Andrea Veneri
Works
I have worked in different artistic sectors with different tasks. Listed below are the art projects in which I have had the pleasure and honor of working. All splendid realities in cun I met some wonderful people.
Cinema
olonna sonora elettroacustica
per il film
METROPOLIS (1927)
di Fritz Lang
versione restaurata del 2010, durata 148 minuti
creata ed eseguita dal vivo da Edison Studio
compositori – esecutori
Mauro Cardi, Luigi Ceccarelli, Alessandro Cipriani, Vincenzo Core, Andrea Veneri
con il contributo vocale di Anna Clementi
e di Martin Figura, Eric Moser, Marco Noia, Andreas Otto
film B/N, versione originale con cartelli in tedesco sottotitolati in italiano,
fornito da Cineteca di Bologna
restauro realizzato nel 2010 da Friedrich-Wilhelm-Murnau-Stiftung, Wiesbaden
in collaborazione con Deutsche Kinemathek – Museo per il cinema e la Televisione, Berlino
insieme a Museo del Cine Pablo C, Ducros Hicken, Buenos Aires
una co-commissione Milano Musica, Ravenna Festival
con la collaborazione di Tempo Reale – Firenze
prima esecuzione
Milano, 11 maggio 2023 | ore 20
MEET Digital Culture Center – Theater
32° Festival MILANO MUSICA | 2023
Ravenna, 16 giugno 2023
Teatro Alighieri
34° RAVENNA FESTIVAL | 2023
Roma, 30 novembre 2023
Parco della Musica, Teatro G. Borgna
60° Festival di Nuova Consonanza
https://it.wikipedia.org/wiki/Metropolis_(film_1927)
sceneggiatura Fritz Lang, Thea von Harbou
fotografia Karl Freund, Gunther Rittau
attori Alfred Abel, Gustav Frohlich, Brigitte Helm, Rudolf Klein-Rogge, Fritz Rasp, Olaf Storm, Theodor Loos, Erwin Biswanger, Heinrich George, Hans Leo Reich, Heinrich Gotho, Margarete Lanner, Max Dietze
Metropols - Fritz Lang
Theater
Siamo tutti cannibali
con 𝘙𝘰𝘣𝘦𝘳𝘵𝘰 𝘔𝘢𝘨𝘯𝘢𝘯𝘪 (voce) e 𝘎𝘪𝘢𝘤𝘰𝘮𝘰 𝘗𝘪𝘦𝘳𝘮𝘢𝘵𝘵𝘪 (contrabbasso)
musiche 𝘎𝘪𝘢𝘤𝘰𝘮𝘰 𝘗𝘪𝘦𝘳𝘮𝘢𝘵𝘵𝘪, 𝘈𝘯𝘥𝘳𝘦𝘢 𝘝𝘦𝘯𝘦𝘳𝘪
live electronics e regia del suono 𝘈𝘯𝘥𝘳𝘦𝘢 𝘝𝘦𝘯𝘦𝘳𝘪
residenza artistica masque teatro , Ultimi Fuochi Teatro
produzione Teatro delle Albe / Ravenna Teatro in collaborazione con 𝘧𝘦𝘴𝘵𝘪𝘷𝘢𝘭 𝘊𝘳𝘪𝘴𝘢𝘭𝘪𝘥𝘦, Operaestate Festival Veneto , Associazione Perda Sonadora, CISIM
A "symphony" - born from a very personal selection of passages taken from Herman Melville's literary masterpiece - in which the double bass becomes the voice of the entire Pequod, pervaded by the creaking of the bridge under the feet of the crew as well as by the furious beating of the tails of the hungry sharks against the prow, and in which the voices of Captain Ahab, Ishmael and all the crew resound. The time of the scene is a mysterious cave and raises a question: have we gone back or are we at the beginning of a new humanity?
Dance
Essere N 4 - Sonico Moto
Elena Salierno, Elisa Quadrana danza, Luca Giacobbe percussioni
musiche Andrea Veneri, Giovanni Tancredi
coreografia Chiara Marianetti
luci Stefano Pirandello
costumi Carmen Loconte
scenografia Marco Veneri, Valerio Ciaccia
produzione Officina delle arti e dei mestieri di Sermoneta
Dance, music and technology that come together in a harmonious union. On stage a percussionist and two dancers who take part in the musical performance through their instruments: the body and movement.
Cine-concert
Battelship Potemkin
Live soundtrack di Edison Studio
in collaboration with Vincenzo Core
More than 90 years after its first screening, the Edison Studio collective of composers reinterprets the images of the Battleship Potëmkin through a soundtrack in which music, voices, ambient sounds reveal the atmosphere, the senses and the secret rhythms of the masterpiece by Ejzenštejn.
I realize a live electronic set for the performance of: MA/IN Festival(Matera), Russian composer festival (Moscow), Here 2021 (Vitliycke)
Theater
Nella Lingua nella spada - Le belle bandiere
a music and theater project
inspired by the lives and works
of Oriana Fallaci and Aléxandros Panagulis
Elena Bucci dramaturgical elaboration, direction and interpretation
Luigi Ceccarelli music, Ive electronics and sound direction
with
Michele Rabbia percussions and live electronic
Paolo Ravaglia clarinets
Loredana Oddone lights design
Raffaele Bassetti and Andrea Veneri live electronics
Elettra Stamboulis dramaturgy consultancy
scenes and costumes Nomadea
with the help of Marta Benini and Manuela Monti
set-up assistants Nicoletta Fabbri, Beatrice Moncada
Theater
Verso paradiso - Teatro delle Albe
Marco Martinelli and Ermanna Montanari have come up with an act of hope for 2021, the year of the seven hundredth anniversary of Dante Alighieri’s death: their verso Paradiso is a one-night happening, from dusk to dawn, featuring the integral reading of the thirty-three Cantos of Paradiso by all the actors of their own company, Le Albe, and the actresses and the actors who work in Ravenna. verso Paradisopoints to their Cantiere Dante, to return in 2022 with a full staging of the Comedy,from the ‘dark wood’ to the dazzling light of Paradise, once again with all the citizens of the Public Call. Marco Martinelli will guide us through this project in a sort of diary, published online at doppiozero.com from April 25 to the end of June, with contributions by various scholars and artists.
Dance
Strangely Enough - wee/scavetta
Strangely enough it’s a solo performed by Gry Kipperberg. The music is composed by Luigi Ceccarelli and played live by the contrabassist Daniele Roccato.
The piece deals with the relationship between physicality and the perception of intimate states, where images are simultaneously simple and enigmatic, visible and hidden. A context where the abstract flows into concrete forms and actions, inviting the audience to be a visitor.
The perception of an intimate microcosm can resonate into us generating physical or emotional short-circuits. Can create visual analogies, shaped by our consciousness, recognition and our self-reflection.
Body experiences, with focus on the subtle and intimate, are contra-posed, and collide with, sound landscapes and the electro-acoustic music.
Theater
Purgatorio - Teatro delle Albe
devising, artistic direction and directing Marco Martinelli and Ermanna Montanari
on stage Ermanna Montanari, Marco Martinelli, Alessandro Argnani, Roberto Magnani, Laura Redaelli, Alessandro Renda in Matera with Nadia Casamassima, Alessandra Crocco, Alessandro Miele, Salvatore Tringali and in Ravenna with Luigi Dadina, Matteo Gatta, Frank Hentschker, Mirella Mastronardi, Marco Montanari, Gianni Plazzi, Massimiliano Rassu and the Citizens of Public Call music Luigi Ceccarelli in collaboration with Giacomo Piermatti and Vincenzo Core and with the pupils of the School of Electronic Music and Percussion of the State Conservatory Ottorino Respighi - Latina and with the partecipation of Simone Marzocchi set design and costumes students of Stage Design for Theatre and Stage Costumes at the Fine Arts Academy of Brera - Milan coordinated by Edoardo Sanchi and Paola Giorgi in collaboration with Fine Arts Academy of Brera - Milan sound design Marco Olivieri lighting design Fabio Sajiz technical direction Enrico Isola and Fagio
coproduction Fondazione Matera-Basilicata 2019 and Ravenna Festival/Teatro Alighieri in collaboration with Teatro delle Albe/Ravenna Teatro
Debut Matera - Capitale Europea della Cultura 2019, may 17 2019
Cine-
The Vagabond - Meno Infinito
Charlie Chaplin
The life of a street musician, played by Charlie Chaplin, is turned upside down by the against a young woman, hostage to a group of gypsies. After having stolen it from the his tormentors, the two flee together towards freedom. The overlapping themes in the plot are highlighted by the music. To for example, money that makes happiness but does not buy love, amorous entanglements or the loss of a daughter; the soundtrack exacerbates the perceptions and emotions of the characters already remaining anchored to the punctuality of diegetic sounds, transforming the noises of na in music and the sounds of music in sound gestures that follow the mood of the characters. A continuous ambiguity between music and sound design spreads through the scene changes: themes and sound recurrences are combined with the various characters and intertwine to create new ve music. Roma Europa Festival
Theater
Inferno
ideation, artistic direction and direction Marco Martinelli and Ermanna Montanari
on stage Ermanna Montanari, Marco Martinelli, Alessandro Argnani, Luigi Dadina, Roberto Magnani, Gianni Plazzi, Massimiliano Rassu, Laura Redaelli, Alessandro Renda and the citizens of the Public Call
music by Luigi Ceccarelli with the students of the Electronic Music School and the students of the Percussion School of the Ottorino Respighi-Latina State Conservatory of Music and with the participation of the students of the Giuseppe Verdi-Ravenna Higher Institute of Musical Studies
stage space Edoardo Sanchi with the students of the Specialist Biennium of Scenography for the theater of the Academy of Fine Arts of Brera-Milan
costumes Paola Giorgi with Salvatore Averzano and the students of Costume for the show of the Academy of Fine Arts of Brera-Milan
sound direction Marco Olivieri
lighting design Francesco Catacchio
technical direction Enrico Isola and Fagio
Ravenna Festival production in co-production with Ravenna Teatro / Teatro delle Albe
Theater
Orlando - Clemente Pernarella
The intricate labyrinth of Orlando (as presented by Italo Calvino) for five hundred years has represented one of the highest points of Western culture and of the investigation of systems and languages of communication. The visionary architecture and the musical structure have led to face, through a multidisciplinary approach, the restitution of some blocks of the poem attributable to the reading of the theme of unconsciousness understood as the liberation of the instinctual element and insurmountable limit of the civil element.
Cine-
La Coquille et le Clergyman
Germaine Dulac's La Coquille et le Clergyman (1928) was probably the first surrealist film.
Admired today for his groundbreaking photography and commitment to gender politics, he focuses on a priest who craves a soldier's wife. At its first screening in 1928, in front of an audience of surrealist and bohemian artists gathered in the legendary Studio des Ursulines, Dulac's film caused a real revolt.
The priest pursues the woman relentlessly, despite the obstacles in his way. This persistence is not for sexual gratification, at least in Dulac's interpretation: the woman is continually presented as a representation. When the priest sees her for the first time, she is not a sexual object, but an incarnation of his self. To begin the process of reconciling his lost identity, the priest must eliminate the authoritative male figure, the officer, to obtain the woman.
Visual
ERA IL MIO CORPO UN TEMPO_Questo Piacere di inciampare e di spaccarci la testa contro la terra e il cielo pt.2
Music
Iperventilazione
Hyperventilation is a composition for accordion and prerecorded sounds and digital sound processing.
This piece is inspired by the state of hyperventilation or the increase in the frequency of spiratory acts in conditions of rest that brings the amount of carbon dioxide above the normal amount produced by the body. This condition can lead to states of agitation, throbbing, dizziness, blurred vision, lightheadedness and syncope. A piece that, therefore, has as its pivotal point a fact that is outside the musical sphere but which is conceptually linked to the form, timbre and choices
Repertoire
Dialogue de l'ombre duble
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Dance
Rewire -Sonico Moto
Hyperventilation is a composition for accordion and prerecorded sounds and digital sound processing.
This piece is inspired by the state of hyperventilation or the increase in the frequency of spiratory acts in conditions of rest that brings the amount of carbon dioxide above the normal amount produced by the body. This condition can lead to states of agitation, throbbing, dizziness, blurred vision, lightheadedness and syncope. A piece that, therefore, has as its pivotal point a fact that is outside the musical sphere but which is conceptually linked to the form, timbre and choices
Conduction
Fields
SIMONE PAPPALARDO - FIELDS
Fields is a study on the timbre of residual objects and electromagnetic interference. Fields is an orchestra made up of "waste" sounds, interference of various kinds and recycled and reinvented objects. The orchestra makes use of the professionalism of the musicians of the Latina Conservatory, of the musicians of the Collettivo Circuiterie and of many guest musicians.
Impro
Meno Infinito
The "Meno Infinito" improvisation project arises from the need to communicate universally through sound. Different musicians meet from time to time, building a gestural syntax brick by brick that will make sense only in that performance; a gesture is a signifier, a sound event, an instant reaction generated by imitation, by contrast or by a simple reaction to what the other is playing, just like in speech. Improvisation is therefore not total uncritical freedom, but a discourse that underlies precise although arbitrary syntactic rules generated from time to time by the superimposition of the experience and sensitivity of individual musicians; the success of which, as for any speech, largely depends on how much one is willing to listen, a practice today more than ever put aside.
On the other side of the stage you have the opportunity to attend an unrepeatable musical event, a characterized sound space in which to immerse yourself: to forget from time to time all the arbitrary aesthetic criteria consolidated in one's person by experience and repetition (and by repetition experience) until that moment is an excellent opportunity to escape, even if only for a few minutes, from the messy chaos that are our thoughts, our memories and desires, ourselves.
Repertoire
Dialogue de l'ombre duble
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