Circus Audienti | Aperto Festival

music by Fabio Cifariello Ciardi

Circus Audienti
“musiche e realtà” for recorded voices, journalist/narrator, itinerant musicians, ensemble, video and electronics (2023)

Dario Garegnani,
conductor

Ira Rubini,
journalist narrator

Francesco Ardan Dal Rì,
live electronics

Icarus vs Muzak 
Giovanni Mareggini, flute
Roberta Gottardi, tarogato and clarinet
Fabio Codeluppi, trumpet
Sergio Ruiu, trumpet
Cristiano Boschesi, trombone
Matteo Miglio, trombone
Francesco Pedrazzini, percussions
Leonardo Zunica, piano
Yoko Morimyo, violin
Luciano Cavalli, viola
Andrea Cavuoto, cello
Daniele Rosi, doublebass

OoopStudio
video recording

Edison Studio
audio post-production

Fabio Cifariello Ciardi
sound engineer

audio and video voices (2023): Mario Baroni, Marco Eboli, Fabrizio Fanticini, Franco Ferrari, Bruna Ganapini Soncini, Giuseppe Gherpelli, Chiara Greco, Elena Maccaferri, Marwa Mahmoud, Patrizia Nasi, Romano Prodi, Stefano Enea Virgilio Raspini, Paolo Simonazzi, Luca Tadolini, Pierluigi Tedeschi 

audio and video voices (1973) from “Musica/Realtà”: Claudio Abbado, Renzo Bonazzi, Francesco Degrada, Enrico Fubini, Armando Gentilucci, Luigi Nono, Luigi Pestalozza, Maurizio Pollini, operai, lavoratori, studenti, cittadini di Reggio Emilia (dall’Archivio-Mediateca della Fondazione I Teatri) 

“Angeli Custodi” in Circus Audienti I: students of Liceo Artistico Gaetano Chierici coordinated by Stefano Bertini 

special thanks to: Biblioteca di Albinea, Centro Interculturale Mondinsieme, Centro Sociale Orologio, Centro Studi sul dialetto reggiano di Albinea, Elettric80 Group, Fondazione “Reggio Tricolore”, Fototeca della Biblioteca Panizzi, gazzettadireggio.gelocal.it, Istoreco / Archivio storico Officine Reggiane, Liceo artistico “G. Chierici”, Vahid Eftekhar Hosseini, TPER (Trasporto Passeggeri Emilia-Romagna), www.lenguamedra.org

text taken from  https://www.iteatri.re.it/spettacolo/circus-audienti/

Circus Audienti takes place in two parts. In the morning, musical performances in flash mob mode (Circus Audienti I) creep into some places in the city center. In the evening part, itinerant musicians join others in the theater for an electroacoustic and multimedia concert (Circus Audienti II) that also integrates part of the previous outdoor experience, and takes place in an arrangement designed so that audience and performers share the same acoustic and visual space. What ensues is an orchestration of sounds, moods, noises, memories, words, images and bodies, the intent of which is to restore through a plurality of communicative channels – of which music remains the main dramaturgical vehicle – the spirit of the city between past and present.

The emblematic past of that laboratory of participation that was Musica/Realtà exactly 50 years ago, and more generally the cultural climate of that period. The present of today’s Reggio Emilia in a parallel that runs through the same themes: music, reality, cultures, politics. All disparate materials become characters, be they musicians, the living voice of the narrator – in short: people. Or video and audio recordings (produced ad hoc or drawn from different archives), the sound of production activities, extemporaneous comments, large screens, loudspeakers – in short: things. Everything theatrically acts constrained by an ordering principle that is both dramaturgy and editing, libretto and editing. Debate – a remarkable place both in 1970s assemblearism and now professionalized in talk-shows – becomes a third thing: manipulable and composable building material in dramaturgical-musical form. An organization into “arias” “duets” “ensembles,” and instrumental writing itself, have speech as a matrix, in that it says much before its own literal understanding, in its tones, pauses, micro-articulations-which is then the idea that has always been dear to Cifariello Ciardi in terms at once artistic and scientific, expressive and documentary. What is a public discussion? This is perhaps the question underlying this Circus – a circus audienti et disceptatores.