita
for orchestra

Caterina Piva

Francesco Pio Galasso

Giovanni Battista Fabris

Donato Renzetti

Orchestra of the Opera Carlo Felice Genova

I luoghi dell’anima, divertimento for violin and orchestraand Il mondo di Federico, a small suite for orchestra, are two orchestral pieces from the album Classique, made by Maurizio Fabrizio with the Orchestra Filarmonica Gioachino Rossini conducted by Donato Renzetti, and released in September 2023. The album collects instrumental compositions inspired by classical symphonism and songs where Fabrizio himself is a vocal performer, accompanied by the orchestra. Both I luoghi dell’anima and Il mondo di Federico welcome varied suggestions, from classical to the Italian tradition of film music and, of course, from the world of song. The songs are characterized by a rich variety of languages and overwhelming melodicism.
Everyman – of which the program includes a selection of songs – is a morality play for soloists, reciting voices, choir and orchestra, first performed at Milan Cathedral in June 2010 with performers Angelo Branduardi, Mango and Laura Valente. Through the introduction and the four frameworks (Introduction – Questions about the origin of the world and man; Descending – From the time he inhabits the world, man experiences within himself a contrast between ideals and reality; War – Typically human product, “father of everything” according to Heraclitus; Exile – Deep and widespread condition and impression among people of all times and on every continent. Love – Resource that enhances human capabilities and constructive engine of history). Walter Tortoreto’s libretto tells of man’s difficult existence in the contemporary world of uncertainties. Inspired by sociologist McLuhan’s conception of the “world as a tribe,” the course looks beyond the limits of Western history, and seeks in each person’s parable the solidarity among men.
This is followed by orchestral versions of two songs featured in the 1982 and 1996 editions of the Sanremo Festival, respectively: Storie di tutti i giorni and Strano il mio destino. With Storie di tutti-composed by Fabrizio on lyrics written by Riccardo Fogli and Guido Morra-Riccardo Fogli won the XXXII edition of the Festival. The single immediately proved to be a great success. The text tells about the existence of ordinary people, and how fast time goes by without any great tragedies or successes. The effective melody is accompanied by a sustained rhythm, expressing an everyday struggle rather than surrender to melancholy. Strano il mio destino was first presented at the Sanremo Festival a few years later in 1996. With this song, Giorgia, who also wrote the lyrics, placed third. The lyrics are about a woman who, overcoming time and distance, finds her strength through love.
Alla luce del sole, performed here in the version for mezzo-soprano and orchestra, is a song written by Fabrizio with Guido Morra in 2001, for Josh Groban. The song is the first track on the American singer-songwriter and actor’s debut album, and tells of the hope that comes through love, which grows despite life’s difficulties.
This is followed by the orchestral version of Sarà quel che sarà, performed by Tiziana Rivale at the 1983 Sanremo Festival, where she took first place. The great success was unexpected; in fact, the singer-songwriter had released her first album only two years earlier. The words, by Roberto Ferri, speak of a love that does not want to look to the future so much as enjoy the present. The words, by Roberto Ferri, speak of a love that does not want to look to the future so much as enjoy the present.
Schiavo d’amore, performed here in the orchestral version, was also a big hit at the Ariston in the 2007 edition of the Festival. The song, with lyrics by Guido Morra, was performed by Piero Mazzocchetti, who won third place. Pop sonorities combine here with the singer’s prominent timbre, which tends almost toward the bel canto style (Schiavo d’amore was released in March 2007 on the album of the same name where there are six pop reinterpretations of operatic arias such as “Addio fiorito asil” and “Una furtiva lagrima“).
Acquarello is the first track on Brazilian singer and composer Toquinho’s album of the same name, and was composed by Fabrizio to lyrics by Guido Morra and Vinícius de Moraes. (Fabrizio was also the producer of the album). The rhythm and words paint a light, almost boyish atmosphere filled with optimism and hope, Acquarello is performed in the orchestral version.
Al Bano’s big hit, È la mia vita is a 1996 song with lyrics by Pino Marino. With È la mia vita, the singer-songwriter finished seventh at Sanremo. The song is full of lyricism, also enhanced by Al Bano’s intense interpretation. The dynamics of the vocal line make it particularly suitable for adaptation to the version for tenor and orchestra.
Almeno tu nell’universo was one of the biggest hits of Mia Martini, who presented it at the Sanremo Festival in ’89, winning the Critics’ Prize. With lyrics by Bruno Lauzi, Almeno tu nell’universo quickly established itself as a cornerstone of Italian song, also being reinterpreted by some of the most interesting voices on the contemporary scene; it is performed here in the version for orchestra.
Finally, I migliori anni della nostra vita, composed by Fabrizio to lyrics by Guido Morra. Inspiration came to the very author of the text from watching William Wyler’s film The Best Years of Our Lives. The song, entrusted to Renato Zero, soon became one of the most anticipated at his concerts, where it was often performed at the close; it is performed in the orchestral version.