Written in 1918, the soldier story ( Histoire du Soldat) is a work that interlaces chamber music, ballet and reciting, through a story inspired by Faust\u2019s myth. This work was a remedy to the composer\u2019s difficult circumstances, an exiled and penniless Stravinsky, that had refused to join WWI as well as the Bolshevik revolution. The Histoire is a kind of puppets show: that\u2019s the interpretation of the stage direction of Enrico Stinchelli, famous radio host of La Barcaccia (RadioTre), musicologist and author of esteemed opera shows. After Stravinsky the story will be \u201cread, played and danced\u201d by a small group of musicians and actors , a narrator, a soldier , a devil and a dancing Princess. Stravinsky, inspired by the Russian folklore tradition, inserts also several parodies of modern dances. A great multimedia production will completely transform the Salone Pietro da Cortona of Palazzo Barberini, without altering its baroque beauty, Lights and video mappings \u2013 says the director \u2013 will help to tell the story in a dramatic way , while creating a dreamlike and fantastic atmosphere. An exceptional cast of actors: Roberto Zibetti will be the Narrator; Paolo De Vita will be the Devil; the Soldier will be interpreted \u2013 seen the modern times \u2013 by a woman, Alessia Patregnani, and Chiara Giancaterina will be the Princess. <\/p>\n\n
Santa Cecilia Academy first clarinet, bassoon, trombone and trumpet, along with a violin, a double bass and a percussionst will be directed by Carlo Rizzari.<\/p>\n","protected":false},"excerpt":{"rendered":"
Written in 1918, the soldier story ( Histoire du Soldat) is a work that interlaces chamber music, ballet and reciting, through a story inspired by Faust\u2019s myth. This work was a remedy to the composer\u2019s difficult circumstances, an exiled and penniless Stravinsky, that had refused to join WWI as well as the Bolshevik revolution. The […]<\/p>\n","protected":false},"author":1,"featured_media":1432,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"give_campaign_id":0,"footnotes":""},"categories":[1,9],"tags":[],"class_list":["post-1325","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-news-2"],"acf":[],"_links":{"self":[{"href":"https:\/\/romechamberfestival.org\/en\/wp-json\/wp\/v2\/posts\/1325","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/romechamberfestival.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/romechamberfestival.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/romechamberfestival.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/romechamberfestival.org\/en\/wp-json\/wp\/v2\/comments?post=1325"}],"version-history":[{"count":0,"href":"https:\/\/romechamberfestival.org\/en\/wp-json\/wp\/v2\/posts\/1325\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/romechamberfestival.org\/en\/wp-json\/wp\/v2\/media\/1432"}],"wp:attachment":[{"href":"https:\/\/romechamberfestival.org\/en\/wp-json\/wp\/v2\/media?parent=1325"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/romechamberfestival.org\/en\/wp-json\/wp\/v2\/categories?post=1325"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/romechamberfestival.org\/en\/wp-json\/wp\/v2\/tags?post=1325"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}