PIERROT REDUX
-
-
-
-
-
-
-
-
-
-
-
Pierrot REDUX
OPER.A 20.21 FRINGE - EDITION II: Schönberg 20.21
Project awarded with the honorable mention from the Fondazione Haydn di Bolzano e Trento
ROLES
Ellis Productions, Production and Direction
Alice Nardelli, Artistic direction
Massimiliano Viel, Musical composition
Marta Tonelli, Scenography
Ariella Vidach, Choreography
Otolab, Light designer and Video
AUTHORS
“Pierrot REDUX” is an idea by Ellis Productions on music by Massimiliano Viel and text by Albert
Giraud.
The idea of “Pierrot REDUX” starts from the chamber work Pierrot Lunaire by Arnold Schönberg (1912) and the collection of poems Pierrot lunaire: Rondels bergamasques (1884) by the Belgian poet Albert Giraud, that are at its core. The proposed work is based on the original work of Schönberg and proposes a new version both dramaturgical and musical, that maintains its structure in three parts and the exclusive presence of Giraud’s texts, but at the same time provides a new interpretation of the original themes.
The three parts of the show are each made up of a succession of seven scenes, for a total of 21 scenes, as in Schönberg’s work, each one based on one or more lyrics by the Belgian poet.
-
-
-
-
-
-
-
-
-
-
-
Pierrot REDUX
OPER.A 20.21 FRINGE - EDITION II: Schönberg 20.21
Project awarded with the honorable mention from the Fondazione Haydn di Bolzano e Trento
ROLES
Ellis Productions, Production and Direction
Alice Nardelli, Artistic direction
Massimiliano Viel, Musical composition
Marta Tonelli, Scenography
Ariella Vidach, Choreography
Otolab, Light designer and Video
AUTHORS
“Pierrot REDUX” is an idea by Ellis Productions on music by Massimiliano Viel and text by Albert
Giraud.
The idea of “Pierrot REDUX” starts from the chamber work Pierrot Lunaire by Arnold Schönberg (1912) and the collection of poems Pierrot lunaire: Rondels bergamasques (1884) by the Belgian poet Albert Giraud, that are at its core. The proposed work is based on the original work of Schönberg and proposes a new version both dramaturgical and musical, that maintains its structure in three parts and the exclusive presence of Giraud’s texts, but at the same time provides a new interpretation of the original themes.
The three parts of the show are each made up of a succession of seven scenes, for a total of 21 scenes, as in Schönberg’s work, each one based on one or more lyrics by the Belgian poet.