FESTIVAL OF THE VESUVIAN VILLAS
DEDICATED TO PAOLO ISOTTA
FROM 4th TO 25th SEPTEMBER 2021
fondazione ente ville vesuviane
Theater, dance, music and poetry: the Vesuvian Villas Festival is back and will be scheduled from 4 to 25 September in the splendid locations of Villa Campolieto, in Ercolano, and Villa Delle Ginestre in Torre del Greco.
The Festival, now in its thirty-second edition, is promoted by the Ente Ville Vesuviane Foundation, chaired by Gianluca Del Mastro, with the support of the Campania Region through Scabec. This year Luca De Fusco, its founder, returns to direct it, restoring the formula that characterized the first editions: The Vesuvian Villas Festival “Progetto Settecento”.
“I go back to directing the Festival delle Ville Vesuviane – Progetto Settecento with great joy and pride and I do it by dedicating this edition to a great music critic, musicologist and writer, as well as a friend, Paolo Isotta, who passed away a few months ago.
Since the mid-1980s, for about ten years, the Vesuvian Villas Festival has intended to enhance the architectural heritage of the villas through a theater written or set in the 1700s, thus in a harmonious way with respect to the eighteenth-century residences that characterize the area. The event then took different paths, but it is my intention to recover more and more “the sense of the past” and in the next editions to return to a thematic content. This year the edition is dedicated to Paolo Isotta. This is why we inaugurate with Enrico IV by Luigi Pirandello, one of his favorite authors, starring Eros Pagni, an actor he loved and my direction. The choice of Henry IV is also due to the fact that this year marks the centenary of the first performance of the text.
Music cannot be missing in a program dedicated to Paolo Isotta and so there are four concert-conferences conceived by me and Gennaro Carillo. The protagonist will be the Felix Quartet composed of Marina Pellegrino, Vincenzo Meriani, Francesco Venga and Matteo Parisi. Four musicians that Isotta followed with particular attention since her debut. And, among the friends of Paolo Isotta who accepted to be there, also Pietrangelo Buttafuoco, a fine Sicilian writer who will be present with Il lupo e la luna one of his texts that will also see him as protagonist and Lara Sansone, the Lady of the Sannazaro Theater, a theater which for Isotta, in recent years, had become a bit of a home, which will play Goldoni’s La Loc Bandiera, under my direction. For years Paolino wanted Lara and I to work together!
To close the theater appointments Lavia says Leopardi and Le Favole by Oscar Wilde with Gabriele Lavia. And two Carmen Suite dance events, with choreography by Jvan Bottaro and directed by Alessandra Panzavolta and Soirée russe, ballet gala curated by Daniele Cipriani.
At sunset, in the hermitage of Villa Campolieto, Eros Pagni, Anita Bartolucci, Paolo Serra, Claudio Di Palma, Giacinto Palmarini, Francesco Biscione for the whole period of the festival will alternate in the recitation of six songs of the Divine Comedy.
Finally, on 7 September, the Le Maschere del Teatro Awards, broadcast live on Raiuno, for the first time from the magical Villa Campolieto. “
Luca De Fusco
“The return of Luca De Fusco to the large family of the Ente Ville Vesuviane Foundation marks the desire we have to start again through the force and disruptive vitality of the theater. The art form in which words and ideas are directly conveyed to the public, in which a thread is created between actors and spectators, best represents the need we have to communicate and film every aspect of social life.
Nel cinquantesimo anniversario della Fondazione, il ritorno del teatro e, in particolare, del teatro del ‘700, celebra la bellezza delle Ville e ne ripropone l’austera imperturbabilità nella splendida cornice del Miglio d’Oro. Ringrazio soprattutto la Regione Campania, ma anche il MIC che hanno saputo farsi interpreti di questa esigenza, realizzando il desiderio di tutto il pubblico della Fondazione.”
Gianluca Del Mastro
Presidente Fondazione Ente Ville Vesuviane
“In the year in which the Foundation celebrates the fiftieth anniversary of the institution of the Vesuvian Villas, the path of rediscovery linked to its activities continues. Launched with the Contemporary art exhibition “Cosi fan tutti. Works from the collection of Ernesto Esposito ”, set up at Villa Campolieto, picks up the thread with another piece of history, linked to the intangible heritage and consisting of the great live shows of the Vesuvian Villas Festival.
A Festival that reaches its thirty-second edition in 2021. In this very special and important year for the Foundation, we have chosen to go back to the origins, to the natural vocation of the Festival and the Vesuvian Villas where the container and the content merge and appear mutually enhanced. With Progetto ‘700 we go back to origins having at our side the one who first directed those Festivals, the maestro Luca De Fusco, whom I thank for believing in the rebirth of this Project.
A project that embraces history, knowledge, research and art and in which the aesthetic and performative function of the live show blend with the story of the architectural beauty of our monumental heritage and with its eighteenth-century history.
Thanks to the Campania Region and the Ministry of Culture who co-finance this ambitious Festival which represents a further cultural attraction for the Vesuvian territory and for the Campania Region. “
Director General of the Ente Ville Vesuviane Foundation
ENRICO IV by Luigi Pirandello
Directed by Luca De Fusco
With Eros Pagni
And with (in o.a.)
Alessandro Balletta, Anita Bartolucci, Gennaro Di Biase, Matteo Micheli, Alessandra Pacifico Griffini
Valerio Santoro, Paolo Serra
Assistant director Lucia Rocco
Scenes and costumes Marta Crisolini Malatesta
Lights Gigi Saccomandi
World premiere on 4 September 2021
A co-production La Pirandelliana – Festival delle Ville Vesuviane
Henry IV is one of the characters waiting for the maturity of a great actor.
Mastroianni, Randone, Albertazzi, Benassi, Ruggeri each gave their own version of this great character. The text is perhaps not perfect like other Pirandello masterpieces but the character immediately entered the history of the theater. A man who fell from his horse during a masquerade party and woke up convinced that he was Henry IV, the historical character he was playing, is a great metaphor. With his figure he makes us reflect on the great theme of madness but also on fiction and on the theater itself, given that the man, whose real name we do not even know, is so deeply rooted in his character that he does not want to leave it even when he comes to his senses. suddenly. The arrival of his old companions in that fatal masquerade explodes all the contradictions of this incredible figure who has lived for years in a timeless castle.
Eros Pagni is considered by many to be one of the greatest Italian actors. Throughout his formidable career he has given us unforgettable characters. Among the most recent a Mayor of the health district, the Father of the six characters, the Prospero della Tempesta.
After a long association with the Teatro di Genova and with the late Marco Sciaccaluga, he has woven a new collaboration with Luca De Fusco, with whom he began playing a magnificent Shylock.
The version of the “Six Characters in Search of an Author” that Pagni and De Fusco created together was greeted with great success not only in Italy but also in St. Petersburg and Paris. The great critic George Banu called the show one of the greatest versions of Pirandello’s masterpiece. Last May Rai broadcast the show recorded at the Valle, the theater where the text debuted a hundred years earlier. Pagni and De Fusco are now celebrating a new centenary, representing “Enrico IV” at the Manzoni Theater in Milan on February 24th, exactly one hundred years after the world premiere of that text which was greeted with great success by the Milanese. Director’s notes “And I think, Monsignor, that ghosts, in general, are basically nothing but small disturbances of the spirit: images that cannot be contained in the realms of sleep: they are discovered even in wakefulness, during the day; and they are scary “. “We are made of the same stuff that dreams are made of and our tiny life is contained in a dream”. These two quotes are among the most beautiful lines of “Henry IV” and “The Tempest” respectively. The affinity of the sentences is surprising, albeit obviously in their different nature. It is just a coincidence that Eros Pagni and I have stopped reciting the second text to now arrive at the first, defeating the disturbing thrill that Prospero’s farewell from the scenes was also ours. I speak of chance because we did not choose Pirandello’s text as a sequel to Shakespeare’s, but there are those who believe, like psychoanalysts, that coincidences do not exist and that events are linked together by secrets, by thin threads and by sometimes not easy reading. The more I studied Enrico and, in fact, the more I thought about Prospero.
Both characters are perched (one in an island, the other in a castle), they seem completely foreign to their time, they live in absolute solitude, both are believed to be crazy, both have a feeble relationship with the people around them, intermittent, which can make the director doubt the very real existence of every character, except that of the protagonist. In a technical sense, I would like to add that both Prospero and Enrico are among the best characters of two brilliant playwrights contained in two texts that are not, instead, their masterpieces precisely because they are dominated, in my opinion, more by the drive to outline a great character. that a great story, given that the narrative plots of the texts are so thin that they can be summarized in a few lines. Just as I was not sure that Prospero was not alone in his library, so I am not sure that Enrico is not alone in his bedroom. Furthermore, they are both texts that are placed in the final phase of the productions of the two authors and perhaps this determines those affinities. The two great writers, after extraordinary overall pictures, have a desire for self-portraits.
In fact, there is no doubt that Shakespeare and Enrico Pirandello are behind Prospero. The author who said “life is either lived or written”, implying that he has not lived it, is very similar to a man who has spent his life in an imaginary, fake, theatrical world in which everyone “pretends” to be someone else.
This is the starting point from which I start, before the start of rehearsals, having drawn a route but without being sure of the port of arrival, as I believe we should always do in a theatrical staging, in which the director can try to surprise but he must always be ready to be surprised by the digging into the folds of the text.
After the horrible period that grieved us so much and after the obligatory silence, I am happy to be able to resume communicating with our public. I am also happy to find many old workmates, and to find new ones, first of all Valerio Santoro who does not lack courage, a virtue that I admire in others and cultivate in myself. To the companions that this time I do not find on board I wish other happy navigations.
Luca De Fusco