{"id":4285,"date":"2019-03-12T17:21:55","date_gmt":"2019-03-12T16:21:55","guid":{"rendered":"https:\/\/www.riccardomutimusic.com\/?page_id=4285"},"modified":"2019-04-05T16:05:26","modified_gmt":"2019-04-05T14:05:26","slug":"muti-scuola-napoletana-2-2-2","status":"publish","type":"page","link":"https:\/\/www.riccardomutimusic.com\/en\/muti-scuola-napoletana-2-2-2\/","title":{"rendered":"Muti Berlioz"},"content":{"rendered":"<div class=\"container section-title-container\" ><h2 class=\"section-title section-title-bold-center\"><b><\/b><span class=\"section-title-main\" style=\"font-size:154%;color:rgb(0, 0, 0);\">Riccardo muti and berlioz<\/span><b><\/b><\/h2><\/div>\n<div class=\"row align-center\"  id=\"row-115786713\">\n\n\t<div id=\"col-686181076\" class=\"col medium-6 small-12 large-6\"  >\n\t\t\t\t<div class=\"col-inner text-center\"  >\n\t\t\t\n\t\t\t\n<div class=\"video video-fit mb\" style=\"padding-top:54%;\"><p><iframe loading=\"lazy\" title=\"Muti rehearses Berlioz: Symphonie Fantastique\" src=\"https:\/\/player.vimeo.com\/video\/215617252?dnt=1&amp;app_id=122963\" width=\"1020\" height=\"574\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<p style=\"text-align: center\"><span style=\"font-size: 110%;color: #282828\"><strong>Riccardo Muti rehearses<br \/>\nthe <span style=\"color: #282828\"><em>Symphonie Fantastique<\/em><\/span><\/strong><\/span><\/p>\n<p><span style=\"color: #282828\">Hector Berlioz\u2019 <em>Symphonie Fantastique<\/em>, written in 1830 according to a specific extra-music program, describes in five Movements the meeting of the composer with his beloved and the pains of his<br \/>\n<\/span><span style=\"color: #282828\"> non-reciprocated love.<\/span><\/p>\n<a rel=\"noopener noreferrer\" href=\"https:\/\/www.riccardomutimusic.com\/en\/prodotto\/orchestra-rehearsals-copia\/\" target=\"_blank\" class=\"button primary is-shade\"  style=\"border-radius:10px;\">\n    <span>watch the full version in the 8-dvd box set: Riccardo muti in rehearsal<\/span>\n  <\/a>\n\n\t<div id=\"gap-883544414\" class=\"gap-element clearfix\" style=\"display:block; height:auto;\">\n\t\t\n<style>\n#gap-883544414 {\n  padding-top: 40px;\n}\n<\/style>\n\t<\/div>\n\t\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\n\t\n\n\t<div id=\"col-1023504238\" class=\"col medium-6 small-12 large-6\"  >\n\t\t\t\t<div class=\"col-inner\"  >\n\t\t\t\n\t\t\t\n<div class=\"video video-fit mb\" style=\"padding-top:54%;\"><p><iframe loading=\"lazy\" title=\"Muti rehearses Berlioz: L&amp;eacute;lio ou Le retour &amp;agrave; la vie\" src=\"https:\/\/player.vimeo.com\/video\/215617597?dnt=1&amp;app_id=122963\" width=\"1020\" height=\"574\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<p style=\"text-align: center\"><span style=\"color: #282828\"><strong><span style=\"font-size: 110%\">Riccardo Muti rehearses<br \/>\n<em>L\u00e9lio<\/em> with\u00a0G\u00e9rard Depardieu as the narrator<\/span><\/strong><\/span><\/p>\n<p style=\"text-align: center\"><span style=\"color: #282828\">A sort of sequel of the <em>Symphonie Fantastique<\/em>. The French actor G\u00e9rard Depardieu interprets the opera making the text (written by Berlioz himself) live in a constant dialogue with the orchestra. The booklet contains the original libretto in French.<\/span><\/p>\n<a rel=\"noopener noreferrer\" href=\"https:\/\/www.riccardomutimusic.com\/en\/prodotto\/orchestra-rehearsals-copia\/\" target=\"_blank\" class=\"button primary is-shade\"  style=\"border-radius:10px;\">\n    <span>watch the full version in the 8-dvd box set: Riccardo muti in rehearsal<\/span>\n  <\/a>\n\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\n\t\n<\/div>\n<div><span style=\"font-size: 130%\"><strong><span style=\"color: #282828\">Muti and Depardieu, the joint interview:<\/span><\/strong><\/span><\/div>\n<div><\/div>\n<div><span style=\"color: #282828\"><strong>Ravenna (Italy)<\/strong> \u2013 What is <em>L\u00e9lio ou le retour \u00e0 la vie<\/em>, the melologue \u2013 or better the\u00a0<\/span><span style=\"color: #282828\">monologue with music \u2013 written by Berlioz in 1832 as the ideal sequel of that <em>Symphonie\u00a0<\/em><\/span><span style=\"color: #282828\"><em>Fantastique<\/em>, where he pictured the life of an artist of his times with painful and passionate\u00a0<\/span><span style=\"color: #282828\">notes?<\/span><\/div>\n<div><span style=\"color: #282828\"><em>L\u00e9lio<\/em>, according to critics and to the author himself, represents the slow rebirth of Man. An\u00a0<\/span><span style=\"color: #282828\">openly autobiographical creator-genius who, at the beginning of this peculiar and\u00a0<\/span><span style=\"color: #282828\">fascinating opera, wakes up from the effects of opium, where he had found temporary\u00a0<\/span><span style=\"color: #282828\">refuge to get away from the torment of existence.\u00a0<\/span><span style=\"color: #282828\">\u201cGod, I live again!\u201d are the first words of this hopeless exile tending to repudiate a world\u00a0<\/span><span style=\"color: #282828\">that cannot understand him and by which he feels tragically excluded. Although he ends\u00a0<\/span><span style=\"color: #282828\">up confessing, at the end of this journey among notes, that he wants to live \u201cencore,\u00a0<\/span><span style=\"color: #282828\">encore et pour toujours\u201d.<\/span><\/div>\n<div><\/div>\n<div><strong><span style=\"color: #282828\">What do the two protagonists think? What is the meaning of such a text in today\u2019s\u00a0<\/span><span style=\"color: #282828\">society?<\/span><\/strong><\/div>\n<div><span style=\"color: #282828\"><em>Muti<\/em>: <em>L\u00e9lio<\/em> is not a character from the past, he is the vivid image of today\u2019s artists: one day\u00a0<\/span><span style=\"color: #282828\">praised, the day after rejected by the market, unfairly prosecuted by conservatories and\u00a0<\/span><span style=\"color: #282828\">maybe even brought to success by progressives. Berlioz has clear ideas about it: he\u00a0<\/span><span style=\"color: #282828\">isolates his mouthpiece in the center of the scene and makes him talk in first person. He\u00a0<\/span><span style=\"color: #282828\">wants <em>L\u00e9lio<\/em> to set out the composer\u2019s own case to the audience and even confines chorus\u00a0<\/span><span style=\"color: #282828\">and singers behind him, separated by veils, with the task to underline in music <em>L\u00e9lio<\/em>\u2019s\u00a0<\/span><span style=\"color: #282828\">words without passing over him.<\/span><\/div>\n<div><span style=\"color: #282828\"><em>Depardieu<\/em>: To me, the author makes something more. As \u2013 without being aware of it, with\u00a0<\/span><span style=\"color: #282828\">the foresight typical of masters \u2013 he opens the door on the future, a future that is our\u00a0<\/span><span style=\"color: #282828\">present. It\u2019s typical Romanticism and yet Berlioz\u2019 hero is not presented in his dress full of\u00a0<\/span><span style=\"color: #282828\">pomp to defend a lost cause. He wears nowadays\u2019 clothes, as if the noise of moving chairs\u00a0<\/span><span style=\"color: #282828\">and orchestra\u2019s chords woke him up in that very moment from the drowsiness of drugs.\u00a0<\/span><span style=\"color: #282828\">Drugs he uses to face an everyday life that rejects him, to keep himself going with his\u00a0<\/span><span style=\"color: #282828\">work. As it is, unfortunately, for many intellectuals today. If this is not topical\u2026<\/span><\/div>\n<div><\/div>\n<div><strong><span style=\"color: #282828\">You convinced me. But now I would like to know if for the first time, in your career,\u00a0<\/span><span style=\"color: #282828\">music meets poetry.<\/span><\/strong><\/div>\n<div><span style=\"color: #282828\"><em>Muti<\/em>: Up to now, it never happened to me. Because here, with Berlioz, there is high risk.\u00a0<\/span><span style=\"color: #282828\">The voice must pass over the music without overcoming it and sometimes subjugating it in\u00a0<\/span><span style=\"color: #282828\">order to add it value. Almost an impossible challenge.<\/span><\/div>\n<div><span style=\"color: #282828\"><em>Depardieu<\/em>: I have performed many times the part of the narrator. In Stravinsky\u2019s <em>The\u00a0<\/em><\/span><span style=\"color: #282828\"><em>Soldier\u2019s Tale<\/em>, in Saint-Sa\u00ebns\u2019 <em>Carnival of the Animals<\/em>, even in such a difficult opera as\u00a0<\/span><span style=\"color: #282828\">Kod\u00e1ly\u2019s <em>H\u00e1ry J\u00e1nos<\/em>, but I had never felt as involved as it happened this time with\u00a0<\/span><span style=\"color: #282828\">Riccardo. Well, actually there was another time: when I played the role of the Assassin in\u00a0<\/span><span style=\"color: #282828\">Lily Passion, next to such a legend of French Song as Barbara. But that was an unusual\u00a0<\/span><span style=\"color: #282828\">musical, not an op\u00e9ra philosophique like this.<\/span><\/div>\n<div><\/div>\n<div><strong><span style=\"color: #282828\">How did you organize this work hand in hand?<\/span><\/strong><\/div>\n<div><span style=\"color: #282828\"><em>Muti<\/em>: Behaving like two fighters on the ring, who do not aim at hitting each other, but at\u00a0<\/span><span style=\"color: #282828\">integrating. Playing, dribbling, exchanging more suggestions than digs, like in a friendly\u00a0<\/span><span style=\"color: #282828\">football match. Where actor and conductor even share the role of the referee until, if it ever\u00a0<\/span><span style=\"color: #282828\">occurs, the final apotheosis.<\/span><\/div>\n<div><span style=\"color: #282828\"><em>Depardieu<\/em>: I \u2013 who used to once play football, while now prefer taking care of my vineyard\u00a0<\/span><span style=\"color: #282828\">\u2013 completely share the analogy suggested by Riccardo. Undertaking such an effort at my\u00a0<\/span><span style=\"color: #282828\">age, with a mate who looks at me, encourages me, stands close to me and shares the\u00a0<\/span><span style=\"color: #282828\">same space together with me, is much more thrilling than working with certain poor\u00a0<\/span><span style=\"color: #282828\">directors.<\/span><\/div>\n<div><\/div>\n<div><strong><span style=\"color: #282828\">Maestro, what is the difference between conducting a singer and conducting an\u00a0<\/span><span style=\"color: #282828\">actor?<\/span><\/strong><\/div>\n<div><span style=\"color: #282828\"><em>Muti<\/em>: Singers have a script called score and it is up to us making them respect it,\u00a0<\/span><span style=\"color: #282828\">sometimes encouraging them to underline words with gesture, as directors would do, or\u00a0<\/span><span style=\"color: #282828\">even more. With Depardieu the problem doesn\u2019t even present itself. He is more patient\u00a0<\/span><span style=\"color: #282828\">than Maria Callas when she was directed by Visconti.<\/span><\/div>\n<div><\/div>\n<div><strong><span style=\"color: #282828\">Monsieur Depardieu, did Muti behave more like a director or a conductor towards\u00a0<\/span><span style=\"color: #282828\">you?<\/span><\/strong><\/div>\n<div><span style=\"color: #282828\"><em>Depardieu<\/em>: Riccardo isn\u2019t a conductor. He is an author, like Truffaut and Resnais at the\u00a0<\/span><span style=\"color: #282828\">movie theater. Like them, he builds an atmosphere around you, he puts you inside the\u00a0<\/span><span style=\"color: #282828\">work of art he creates. While on set\u2026 Please, don\u2019t let me talk about that.<\/span><\/div>\n<div><\/div>\n<div style=\"text-align: right\"><span style=\"color: #282828\">Original: Enrico Groppali \u2013 Il Giornale \u2013 25 giugno 2008<\/span><\/div>\n<div style=\"text-align: right\"><span style=\"color: #282828\">(Free Translation)<\/span><\/div>\n<div><\/div>\n<div><\/div>\n<div class=\"row\"  id=\"row-2048627593\">\n\n\t<div id=\"col-64795174\" class=\"col medium-3 small-12 large-3\"  >\n\t\t\t\t<div class=\"col-inner\"  >\n\t\t\t\n\t\t\t\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\n\t\n\n\t<div id=\"col-2088025519\" class=\"col medium-6 small-12 large-6\"  >\n\t\t\t\t<div class=\"col-inner text-center\"  >\n\t\t\t\n\t\t\t\n\t<div class=\"img has-hover x md-x lg-x y md-y lg-y\" id=\"image_921563496\">\n\t\t<a class=\"\" href=\"https:\/\/www.riccardomutimusic.com\/en\/prodotto\/orchestra-rehearsals-copia\/\" target=\"_blank\" rel=\"noopener noreferrer\" >\t\t\t\t\t\t<div class=\"img-inner dark\" >\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"850\" height=\"568\" src=\"https:\/\/www.riccardomutimusic.com\/wp-content\/uploads\/in-rehears-2.jpg\" class=\"attachment-large size-large\" alt=\"\" srcset=\"https:\/\/www.riccardomutimusic.com\/wp-content\/uploads\/in-rehears-2.jpg 850w, https:\/\/www.riccardomutimusic.com\/wp-content\/uploads\/in-rehears-2-600x401.jpg 600w, https:\/\/www.riccardomutimusic.com\/wp-content\/uploads\/in-rehears-2-800x535.jpg 800w, https:\/\/www.riccardomutimusic.com\/wp-content\/uploads\/in-rehears-2-768x513.jpg 768w\" sizes=\"auto, (max-width: 850px) 100vw, 850px\" \/>\t\t\t\t\t\t\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/a>\t\t\n<style>\n#image_921563496 {\n  width: 100%;\n}\n<\/style>\n\t<\/div>\n\t\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\n\t\n\n\t<div id=\"col-1184788013\" class=\"col medium-3 small-12 large-3\"  >\n\t\t\t\t<div class=\"col-inner\"  >\n\t\t\t\n\t\t\t\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\n\t\n<\/div>\n<p style=\"text-align: center\"><span style=\"color: #282828;font-size: 110%\">Through his orchestra rehearsals, Riccardo Muti leads the spectator on a journey into music.<br \/>\nIn this way you can better appreciate the indications and the clarifications of the Maestro: that enlightening,<br \/>\nclarifying word is not used to show off knowledge, but to help the orchestra have a deeper vision of what it must perform<br \/>\nand to help the audience face the Universe of Music.<\/span><\/p>\n<p style=\"text-align: center\"><span style=\"color: #282828;font-size: 110%\">A journey that fascinates both the simple enthusiast and the musician: the clarity of Maestro\u2019s words,<br \/>\nthe meticulousness in the study performance of the score are instruments of the highest quality put in the hands of the audience.<\/span><\/p>\n<div class=\"text-center\"><div class=\"is-divider divider clearfix\" style=\"max-width:55px;\"><\/div><\/div>\n<div class=\"text-center\"><div class=\"is-divider divider clearfix\" style=\"max-width:45px;\"><\/div><\/div>\n<div class=\"row align-center\"  id=\"row-969976281\">\n\n\t<div id=\"col-1534637114\" class=\"col medium-5 small-12 large-5\"  >\n\t\t\t\t<div class=\"col-inner text-center\"  >\n\t\t\t\n\t\t\t\n\t<div id=\"gap-120639913\" class=\"gap-element clearfix\" style=\"display:block; height:auto;\">\n\t\t\n<style>\n#gap-120639913 {\n  padding-top: 20px;\n}\n<\/style>\n\t<\/div>\n\t\n<a rel=\"noopener noreferrer\" href=\"https:\/\/www.riccardomutimusic.com\/en\/prodotto\/orchestra-rehearsals-copia\/\" target=\"_blank\" class=\"button primary is-shade expand\"  style=\"border-radius:10px;\">\n    <span>discover the box set<\/span>\n  <\/a>\n\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\n\t\n<\/div>\n\t<div id=\"gap-1397389235\" class=\"gap-element clearfix\" style=\"display:block; height:auto;\">\n\t\t\n<style>\n#gap-1397389235 {\n  padding-top: 20px;\n}\n<\/style>\n\t<\/div>\n\t\n<p style=\"text-align: center\"><a href=\"https:\/\/www.riccardomutimusic.com\/\">DISCOVER THE LAST RELEASES IN DVDs, CDs, VINYLS, BOOKS AND VIDEOS<br \/>\nIN THE RMMUSIC STORE<\/a><\/p>\n<p style=\"text-align: center\">Subscribe to the newsletter for free: stay informed on events and news and preview exclusive content.<br \/>\nSign up and discover the benefits <a href=\"https:\/\/www.riccardomutimusic.com\/en\/newsletter\/\">here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Muti and Depardieu, the joint interview: Ravenna (Italy) \u2013 What is L\u00e9lio ou le retour \u00e0 la vie, the melologue \u2013 or better the\u00a0monologue with music \u2013 written by Berlioz in 1832 as the ideal sequel of that Symphonie\u00a0Fantastique, where he pictured the life of an artist of his times with painful and passionate\u00a0notes? L\u00e9lio, [&#8230;]\n","protected":false},"author":708,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-4285","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Muti Berlioz - Riccardo Muti Music<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.riccardomutimusic.com\/en\/muti-scuola-napoletana-2-2-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Muti Berlioz - Riccardo Muti Music\" \/>\n<meta property=\"og:description\" content=\"Muti and Depardieu, the joint interview: Ravenna (Italy) \u2013 What is L\u00e9lio ou le retour \u00e0 la vie, the melologue \u2013 or better the\u00a0monologue with music \u2013 written by Berlioz in 1832 as the ideal sequel of that Symphonie\u00a0Fantastique, where he pictured the life of an artist of his times with painful and passionate\u00a0notes? 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