The reopening of the restored interiors and gardens of the Villa del Principe, the largest and most sumptuous aristocratic mansion of the city of Genoa also features an exhibition which, starting from the world-famous Flight into Egypt by Caravaggio presents, for the first time, over eighty landscape paintings, all belonging to the various collections of the Doria Pamphilj dynasty, most of which have never before been exhibited in public.

Over a twenty-generation span, members of the Doria Pamphilj family set the standards for the taste and aesthetics of the Italian cultural élite, through their extraordinary patronage, whose quantity and quality hold a unique position in the history of European art. The exhibition examines a specific aspect of this ideal of life outside the city, by bringing together for the first time landscape paintings which were meant to accompany the time of pleasure and leisure.

The highlight of the exhibition is Caravaggio’s Flight into Egypt which was formerly held in the Villa del Bel Respiro in Rome. This is the only work by the Lombard artist with a significant landscape background. Recent research has shown phases of construction suggesting that the painting might have been originally conceived as a landscape.

The exhibition begins with a fine group of works from the sixteenth-century Villa Centurione Doria at Pegli near Genova, followed by cycles of paintings by mid-seventeenth century artists for various Doria Pamphilj residences. It also looks at a lesser-known aspect of Papal Rome through a very specific type of landscape painting, such as seascapes and stormy landscapes, by fashionable artists of the day. The landscape painter Jan Frans van Bloemen, nicknamed “Orizzonte”, made an impressive number of works for the Pamphilj, normally kept in the private apartments and now seen for the first time in their entirety.

More than 450 pictures taken from the 1960s on draw the viewer into Moriyama’s visual universe and into his approach to the world, offering at the same time a lucid image of a country and its history, as well as of cultural and social transformations that have shaped the present-day Japanese society.

Hiromichi (Daido) Moriyama was born in Ikeda-cho, Osaka, in 1938. His father worked as a salesman in an insurance company, a job that required the family to move between several cities, including Hiroshima, Tokyo and Kyoto. In 1961 he moved to Tokyo, joining in the VIVO collective, which yet was about to dissolve. There he worked as Eikoh Hosoe’s assistant, in 1964 he started his career as a freelance-photographer and three years later he received the newcomer’s award from the Japan Photo-Critics Association. Meanwhile, he started contributing to various magazines; among these the most important one - although it was edited in barely three numbers - was “Provoke”, set up by Takuma Nakahira, Takahiko Okada, Yutaka Takanashi and Koji Taki.

The 14th edition of Danza Urbana international festival, directed by Massimo Carosi, offers a wide range of dancing events in its usual, strictly extra-theatrical context, with the purpose to renovate choreographic languages and show formats by the use of open spaces that break the continuity of the traditional settings . Since its beginning, Danza Urbana implies a strong conviction in giving more value to the various landscapes of the city, especially by creating choreographies that bring the public back to the most significant places, capturing the very essence of Bologna. The event gives prominence to the international contemporary dance and performative art scene by organizing shows in the public spaces of Bologna, in order to reach a large and multifaceted audience.

THe line up of the 2010 edition includes: Nabeirrarùa danza and Mopa from Spain, Stian Danielsen from Norway and the Italian Company Le Supplici directed by Fabrizio Favale, Simona Bertozzi with the group Azioni Corali per Arti Educati, Alessandro Sciarroni_C.C.00#, the Maria Paola Zedda's and Andreana Notaro's ZDDNTR, the Company Enzo Cosimi and the performer of the choreographic project CanI.

Gaetano Donizetti: L'elisir d'amore
Sung in Italian with electronic libretto in Italian, English

Donato Renzetti, conductor

Cast

Adina: Nino Machaidze (2, 5, 11, 13, 16 October)
Irina Lungu (6, 14, 18, 20, 22, 25, 27 October)

Nemorino: Rolando Villazon (2, 5, 11, 14, 18, 22 October)
Francesco Demuro (6, 13, 16, 20, 25, 27 October)

Belcore: Gabriele Viviani (2, 5, 11, 13, 16, 18, 22, 27 October)
Giorgio Caoduro (6, 14, 20, 25 October)

Dulcamara: Ambrogio Maestri (2, 5, 11, 13, 16, 18, 22, 27 October)
Renato Girolami (6, 14, 20, 25 October)

Giannetta: Barbara Bargnesi

Staging and Costumes: Laurent Pelly
Sets: Chantal Thomas
Lights: Joël Adam

Production of the Opéra National de Paris and of the Royal Opera House, London

Gioachino Rossini: L'occasione fa il ladro
Sung in Italian with electronic libretto in Italian, English

Daniele Rustioni, conductor

Staging, Sets and Costumes: Jean Pierre Ponnelle
Staging revived by Sonja Frisell

Cast:

Don Eusebio: Jaeheui Kwon
Berenice: Pretty Yende, Marika Gulordava
Count Alberto: Leonardo Cortellazzi, Jihan Shin
Don Parmenione: Massimo Cavalletti, Filippo Polinelli
Ernestina: Valeria Tornatore, Evis Mula
Martino: Davide Pelissero, Filippo Fontana, Valeri Turmanov

In collaboration with the Teatro alla Scala Academy for Performing Arts

Toni Servillo
Orchestra del Teatro di San Carlo di Napoli
Marco Lena, direttore

Giorgio Battistelli, musica
Franco Marcoaldi, testo

con la partecipazione di Peppe Servillo

Ortensia De Francesco, costumi
Daghi Rondanini, suono
Pasquale Mari, luci
Toni Servillo, regia

Sconcerto, teatro di musica, novità assoluta della stagione 2010 – 2011 inaugura la rassegna Contemporanea all’Auditorium Parco della Musica. Un evento spettacolare con Toni Servillo nel ruolo di un direttore d’orchestra che agisce il suo e nostro sconcerto attraverso le parole del testo scritto da Franco Marcoaldi, sulle musiche originali di Giorgio Battistelli eseguite dall’Orchestra del Teatro di San Carlo di Napoli diretta da Marco Lena, con la partecipazione di Peppe Servillo. In scena compaiono un’orchestra e il suo direttore. Ma gli strumentisti suonano da soli, vanno per proprio conto. Il direttore non dirige alcunché. È preso da ben altri crucci e tormenti, a cominciare dal desiderio spasmodico di provare a mettere ordine nella propria testa, attraversata come un fiume in piena dai più diversi e contrastanti pensieri, sensazioni, emozioni, malumori e fantasie. Si succedono e si scontrano tra loro le parole spesso inservibili del passato con il linguaggio totalmente irrelato del presente. E da questo costante cortocircuito affiorano continui baluginii di commozione, coraggio, tenerezza, umorismo, indignazione, cui fanno immancabilmente seguito frustrazione, spaesamento, stallo, disillusione. La musica investe con la sua montante onda sonora questo doppio movimento della parola, a volte accompagnandola nel suo tragitto e indicandole una possibile via di uscita, altre contrapponendosi ad essa o addirittura negandola in toto. Quasi che soltanto la forma musicale possa ambire ad arrivare là dove non giunge un’espressione verbale in crescente affanno. Più che un personaggio, dotato di una sua precisa psicologia e di un’altrettanto precisa biografia, il direttore-attore risulta essere il pretestuoso ventriloquo dei nostri giorni. La sua voce e il suo corpo danno forma e sostanza a un gesto teatrale estremo, teso a collegare, per quanto ancora possibile, gli universi impersonali della poesia e della musica.