Neue Vokalisten Stuttgart
Arditti Quartet

Lucia Ronchetti (1963):
(1) Hombre de mucha gravedad (2002) 13:55
Drammaturgia da “Las meninas” di Velasquez for four voices and string quartet
(2) Pinocchio, una storia parallela (2005) 20:55
Drammaturgia da Giorgio Manganelli for four male voices
(3) Hamlet’s Mill (2007) 22:06
Drammaturgia for soprano, bass, viola and cello
(4) Anatra al sal (2000) 8:36
Comedia harmonica for six voices
Includes booklet with text by Rainer Pöllmann and libretti of the pieces
1 CD - DDD - 65'34''

Lucia Ronchetti, born in 1963 in Rome, collaborates intensively with artists from other fields, and therefore, it comes as no surprise that the four works on this release are the fruits of work with the superb a cappella group, the Neue Vocalsolositen Stuttgart. In two of the pieces, Hombre de much gravedad and Hamlet’s Mill, the singers are joined by instrumentalists, which enhances and further enriches the already dramatic and highly virtuosic vocal lines.

Theater holds a central position in Ronchetti’s work (hence, the title of this collection) and her approach to it is completely her own: “There is no ‘drama,’ no ‘play’ to experience[…]but rather a greatly distanced, intellectual ‘dramaturgy,’ a process of handling material, an etude at the theater.” (Rainer Pöllmann) This drama, however, is further augmented by humor, which abounds in Ronchetti’s music and connects her to her baroque inheritance, more specifically, madrigal music.

Ronchetti’s interest in the great intellectual and artistic traditions of the West manifests itself perfectly in the four pieces on this release, and the painter Velasquez, the tale of Pinocchio, the Nordic saga of Hamlet and even cooking through the lens of baroque comedy become aural experiences. As Rainer Pöllmann notes when discussing the first work on the CD, Hombre de much gravedad (based on Velazquez' Las Meninas), “Like the baroque painter on his canvas, Ronchetti develops in her music a theater of musical gestures out of the painterly template with a finely developed sense for rhetoric and the world as theatric mundi.”
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