A project to tell the first 30 years of the Italian Communist Party
It was 1921 and the Communist Party of Italy was born at the San Marco Theater in Livorno, then the Italian Communist Party. The protagonist of the Italian twentieth century saw in its early years the commonality of women and men who recognized themselves in it. Today, at the turn of the century, we have the ambition, together with those who want to participate with us, to retrace those first steps by rediscovering those characters, their lives, their ideas through the staging of a theatrical and musical show .
In the beginning was The Diary of thirty years 1913-1943 of Camilla Ravera a timely, intense and passionate of those difficult years, it is the story of many men and women who fought, suffered, risked for their ideals.
Fausto Amodei in 1974 decided to put it to music by writing a work for six instruments and four voices entitled Il Partito wich in 2016 decided to entrust into the hands of Giovanna Marini who together with the Coro Inni e Canti di Lotta from the Popular School of Music of Testaccio directed by Sandra Cotronei had the idea of staging it in view of 2021, the centenary of the birth of the PCI.
A collective project
The result is a collective work, full of political and musical stimuli, in which everyone has contributed with their own experience, their interests, their feelings. Such a generous participation has led to the formation of working groups dedicated to the study and development of specific aspects related to the show, from the graphic to the historical one.
It was decided to bring all this ferment to the stage by creating a multimedia show that represents it.
The pandemic did not take away energy from the project, in fact, albeit with the inevitable conditioning, the activities of the groups continued with determination and enthusiasm.
Let's go on stage
The choir was joined by five instruments, a Piccola orchestra directed by Giulia Accardo , as foreseen by Amodei's writing.
The constant relationship between Giovanna Marini, Fausto Amodei and Sandra Cotronei, director of the choir, also helped to decide changes, arrangements for the peculiar scenic and melodic construction. In constructing the show, the musical tradition of the Choir was not neglected, proceeding with the inclusion of songs from the fighting tradition; the intent is to create a sort of counterpoint between the facts narrated in the Diary, by the protagonists of the foundation and the people with their history, their songs of work and struggle.
A complex show, with multiple voices and multiple levels of reading that tells an important part of our past and current history.
The first performance is scheduled for 21-22 and 23 June 2021 in Rome, at the Vascello theater. A point of arrival that we look at with optimism aware of the difficult convergence due to Covid . We will be very vigilant in respecting all the necessary safety rules for spectators and singers / actors / musicians present on the stage.
Antonella Talamonti will take care of the mise en espace paying the utmost attention to the distribution in the stage space of the choristers and musicians in compliance with the rules dictated by the pandemic.
The show will include an installation curated by Maria Chiara Calvani .
We have the ambition to think of the appointment at the Vascello Theater as a first stop on a tour that in the coming years will accompany us to various squares in Italy and abroad to tell a splendid adventure that is our history.
The CD of the show
This project provides, in addition to the show, the complete recording of the pieces that compose it. A double CD will be recorded and produced accompanied by a booklet / booklet with the lyrics of the songs that make up the cantata and other writings that tell how the opera was born and how it was staged.
The CD will be published by NOTA editions -
Almanac of the centenary
Around the music of Fausto Amodei, the choir Hymns and songs of struggle, for more than thirty years an active witness to the tradition of work and struggle songs under the guidance of Giovanna Marini, has built a project full of meanings.
The desire was born to better investigate those years, those protagonists. We questioned who and how that change took place, what was the context in which those ideas developed. So it was decided to publish an Almanac: the Almanac of the centenary.
The inspiration also originated by rethinking the almanacs published every year by the PCI around the 1970s. We started from the texts of the work of Fausto Amodei and created a collective work made up of research, exchanges of information, opinions and emotions to narrate not only the stories and protagonists of that era but also the cultural and social humus in which those facts have matured. We have told the life and activity of many people, even those who have remained almost unknown, especially women, who have sometimes led to an enormous contribution to the growth and affirmation of the Party by personally paying. The stories and thoughts of each of us who lived through the PCI, who loved and hated it, who saw it change and transform, take part in this narration , a narrative parallel to the chronicles of the foundation.
A path of reading what was once the largest communist party in the West.
Editor of L'Ordine Nuovo , the weekly born in 1919 and directed by Antonio Gramsci , she was one of the founders of the Communist Party of Italy. In charge of managing the women's organization of the party, she founded the periodical La Compagna . After Gramsci's arrest, she found herself practically at the head of the clandestine organization for which she carried out a prodigious activity also taking part in some congresses of the Comintern where she got to know both Lenin and Stalin. The first woman at the top of the party was arrested in 1930 and sentenced to 15 years in prison and confinement, in Ventotene and Ponza, "for agitation and propaganda against the regime and reconstitution of the Communist Party".
After the end of the war, she intensified her militancy with passion and competence: she was elected to the City Council of Turin, founded the UDI (Union of Italian Women) , was a deputy in the Chamber for the PCI and then, in 1982, she was appointed senator for life by President Pertini, a position that had never before been conferred on a woman.
Her diary, dedicated to Rosa Bertone, the "guardian" at the women's prison in Varese where Ravera had been taken after her arrest, who treated and protected her, risking her job and perhaps even more, is a timely and rigorous but at the same time intense and passionate story of those difficult years, it is the story of many men and women who fought, suffered, risked for their ideals.
Turin singer-songwriter, one of the most representative exponents of the Cantacronache group , who wrote memorable political songs including the very famous For the Dead of Reggio Emilia composed on the occasion of the street clashes that occurred in 1960 against the Tambroni government, which became a sung anthem over time in many moments of struggle.
In 1962, after the experience of the Cantacronache group , he became part of the Nuovo Canzoniere Italiano , animated among others by Gianni Bosio and Roberto Leydi , and in this group that had a leading role in the field of popular music and political song, participated with his voice and his songs in numerous shows together with Ivan Della Mea , Giovanna Marini , Paolo Pietrangeli , Gualtiero Bertelli and many other songwriters who from then until today, have told the stories, the struggles but above all the emotions and hopes of those who committed themselves to another possible world.
Musician, composer, songwriter, researcher and scholar of oral, popular and political tradition singing who has been teaching for years at the Popular School of Music in Testaccio , Giovanna Marini enthusiastically accepted Fausto Amodei's invitation to stage his opera " THE PARTY ", composed in 1976 and inspired by Camilla Ravera 's Thirty Years Diary (1913/1943) . A work conceived and conceived just like a classical cantata, written in the score for natural voice choir, soloists and eight instruments.
The SPMT Inni e Canti di Lotta choir , stimulated by the conductor teacher, decides to re - propose the work in theatrical form and therefore, together with Sandra Alos Moner Cotronei , decides to take care of the execution with the idea of giving the work a cut narrative and theatrical typical of popular opera, almost as a storyteller.
He also decides, leaving the music and text intact, to propose narrative incisions, openings to some songs of oral tradition that bring us back to the same historical period, rich in social and work songs.
In the show there are 8 soloists and 12 choristers on stage - Chorus Inside, while the Chorus Outside will intervene off stage:
Solo voices : Valentino Affinita, Maria Chiara Calvani, Gian Paolo Castelli, Michele Manca, Bruno Mattei, Andrea Monaco, Flaviana Rossi, Lucia Staccone
Choir Inside : Filippo Aparo, Enrico Author, Susanna Cerboni, Elisabetta Colla, Laura Gubinelli, Vania Lucertini, Marcello Mariucci , Elisabetta Mattei, Antonio Meta, Lidia Popolano, Rossano Rossi, Susanna Ruffini,
Chorus Outside : Alessandro Campioni, Cristina Castiglione, Lucia Corbo, Roberto Dati, Patrizia De Ruvo, Valeria Dolci, Daniela D'Ottavi, Marcella Fenu, Patrizia Lucattini, Maria Silvia Marmiroli, Franco Marsili, Maria Palozzi, Tonino Pellegrino, Paolo Piacentini, Alessia Pistolini, Anne Sophie Poisot, Franca Renzini, Loredana Salacone, Michele Scotto di Carlo, Maria Teofili, Anna Zaccagnini, Olivia Zaccagnini, Vincenzo Zappa
It was born in
1992 from the Modi del Canto Contadino workshop held
by Giovanna Marini at the Popular School of Music in Testaccio with the need to continue to bring to
life, disseminate and pass on those that have been and still are the songs that
testify to the vitality of culture popular and the history of the lower
classes, bearers of universal values, justice, peace and work. In a few
years the Choir has grown to reach the current number of about 60
people. It was initially directed by Xavier Rebut , and then by Sandra
The choir performs both alone and with the Banda della SPMT , directed by Silverio Cortesi , who wrote the arrangements for the repertoire's band. The first exhibition with united organics was on 24 April 1994 in Sesto Fiorentino on the occasion of the 50th anniversary of the Resistance and since then the activity has continued in theaters and squares as well as in some high schools in Rome with concerts entitled Io Democrazia , made following the participation in a Call of the Ministry of Cultural Heritage for the diffusion of folk and oral tradition music. The choir's repertoire has always moved in the light of a historical path for which the realization of the IlPartito show seemed almost natural , on the occasion of the centenary of the birth of the PCI.
Musician, music educator and music therapist.
You form musically at the Popular School of Music of Testaccio studying vocal technique, harmony, ear training and improvisation. She combines this training with studies in music theory, arrangement, ear training, teaching studies and music pedagogy (she graduated in Kodaly Pedagogy at AIKEM in Turin) and music therapy at the Metacultural Center directed by Boris Porena.
Since 2005 you have collaborated with the European project MUS-E (Art for integration) founded by Yehudi Menuhin aimed at promoting socio-cultural integration through art in schools located in difficult socio-cultural contexts.
Since 2010 she has directed the Hymns and Songs of Struggle Choir of the Popular School of Music of Testaccio founded by Giovanna Marini.
In 2013 she created Fogli Volanti, a seminar on political and social singing that she conducts annually in collaboration with Giovanna Marini.
In 2017 she began conducting the popular choir IncontrovocE born in the Upter in
Rome. Since 2009 she has been collaborating with the Risvolti
Cooperative, creating choral workshops for the elderly in various
Municipalities of Rome.
Composer, trainer, researcher and performer. She participated in the creation of the Popular School of Music of Testaccio in Rome, and was its didactic coordinator for 15 years. With the choir of the SPMT, since the 1980s she has shared Giovanna Marini 's research project on Italian polyphony of oral tradition. He works in the field of vocality, music training, vocal improvisation and multiculturalism, with courses and seminars designed for musicians, actors, dancers, music teachers, educators, primary and secondary school teachers and social workers, in Italy France and Switzerland, and deals with projects related to interculturality. He conceives and creates installations and sounds for different spaces through workshops on the relationship between sound, space, movement and word and on the memory of places, with the participation of professionals and amateurs. He collaborates with directors and choreographers in the conception and realization of stage music and in the formation and musical direction of an actor. He regularly collaborates with the Teatro Due Mondi in Faenza, with the Faber Teater in Chivasso, with the Teatro dell'Orsa in Reggio Emilia and with the directors Gustavo Frigerio and Armand Deladoey and with the choreographer Adriana Borriello .
A designer and not only, at the base of her artistic research there is the encounter with the other, the exploration of the narrative dimension coming from the people she often involves in her projects and to whom she entrusts the important role of custodians and bearers of stories in relation to their specific differences and attitudes, memories and experiences. He mainly works with installation, video, drawing, site specific action , and other contemporary practices, involving local communities from different territories. His artistic research in recent times has focused on the forms of rituality in different cultures, on the common elements found in the rites at the root of the cults of different peoples. His projects often arise from real experience with the cultural and linguistic pluralities that inhabit the city today, generating new forms of coexistence, conflict and rituality.
The work was conceived and written by Fausto Amodei for voices and instruments and for this Giovanna Marini and Sandra Alos Moner Cotronei have entrusted Giulia Accardo with the task of organizing and coordinating the instrumental group both with the choice of instruments and performers and with the adaptation of the scores to the staff which is composed as follows:
Guitar: Sylvie Genovese
Transverse flute: Giulia Accardo
Trumpet : Agnes Fiore
Violin: Rossella Pasquini
Cello: Alessia Marcato
Giulia Accardo , graduated from Santa Cecilia in Transverse Flute. Specialization in Chamber Music.
Flute teacher at the Middle Schools with musical address. He is part of the staff of the Banda della
Popular Music School of Testaccio and the Roman Popular Orchestra.