Domenica 14 aprile alle ore 20.30 la Fondazione Pietà de’ Turchini presenta “Adriana Basile, Giulia De Caro, Anna Maria Scarlatti. Famosissime armoniche del regno di Napoli”, lo spettacolo-concerto in prima assoluta che ripercorre le singolari gesta personali e artistiche di Adriana Basile, Giulia De Caro e Anna Maria Scarlatti, scandalose e geniali protagoniste della musica partenopea tra Sei e Settecento. La performance va in scena a Gallerie d’Italia-Palazzo Zevallos Stigliano (via Toledo 185, Napoli), nell’ambito del ciclo “Musica tra nord e sud Europa”, ideato dalla Fondazione Pietà de’ Turchini e prodotto da Gallerie d’Italia – Palazzo Zevallos Stigliano.
“Adriana Basile, Giulia De Caro, Anna Maria Scarlatti. Famosissime armoniche del regno di Napoli” è il ritratto sonoro, scritto dalla drammaturga e regista Angela Di Maso, delle tre talentuose cantanti e compositrici, ma pure attrici e impresarie ante litteram, che furono soprattutto dive spudorate, spregiudicate arrampicatrici, “sirene” e “putain”, e che conturbarono la scena musicale del Barocco napoletano. Protagonista è la voce recitante di Cristina Donadio, mentre il soprano Cristina Fanelli e l’ensemble Talenti Vulcanici, diretto dal clavicembalista Stefano Demicheli eseguono le pagine di Monteverdi, Alessandro e Domenico Scarlatti, Provenzale, Cicinelli, Ziani, illustri coevi e consanguinei ispirati dal sensuale talento delle tre voci “armoniche”.
Il progetto è ideato dalla direttrice artistica della Fondazione Pietà de’ Turchini, Federica Castaldo, con la consulenza musicologica di Francesco Cotticelli, Domenico Antonio D’Alessandro e Paologiovanni Maione.
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Programmi e note di sala su www.turchini.it.
Cristina Donadio dà voce alle tre “famosissime armoniche”, che costruirono, con la loro condotta “esemplare”, un mito imperituro, segnando la storia della vocalità e della scena del tempo.
Sorella di Giovan Battista, il celebre autore de “Lo cunto de li cunti”, Adriana Basile, la “divina Andreana”, fu tra le prime di una lunga serie di dive, celebrata in vita come mai era successo fino a quel momento. Musicista professionista donna, per giunta cantautrice nella Napoli spagnola tra Cinque e Seicento, la più celebre cantante italiana della prima metà del Seicento, Adriana fece conoscere al mondo il capolavoro della favolistica mondiale firmato da suo fratello, che conteneva gli archetipi di novelle come “Cenerentola”, “La bella addormentata nel bosco” e “Il gatto con gli stivali”
Giulia de Caro compì nel corso della sua vita un’ascesa sociale e artistica impareggiabile. Celebre prostituta, sposò poi Carluccio, debosciato rampollo dei nobili Mazza, i quali perseguitarono la scomoda nuora a lungo, contribuendo a consolidarne il mito. Artista versatile, attraversò tutte le esperienze performative del suo tempo affermandosi come “commediante, cantarinola, armonica”. Attraverso le cantate del nobile Cicinelli e le partiture per lei composte da Francesco Provenzale e Pietro Andrea Ziani sarà possibile sondare l’altissima vocazione vocale e interpretativa della rivoluzionaria “Ciulla”.
Anna Maria Scarlatti superò in vita, con la sua controversa reputazione, la fama del fratello Alessandro. La “canterina” Scarlatti fece fruttare le virtù artistiche quanto quelle sessuali, accantonando una dote da 10.000 ducati con la quale sposò, nel 1699, l’armatore Nicola Barbapiccola. La Scarlatti fu imprenditrice nello spettacolo, investendo una parte dei suoi capitali per finanziare le attività teatrali delle stagioni d’opera del Teatro San Bartolomeo tra il 1699 e il 1703. Dopo la sua morte, il marito assunse a sua volta l’impresa operistica, agevolando il debutto del diciottenne nipote Domenico Scarlatti. E forse, nella piccola pinacoteca allestita dalla “canterina” trovò spazio persino un Caravaggio: San Giovanni Battista musico, ritratto con un cembalo e un’arpa, strumento, quest’ultimo, ancora a fine Seicento prezioso per accompagnare il canto.
«Adriana Basile, Giulia De Caro e Anna Maria Scarlatti, furono sì delle puttane, ma in musica», spiega l’autrice e regista Angela Di Maso, «desiderate, ancor più che per la loro condotta disinibita, per la scaltrezza unita alla spudoratezza per il riconoscimento, in stima e fama, della loro arte. La mia drammaturgia nasce allora dalla lettura di documenti storici uniti ai saggi dei musicologi Maione, D’Alessandro e Cotticelli, nei quali è fortemente evidente la scalata di queste donne verso il successo musicale, giustificato da autentici e purissimi talenti vocali, per i quali vollero comporre i principali geni della Scuola Musicale Napoletana. Ma queste artiste intellettualmente e sessualmente libere – sottolinea Di Maso – non si risparmiarono l’utilizzo di ogni mezzo per percorrere sentieri non lunghi e tortuosi ma brevi e dorati. Il mio racconto delle tre “famosissime armoniche” – conclude l’autrice – è dunque quello di un secolo, il Seicento nel Regno di Napoli, che per vizi e virtù sembra essere tutt’oggi mai trascorso».
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