The one of Loving Presence it is a fairytale made up of disguises and looks. Incredible how the following work is A small little Borghese. What did Cerami tell you about her second novel?
«Cerami has always loved traveling within the different literary, theatrical and cinematographic genres. The second novel, full of suspensions, seems almost the opposite of the first, so raw and realistic. But almost all of his works have behind the work of a subject writer with a strong dramaturgical vocation. (However, I would not like to do an overly literary interview) ».
The libretto was created by her and by Aisha, daughter of Vincenzo Cerami. Can you tell us about your relationship?
“When we started talking about the Amorosa Presente opera, Aisha was a little girl who wandered around it and heard us talk about poetry. Now she is a writer with a strong vocation for metrics, which helps a lot in writing a libretto. He knows his father’s poetics chromosomally, and has been of great help to me ».
The work is a love story. But did you use the classical architecture of the opera with recitatives, arias and concertati?
«I tried a very ambitious path: to spread a continuous narrative flow which however includes the use of the classic arias, cavatine, cabalette, concertati… these are closed numbers quoted with a little irony, but only a little. In short, we tell this story as in a naturalistic comic, it is an oxymoron I know, in the sense that we take ourselves seriously and sometimes not. It is no coincidence that the protagonist of the whole work is falling in love, a stage in the life of all of us, which cannot be underestimated, but neither can we believe it too much. These days I am reminded of an aphorism by Enrico Vaime: “Love passes, don’t worry!” ».
Did you choose concertante instruments in the orchestra or do they play a particularly important role?
«In cinema I have always had a weakness for the clarinet, a narrative tool like few others. But here, alongside the symphonic system, the strings, the brass instruments, instruments such as the saxophone, the electric guitar, the ukulele appear, to tell us that we are talking about a story of today. The first draft of the libretto, from the 1970s, began with the caption “the action takes place today, in an imaginary metropolis”. Today’s libretto says: “The action takes place in the seventies, in an imaginary metropolis” ».
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