- The
Final Magic: Teatro del Silenzio, 2010
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- In la
bella Italia, there is music everywhere—in the lilt of the
language, from the tolling bells of the church towers and the
chatter of the birds, in the wind that sings through the boughs of
the signature pines and stately cypress trees that delineate this
landscape, and from the musicians who play in the narrow streets and
piazzas for a few coins. On this trip, we had heard the music of the
masters in famous places like La Scala and in simple outdoor
concerts of a summer evening lit by candlelight in the old squares
of small hill towns. But in the end, the only place for music that
we really wanted to be was anywhere Andrea would be singing it… this
time, for the last time at the Teatro del Silenzio, the enchanted
hillside where the singular sound of his voice caresses the
landscape of his beloved paese.
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- The
Theme
- Every year the
first glimpse of the theater’s central sculpture that embodies the
concert’s theme is eagerly awaited. This year, Swiss artist Kurt
Laurenz Metzler, created the stunning monumental sculpture of the
modernistic star as well as the metallic human figures in bright
crayola colors that peopled the stone walls of Teatro del Silenzio
and also graced the rooftops and piazza in Lajatico.
- The star,
dominating the area behind the stage, was a dramatic backdrop for
each musical offering, changing color with the lighting to establish
and underscore the appropriate mood, for example, shifting from deep
violet to turquoise for Tosca,
pink to fuchsia for the Ave
Maria, vivid yellow and orange hues for the dramatic music of Norma
and Carmen, stark white
for the “Esultate” from Verdi’s Otello,
and scintillating with multicolored dancing lights for the
effervescent waltz from Gounod’s Faust.
- Lights have
always played an important role in these concerts as a counterpoint
to the dramatic darkness that envelops the theater once the sun has
set. But it would be difficult to outdo the evening’s most
dramatic natural effect for this final concert—the full moon that
emerged on cue from the clouds on the horizon and bathed the stage
in its luminescence in a bright arch from left to right throughout
the course of both evenings. Paired with the night glow of the
distant medieval hilltop city of Volterra, the impression was
incomparable.
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- Sunday
Concert
- Although the
concert was scheduled for 9:00 pm, the theater opened early and
people had begun the long and somewhat arduous task of reaching the
hilltop hours before. Once the summit is achieved, the view is
peerless. In the twilight, a dollop of white clouds floats above the
horizon of the distant rolling hills. The earlier threat of rain had
passed. Now the creams and golds and muted greens of the hillsides
were burnished in the final rays of the setting sun, the aching
beauty of the spectacle is soul-piercing. Clusters of people stand
here and there entranced by the distant views of the hills and
follow with their gaze the long, snaking lines of cars that still
moved slowly toward this mecca. The journey here is something of a
quest, a pilgrimage to experience the singular fusion of the heart
and soul and land of the one we have all come to hear. But it is no
easy task, fraught with choking dust, the treachery of loose gravel
underfoot, and steep inclines.
- As the evening
deepens, the clouds above the graying hills are tipped with the
luminescence of the sun’s final rays and sculpted into relief by
the darker shades of evening shadow. To the west are wisps of
mare’s tails in the darkening sky. The increasing chill of the
breeze steadily coaxes out the fancy evening wraps and contributes
to a brisk sale of the black blankets with white print proclaiming
Teatro del Silenzio. People sip wine, from the vineyards of the
surrounding hills. The languages of many lands fill the evening air.
Seated beside us is a couple from Slovenia, and another from Korea.
In front, there are two couples from Brazil. Gradually, everyone
begins to take their seats, smiling and happy in anticipation.
- When the
appointed moment arrives, a long celebratory pealing of bells, at
once joyous and reverent, calls us to attention. The call of the
bells to gather is a hallmark of Andrea’s concerts here, and
fittingly marks the beginning of the evening’s entertainment. The
audience is hushed. Then, in the expectant silence, the actor Andrea
Giuntini takes the stage and recites the poem of Dino Carlesi that
evokes the intense connection between the basic elements of the
earth and mankind. Here is a bit of it (loosely translated).
- We
tread the Earth,
- Breathe
the Air,
- Taste
the Water’s freshness,
- Burn
ourselves with Fire,
- In
the Air, our words resound, the stars shine
- In the Air,
sounds are born and die…
- The
Earth is within man,
- here
he is born, here he lives, here he dies;
- here,
- he
lives festivity and sorrow,
- here,
- he
sends out his songs, commits sin, creates culture, traditions, and
History.
- The
Earth is scent and memory.
- I
am earth
- and
carry it within
- like
a soul….
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- The
Program
- Befitting this
year’s theme, Stelle,
Andrea chose the brightest stars from the firmament of the operatic
repertoire, several performed by him for the first time—and he was
in heavenly voice from start to finish. As a whole, the chosen pieces
united and underscored all the important themes emphasized through
the five years of the concerts here at the Teatro del Silenzio: love,
passion, exultation, exuberance, yearning, faith, hope, defiance,
courage, humanity, fidelity to the land.
- From the
concert’s first moment, Maestro Eugene Kohn established a presence,
taking the stage with an energetic step, giving a confident and
gracious nod of thanks for the audience recognition, and
thoughtfully acknowledging the concert master and second violinist
with a considerate handshake before taking the podium. At the prova
generale the day before, he had proven himself a patient but
firm guardian of the classical repertoire, detecting small
imperfections and calling for repetition and review of difficult or
still rough passages. In one case, he eventually rejected the piece
from Verdi’s Otello
because the chorus simply did not have the rehearsal time needed to
manage the difficult timing. It was a sad loss because Andrea sings
the “Esultate” with
flair and firmness, and it showcases his vocal control.
- The first notes
of the evening were from the brisk march, “Marcia ungherese,” of
Berlioz’s Damnation of
Faust, which was paired with the exciting appearance of the
beautifully matched Friesian horses adorned with red ribbons and
smart white-clad riders performing movements in time to the musical
cadence on the circular track behind the stage. If you look up the
characteristics of this breed that Andrea has recently fallen in
love with, you might find this typical description: “A Friesian
tends to have great presence and to carry itself with elegance.”
Does that bring to mind anyone else you know? Evidently, it was a
match made in heaven. Andrea’s own stallion Tieske and others he
owns were among the powerfully muscled black beauties with thick mane and tail and “feathered” lower legs that provided such an
impressively graceful accompaniment to the evening’s entertainment.
- Andrea’s first
entry onstage brought a wave of delighted response and a slight gasp
from the audience, so handsome was he in his impeccably tailored,
three-piece, dark-gray suit tailored by Corneliani. Bello boy!!
Without hesitation, he began the striking aria from Bellini’s Norma,
“Meco all’altar di Venere,” shaping it with dramatic color—a
plaintive cry in the word “pianto” and the sound of dark
foreboding for “orrore.” It was grand to hear the triumph of
opera in his voice again—this is where he shines. This is his
glory.
- For me, there is
no more ravishingly beautiful duet in the whole lexicon of operatic
gems than the one from Act 1 of Puccini’s Tosca. The spell is instantly cast, with Andrea’s heart-melting
portamento on the first lush notes of “Son qui.” The entire
musical dialogue makes me limp with its entrancing beauty, and I was
not alone—it brought the house down. Andrea was tenderly
responsive in gesture and demeanor to his partner. It was difficult
to ignore the handsome dark tan of his strong hands placed gently on
the pale white arm of the lovely soprano Nadia Vezzù, clad in a
striking red gown.
- A lighter moment
followed these two serious opera offerings. Désirée Rancatore, who
had appeared previously with Andrea at Taormina, took the stage in
the charming costume of the mechanical doll Olympia, to present the
aria “Les Oiseaux” from Offenbach’s Tales
of Hoffmann. This piece is a tour de force of vocal control and
acting, imitating the doll’s mechanical gestures both physically
and vocally and convincingly achieving the effect of the toy’s
winding down and restarting. Désirée seems to be a natural
comedian, and Eugene Kohn revealed his playful nature interacting
from the podium with her little quirky gestures and winding her up
with a gigantic key when she needed recharging. It was all
brilliantly done, and Désirée produced notes I didn’t know
existed. She earned every minute of the extended applause she
received.
- In his concert
repertoire, Andrea rarely fails to pay tribute to his frequently
expressed devotion to the Virgin Mary, most often favoring
Schubert’s Ave Maria
sung in Italian. The straightforward beauty of his voice and his
ardent faith infuses this compelling melody with a plaintive
intensity that is at once gently touching and emotionally charged.
Anna Tifu’s simple violin accompaniment was the perfect setting,
and the dancer Giuseppe Picone lent his ballet accompaniment.
- Next came the
moment when José Carreras took the stage for the first time,
introduced by Andrea with obvious pride. Long and affectionate
applause greeted this operatic legend. At an earlier press
conference, Carreras had referred to the Teatro as “a splendid
place” and acknowledged that “to be here with Andrea Bocelli, of
whom I am a great friend, is a great satisfaction for me.” He
looked trim and fit in a dark suit and his voice was strong as he
sang Valente’s “Passione,”
famous in the repertoire and sung by such greats as Gigli and
del Monaco, and more recently Dmitri Hvorostovsky. Carreras’s
dramatic and rather theatrical style suited him as naturally as does
Andrea’s more serene and inwardly contemplative onstage presence.
There was extended applause from the audience that clearly had
looked forward to this highlight of the evening.
- Next Andrea
returned for “Di Quella
Pira,” the studly aria from Verdi’s Il
Trovatore! Firmly, confidently, Andrea manages it as he might
master a proud and headstrong stallion. Tonight a beeeeeg smile
indicated his satisfaction with the ringing climactic high C that he
achieved with deceptive ease. What a thrill to have it wash over us
with the cool breeze of the night air.
- Immediately this
passionate spell was expanded as Andrea was joined by Vezzù for the
climactic denouement of the first half of the concert, “Vicino a
te” from Giordano’s Andrea Chénier. In Bocelli lore, this opera is known as the
earliest inspiration of Andrea’s childhood, and this is as
emotionally stirring as a duet can be, with cascades of melting
melody from tenor and soprano, one echoing the other. Tonight there
was a stunning surprise. On cue, at the fever pitch of the lovers’
final blended notes of utter triumph in the face of death, a fleet
of miniature floating lanterns was released into the night sky. It
was a breathtaking moment of unexpected enchantment. We watched
entranced as each flickering sphere rose higher and higher and
finally winked out one by one in the inky blackness. It was almost
as if the spirits, past and present, of the Teatro itself were
ascending into infinity.
- After the
intermission, Anna Tifu, the slender and dynamic young violin
virtuoso from Cagliari, electrified the audience with her solo
rendition of Bizet’s “Carmen Fantasy.” This was followed by
the orchestral rendition of the joyously effervescent waltz from
Gounod’s Faust. The
second act duet from Faust,
“Il se fait tard,” reunited Andrea and Naddia Vezzù. Again,
Andrea imbued the aria of pleading between the two lovers,
Marguerite and Faust, with plaintive, tender emotion, intense and
heartfelt.
- For this second
half of the concert, Andrea had donned a three-piece summer-white
suit with the most elegant brocaded vest I have ever seen. Honestly,
tanned and handsome, his gleaming presence easily eclipsed the
evening’s moon.
- The sultry
strains of “Aranjuez” came next. This mesmerizing melody
provides an ideal opportunity to simply drink in the soulful beauty
of this man as he weaves a vocal spell that is irresistibly romantic.
The tenor has his way with the final note, building a controlled
crescendo from low to high volume that sends chills up the spine!
- Carreras followed
with the romantic “Pel teu amor” (“For your love”) by Ribas,
an early 20th century classical Catalan composer. “With
the light of your glance, you have filled my life.” This man is so
impressive to be singing as strongly as he does at this point in his
long career. What a privilege to be in his presence and share
Andrea’s pleasure in presenting him to us!
- At this point,
Andrea offered a special personal poem dedicated to Lajatico and the
Teatro del Silenzio. Giuntini returned to recite it, accompanied by
Andrea at the piano, who softly played “Melodramma.” Sadly, it
was somewhat beyond my Italian capability to translate adequately in
the few moments it was available onscreen. But hopefully it will
find its way somehow to the Internet so that all can share.
- Now with a shift
to the realm of popular music, Andrea introduced his friend Zucchero
to a crowd that roared its delight at his first appearance,
emphasizing the fact that he owed this man a great deal. As much as
“Con te partiro,” it was their collaboration on “Miserere”
on tour in 1993 that helped to launch Andrea’s career. But it was
with “Diamante,” another of the bluesman’s recognizable hits,
that he opened his set, while Andrea, looking happy as a clam and
very much at home, played back-up for the long-haired soul singer,
who was clad in his characteristic Sgt. Pepper-like braided jacket.
With a parting and clearly affectionate embrace, Andrea left the
stage to Zucchero for “Nel cosi’ blue.”
- When Zucchero
finished, to enthusiastic applause, there was a decided change of
mood with the offering of the four young sopranos known as Div4s
(“quattro dive”), who blend in close harmony to achieve a kind
of feminine operatic-pop offering similar to that of Il Divo. Clad
in identical, close-fitted flashy gowns, they sang “Nella Fantasia,”
an Italian song based on Ennio Morricone’s theme “Gabriele’s
Oboe” from The Mission,
and were accompanied by the graceful balletic interpretation of Anna
Manes and Francesco Annarumma. The lyrics of “Nella Fantasia”
are suited to themes close to Andrea’s heart and this enchanted
evening: “In my imagination I see a bright world, Even the night
is less dark there. I dream of souls that are always free, Like
clouds that fly.”
- With the moon now
high over their shoulders, Andrea and Zucchero strolled comfortably
arm-in-arm back to the stage for a truly special moment of the
evening. “Miserere” is
a repository of Bocelliana. Momentarily, I flashed back to the image
of these two in concert at Pisa’s Piazza dei Cavalieri when they
recorded that historic “Night in Tuscany,” my first encounter
with the Tuscan tenor who has made such an impression on my life.
Most certainly I was not alone in this flashback experience. The
blend of the two distinct vocal types, Andrea’s soaring tenor and
Zucchero’s coarse-spun baritone, satisfies like the combination of
vinegar and oil…only the best balsamic of Modena and a rich
extra-virgin olio d’oliva of the first pressing, of course.
Hearing, for the first time, this iconic melody live from these two
masters of their trade was a moment of purest magic!! When they had
finished, to another resounding wave of applause, it was sweet to
see them leave together, two old friends each with their arm around
the other.
- The rousing “Libiamo,”
traditionally the way to end an evening of classical music,
brought all of the performers onstage together. Andrea extended
final thanks to the orchestra, the divas, Maestro Kohn, the
wonderfully graceful dancers and his two major stars. But the
audience had other thoughts. We begged with applause and lured
Andrea and Carreras out again for a wistfully beautiful duet of
“Non ti scordar’ di me.”
- When Andrea
returned for the next encore, it was to sing “Melodramma,” his
anthem of love to the land. If there is one song in Andrea’s
popular repertoire that is intrinsically linked with the landscape
and soul of this place that dominates the undulating countryside, it
is “Melodramma,” and he never fails to endow it with his most
heartfelt emotion. This evening was no exception. I couldn’t help
but wonder what thoughts might be going through his mind knowing
this would be the last time his voice would ring out here over these
Tuscan hills.
- Then the familiar
strains of the song most of the audience knew was inevitable
resounded into the night. “Con te partiro.” We could sing it in
our sleep, and many did accompany Andrea in this emblematic song of
his career…one final time here at Teatro del Silenzio. Even then
we couldn’t let him go.
- Only one song
remained to make a perfect constellation on this enchanted Tuscan
evening. When the planets are aligned just so, and Euterpe the muse
of music smiles on us, and our tenore
is feeling his operatic oats, we are sometimes granted the
benediction of his interpretation of the great “Nessun Dorma.”
If ever there was a night that offered the perfect setting for the
climactic “vincero,” it was this final farewell to the Teatro
del Silenzio. Yet, our hope dimmed once the usually definitive
closure of “Con te partiro” had been sung. Nevertheless, the
continued and undaunted applause drew Andrea back to us. Then, the
unmistakable opening notes of Puccini’s transcendent aria filled
the night. It was brilliant! Delirious with joy, I realized that no
longer would my dear friend Carolyn—loyal fan of long standing—be
the only human being on earth who had not received Andrea’s
precious gift of this vocal treasure. And fitting it was, indeed,
that the final word and ultimate note of the last edition of this
limited edition set of enchanting concerts should be Andrea’s
gloriously confident “vincero”!!
- Before he even
closed his mouth, a virtual blizzard of celebratory golden confetti
was blasted from the sides of the stage, all but obscuring Andrea.
Then the entire cast had their final bows together. A lovely
Veronica, clad in a gown of sunflower yellow that was short in front
and gracefully trailed to an elegantly longer length behind,
lovingly presented Andrea with a congratulatory bouquet and kisses
of shared triumph. For a long time, the standing ovation rang into
the night, but finally, it truly was time to say good-bye.
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- The
Morning After
- On Monday morning,
the papers were filled with variations on the same headline—“The
Last Magic of Bocelli” “Bocelli, the last concert ‘in casa’”
“Bocelli, the final magic in the Teatro del Silenzio” “With
Carreras and Zucchero I closed my theater” “After five editions,
the event that made the Alta Valdera known to the world is filed in
the archives” “An unprecedented trio closed the structure,
Goodbye to Teatro del Silenzio: Bocelli, Carreras, and Zucchero”
“A delirious Lajatico bows to its Bocelli” “Silenzio, it is
Bocelli who lights up the magic of the starry night” “Bocelli
closes his theater, ‘It was a magnificent binge’”
- At a press
conference the day before the concert, Andrea had commented
extensively on this final episode of an extraordinary happening (Il Tirreno):
- “Beautiful
things must have a beginning and an end. For this reason, this
year’s edition of the Teatro del Silenzio will be the last…The
Teatro del Silenzio was born to last for five editions and we want
to adhere to this concept. To continue would mean that a level of
quality should be maintained that would be difficult to manage each
time. We would like to leave a beautiful memory for those who have
been present at these five editions.” He commented that the teatro
was a “magic place that will now be restored to the countryside.”
He went on, “I know that this event offers a particular
fascination. It springs from the classical values of singing, but
also represents a sign of the times. Today, making music is not only
done in so-called normal theaters but also where one can achieve a
special magic. And it is this that has captivated people.”
Referring to a higher purpose of the teatro, Andrea said he wanted
to “offer to my compatriots the opportunity to have contact with
different cultures and languages. Only in this way can world
collaboration, of which there is such a great need, be achieved.”
- This Andrea
undoubtedly accomplished. This year, from all over Europe, the
United States, and other continents, 10,000 spectators (nearly ten
times the population of little Lajatico) made their way to the
hilltop teatro.
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-
- Theater
of Silence
- From its
inception, the Teatro del Silenzio has represented many things—Andrea’s
deep roots in la terra, the
Tuscan fields of his birthplace; the reciprocal love and support of
the people who have watched him grow, not only from a small boy to
manhood, but from an unknown man with a dream to one who reached the
heights of celebrity. Though he may be in constant voyage around the
world, in Lajatico, for Andrea, everything is different. Here he is a
casa—the small curving streets and tiny piazzas he has walked
in from childhood are filled with friends, young and old, who know
him.
- The concert at
Teatro del Silenzio cannot be repeated elsewhere. It is fused to
this place and the short round of time that breaks the silence once
only in the earth’s slow course around the sun for a few magical
hours, sunset to moonrise, and toward the infinite darkness of mezzanotte.
It is here that Andrea Bocelli is il
Padrone, here where all that formed his soul and heart blends
uniquely with the voice born of his alliance with the land and its
people. This place is the source of his being—this exquisite
beauty, this singular tranquility, this rich culture have nurtured
and formed the basis of his vocal expression, unique in its own
beauty, tranquility, and richness.
- Andrea said,
“The things that leave a mark are those that finish in glory. For
me, this was a magnificent binge.”
- In the blackness
on Sunday, leaving the theater, one star, brighter than the rest,
hung over the dark silhouettes of the Tuscan hills…addio, stella, now the
guardian of the memories we carry home from this beloved land of
Andrea. The spirits of the music, of the land, and of the man that
were born of this glorious experiment are locked away within our
being. Il silenzio remains.
- We wait to see
what the sunrise will bring.
-
- by Cami
McNamee
Michael and I travelled
from Melbourne Australia especially to attend the Concert.
We enjoyed an
11 day Trafalgar Tour of
Italy in early July then 5 days at Ponsacco at a Tuscan Villa from
where
we would attend the
Concert a little later in July.
We were excited when the
day of the 25th July finally came!
We were picked up in a
Coach at our Villa to be taken to Teatro del Silenzio.
Amazingly a thunderstorm
erupted during our journey and we all feared the concert would be
cancelled.
Rain pelted down with dark clouds etc. but fortunately the
weather settled by the start of the Concert, which
had a lat start due to the stage having to be cleaned up after the
rain.
Gina Lollobrigida the
famous actress was seated in the seats on the side of the
stage - apparently she isa great fan of Andrea Bocelli (like us all).
Andrea Bocelli finally
appeared on stage greeted by a huge applause as you can imagine.
Our seats were just six
rows from the front of the stage - we could almost reach out and touch
him!!
Andrea was dressed in a
navy jacket and trousers with navy brocade vest and bow-tie (later in
the Concert he
changed into a white outfit looking very handsome) Forgot to mention
Andrea's mother was seated near us.
The Concert was
mostly Operatic and Classical nature - very different to his Concerts directed
by David Foster, so it was a surprise to us as we had expected a
familiar content.
Andrea performed several
Operatic songs accompanied by Desiree Rancatoe, Nadia Vezzu, Violinist
Anna Tifu, Jose Carreras,
4 Sopranos Divas, Ballet performers male and female (very acrobatic)
Zucchero Fornaciari.
Andrea Bocelli finished a
superb Concert performance with two popular songs which we all loved
hearing.
Flowers were presented to
Andrea Bocelli and the other Artists who had performed.
Colourful streamers etc
burst about the Performers and the superb Orchestra.
Encores were called with
several more songs by Andrea Bocelli.
Our much-looked forward to
Concert was now at an end but memories will linger on always.
The Program we received
was printed in Italian so I could not read it but the Photograph
Album I received
- given to seat holders in
the Executive Section where we were - was indeed a lovely keepsake.
by Shirley
Vaughan - Australia
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