'' It is the joyful danger of strong emotions in the face of beauty ... those profound encounters that change and disturb us, just like falling in love. In the end we are no longer the same. '' Nicola Piovani thus explains why he chose '' Music is dangerous '' for the title of the show that will see him protagonist at the Parco della Musica in Rome in four concerts from 26 to 31 December. '' It is a phrase that Federico Fellini used to say to himself about his own fragility towards music - he tells ANSA -. Metaphorically and provocatively it belongs to me ''. In the 'Christmas' editionof this tale of melodies and words, the spectators will see a new version of the concerts that have been losing pieces since 2015 and propose new ones with a share of improvisation linked to `` what happens '' every night.
'' We will play for the first time - explains Piovani, who will have five traveling companions alongside - the music I wrote this year for a French film 'The loves of Anais' by Charline Bourgeois. I restored the music of Nanni Moretti's film 'Caro diario' that I had not played in public for a long time and to which I am particularly fond, and the music written last year for Tornatore's commercials has for the vaccination campaign ''. There will also be a short piece by Debussy transcribed and orchestrated by the composer in the adolescent years while the last part is dedicated to the songs, including an anthology of the pieces set to music for De Andrè's album 'Storia di unoccupato' and the surprise of an Argentine song of the twenties.
Next year for Piovani will begin on 21 January at the Verdi Theater in Trieste where '' Amorosa Presenza '' will be staged under the direction of Chiara Muti, an opera she has been working on for 30 years and which has undergone several postponements due to pandemic. The libretto is inspired by Vincenzo Cerami's novel of the same name and was written by the composer together with the writer's daughter, Aisha. '' The story is set in the late seventies. When we began to design it with Cerami it was a contemporary work, to tell about our presence in those years. Today we say that it is already born ancient ''. In February he will resume working for Musica per Roma, of which he is a resident artist. '' We have many ideas and many projects of which, unlike how politicians do,you have to talk only when they go to port. In the meantime, Musica per Roma manages my entire repertoire and will produce the resumption and rearrangement of works written long ago ''.
Covid has deeply affected the teacher. '' I spent five weeks isolated in hospital in Rome and I learned a lot. When you do not know if you will come out alive you can react in many ways, attaching a lot to life trying to get rid of the superfluous to devote yourself to the fundamental things. My admiration for devoted and heroic healthcare professionals has grown.
And I've become intolerant of those who joke about this, the deniers I don't want to talk about. '' The return to live shows made him experience that '' the audience is hungry for physical musical contact with the performer. We don't realize how much we miss hugs. The theater, the concerts, the live show are a way to try again the physicality without taking anything away from the metaverse, which is quite another thing. Holograms are important. We know that virtual eroticism exists but, with all due respect, I still prefer the vicious one. ''
Finally, Piovani confirms that he has always loved collaborating with artists from other fields with whom he finds himself in tune, as happened in the past with Ascanio Celestini, Francesco De Gregori and Alfredo Arias in Paris.
'' Right now we have Beatrice Rana, a pianist who in my opinion is among the number one in the world.
Well, if I could write a concert for her and with her I would be very happy but I guess she is very busy at least until 2040 ''.