{"id":15721,"date":"2020-04-11T21:38:42","date_gmt":"2020-04-11T19:38:42","guid":{"rendered":"https:\/\/www.liberovici.it\/en\/?page_id=15721"},"modified":"2025-07-10T20:35:12","modified_gmt":"2025-07-10T18:35:12","slug":"sonetto-a-shakespearean-disguise","status":"publish","type":"page","link":"https:\/\/www.liberovici.it\/en\/portfolio\/music-theatre\/sonetto-a-shakespearean-disguise\/","title":{"rendered":"\u201cSONETTO\u201d A SHAKESPEAREAN DISGUISE"},"content":{"rendered":"
[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”right” background_image_as_pattern=”without_pattern” z_index=”” el_class=”breadcrumb”][vc_column][vc_column_text]Home<\/a><\/span><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” z_index=””][vc_column][vc_empty_space][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” z_index=””][vc_column][qode_elements_holder background_color=”#f4f4f4″ number_of_columns=”two_columns”][qode_elements_holder_item advanced_animations=”no”][vc_column_text][image_carousel source=”media: 15723,15724″ limit=”20″ slides_style=”default” controls_style=”light” crop=”4:3″ columns=”1″ adaptive=”no” spacing=”no” align=”none” max_width=”none” captions=”no” arrows=”yes” dots=”no” link=”none” target=”blank” autoplay=”5″ speed=”medium” image_size=”large” outline=”no”][\/vc_column_text][\/qode_elements_holder_item][qode_elements_holder_item vertical_alignment=”middle” advanced_animations=”no” item_padding=”2em 2em 2em 2em”][vc_column_text el_class=”portfolio-title”]\n

SONETTO<\/h2>\n[\/vc_column_text][vc_column_text el_class=”portfolio-text”]libretto<\/em> Edoardo Sanguineti
\nmusic and direction<\/em> Andrea Liberovici<\/p>\n

with
\nOttavia Fusco<\/em>
\nAndrea Liberovici<\/em>
\nVittorio Gassman <\/em>voiceover[\/vc_column_text][\/qode_elements_holder_item][\/qode_elements_holder][vc_empty_space][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” z_index=””][vc_column width=”2\/3″ el_class=”portfolio-box-left”][vc_column_text el_class=”portfolio-info”]Opening:<\/strong> 11 february 1997
\nWhere:<\/strong> Teatro Carlo Felice – Auditorium Montale, Genova
\nDuration:<\/strong> 1h
\nProduction:<\/strong> Teatro Carlo Felice di Genova[\/vc_column_text][vc_empty_space][vc_empty_space][vc_column_text el_class=”portfolio-info”]Liberovici places and sets up his play between two very different time zones: the first recalling the age of Shakespeare (indeed he extends it to Henry Purcell, a Seventeeth century composer) and the second the contemporary one. Te later is further divided between experimental music on one hand and popular music, like rock, disco, rap, on the other.
\nThe two zones are melted together in a new hybrid, combining different sources: besides the rhythm of percussions, the string prevail, ranging from the lute to the electric guitar. Liberovici blends the Elizabethan context in his work by using the musicals instruments of the time instead of the operas. He does not draw from the wealth of musical pieces written for the theatre either. What can be perceived are references to dances of the time and probably a quotation of Purcell. On the contrary rock-and-roll rhythms are very evident: through the almost obsessive repetition of the chords, Liberovici obtains certain sound twists, remembering Jimi Hendrix.
\nIf one considers the musical research carried out in this century, one can perceive in Sonetto some remembrances of Mahler (as in the counterpoint to her nr.43 sonnet \u201cWhose shadow shadows doth make bright\u2026\u201c. But especially strong is the the reference to the Musique Concrete, through the combination on tape of noises and sounds belonging to daily life, carrying on the experiments fo Pierre Schaefer during the Forties.<\/p>\n

From the book: Shakespeare e il rap – E.Baiardo – F.de Lucis, De Ferrari Editore
\n1997[\/vc_column_text][vc_empty_space][vc_column_text el_class=”portfolio-info”]\u201cSONETTO\u201d
\nA SHAKESPEAREAN DISGUISE<\/strong><\/p>\n

libretto<\/em> Edoardo Sanguineti
\nmusic and direction<\/em> Andrea Liberovici<\/p>\n

with
\nOttavia Fusco<\/em>
\nAndrea Liberovici<\/em>
\nPatrizia Schiavo<\/em>
\nRichard Coroneo<\/em><\/p>\n

voiceover
\nVittorio Gassman<\/p>\n

choreographic movements
\nCinzia De Lorenzi<\/p>\n

lightdesigner and audio
\nPippo Ghisoli<\/p>\n

Costumes
\nClara Longobardo<\/p>\n

recorded music
\nsoprano Antonella Cesario
\nguitars Giorgio Neri
\nviolin Giulio Plotino<\/p>\n

youth choir RTV Slovenia
\nchoir master Matevz Fabjian
\nproduttore musicale Brigita Rovsek
\nmusical producer Branko Skrajnar<\/p>\n

voices
\nOttavia Fusco, Patrizia Schiavo, Richard Coroneo, Francesca Faiella<\/p>\n

alto, cello, computer programming
\nAndrea Liberovici[\/vc_column_text][vc_empty_space][\/vc_column][vc_column width=”1\/3″ el_class=”bordo-nero”][qode_elements_holder number_of_columns=”one_column” custom_class=”box-stampa”][qode_elements_holder_item vertical_alignment=”middle” advanced_animations=”no” item_padding=”2em 2em 2em 2em”][vc_column_text]Excellent show, absolutely unusual, which looks for new ways, new techniques for communicating the life that flows in man. The scenographies are also very beautiful, and essential, made up of lights and scattered books.
\ndi ROSSELLA FABIANI<\/strong>
\nda La Stampa, 01.04.1998<\/em><\/p>\n

The musical score ranges widely between cultured and consumer traditions to moments of effective creativity; but above all it moves happily in combination with the “verbal materials” available, where Liberovici, the director, manages to infuse the performance with an opportunely coherent visual configuration; through the sobriety of the choreographed movements, through the non-insistent search for objects or symbolic gestures, between doublings of character and sober uses of light.
\ndi FULVIO BARBERIS<\/strong>
\nda La Repubblica, 13.02.1997<\/em>[\/vc_column_text][\/qode_elements_holder_item][\/qode_elements_holder][vc_empty_space][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

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Liberovici","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.liberovici.it\/en\/wp-content\/uploads\/sites\/2\/2020\/04\/andrea-liberovici-about.jpg","url":"https:\/\/www.liberovici.it\/en\/wp-content\/uploads\/sites\/2\/2020\/04\/andrea-liberovici-about.jpg","contentUrl":"https:\/\/www.liberovici.it\/en\/wp-content\/uploads\/sites\/2\/2020\/04\/andrea-liberovici-about.jpg","width":500,"height":307,"caption":"Andrea Liberovici"},"logo":{"@id":"https:\/\/www.liberovici.it\/en\/wp-content\/uploads\/sites\/2\/2020\/04\/andrea-liberovici-about.jpg"},"description":"\u201cIl primo amore, del tutto platonico, aveva una voce acutissima che non so per quale ragione mi dava molto fastidio. Nel giro di poco ho capito che, almeno per me, l'amore pu\u00f2 esser cieco... ma non sordo. Forse \u00e8 anche per questo che ho cominciato a fare musica fin da piccolissimo.\u201c Andrea Liberovici (1962) ha studiato al Conservatorio di Venezia e alla Scuola di Recitazione di Genova. Nel 1996 fonda con Edoardo Sanguineti il Teatro del Suono intendendo la disciplina teatrale un ottimo \u201cmetodo\u201c per approfondire la composizione. \"Il teatro, al contrario di tutte le altre discipline artistiche, ti costringe a pensare all'altro. Al \u201cperch\u00e9 e al per chi\u201c scrivi, liberandoti di conseguenza dalle gabbie degli stili: anche perch\u00e9, se non c'\u00e8 nulla da dire, nessuno stile ci salver\u00e0.\u201c","sameAs":["https:\/\/www.liberovici.it\/","https:\/\/www.facebook.com\/andrealiberovici\/","https:\/\/www.instagram.com\/andrealiberovici\/?hl=it","https:\/\/www.youtube.com\/channel\/UCRbS5fSlIzWIqg49b5DTbkA","https:\/\/soundcloud.com\/andrealiberovici"]}]}},"_links":{"self":[{"href":"https:\/\/www.liberovici.it\/en\/wp-json\/wp\/v2\/pages\/15721","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.liberovici.it\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.liberovici.it\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.liberovici.it\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.liberovici.it\/en\/wp-json\/wp\/v2\/comments?post=15721"}],"version-history":[{"count":6,"href":"https:\/\/www.liberovici.it\/en\/wp-json\/wp\/v2\/pages\/15721\/revisions"}],"predecessor-version":[{"id":16016,"href":"https:\/\/www.liberovici.it\/en\/wp-json\/wp\/v2\/pages\/15721\/revisions\/16016"}],"up":[{"embeddable":true,"href":"https:\/\/www.liberovici.it\/en\/wp-json\/wp\/v2\/pages\/15393"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.liberovici.it\/en\/wp-json\/wp\/v2\/media\/15724"}],"wp:attachment":[{"href":"https:\/\/www.liberovici.it\/en\/wp-json\/wp\/v2\/media?parent=15721"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}