An essential and at the same time refined peer Gynt, entrusted to the piano of Alberto Nosè and to the reciting voice of Marta Lorenzato. The choice to propose the two Edvard Grieg suites in dialogue with the Ibsenian text has made it possible to return, despite the chamber guise, the original complexity of this masterpiece, born in the constant tension between word and music.
Lorenzato’s narration has given dramaturgical continuity with prosodic clarity and phonetic rigor, avoiding declaimer derives. His clear and controlled diction enhanced the framework of the text, letting emerge the evocative strength of the score and guiding the listener through the metamorphosis of the protagonist, figure of erratic, feverish and contradictory anti -hero.
Nosè has offered a piano interpretation of great technical discipline and analytical refinement, capable of combining hagical precision, structural lucidity and timbre variety. In the lyrical songs he was able to create a flexible phrasing and a transparent cantabile; In the most pressing passages it highlighted the rhythmic dimension with calibrated vigor and sound naker, avoiding any virtuosistic excess in favor of an essential and penetrating yield.
The musical itinerary was clearly articulated: Morning mood It emerged with natural cantability and progressive dynamic saturation, evoking the Nordic dawn with measure. In I dovregubbens hal The stubborn construction was conducted with meticulous control of the voltage, up to a climax of effective power. BRuderødet, Ingrid’s complaint He alternated rhythmic aencisiveness and elegiaco pathos, with an interpretation attentive to the dialectic between action and lament.
In Åse’s death Nosè has reached the most introspective moment, chiseling an elegiac and suspended phrasing, almost rarefied. Arabic Dance He showed a calibrated game of harmonic colors and thin rhythmic inflections, without giving in to easy exotic suggestions. Anitras in He convinced for agility and lightness, with an underlining of the peek grace and the choreutic measure.
Con Peer Gynt’s home speed We have returned to a dramatic and solemn tone, made by nosè through huge accents and a solid sound progression, while Solvejg’s song He concluded the cycle in an atmosphere of recollection, with pure touch, essential melodic line and a sense of suspended timelessness.
The overall result was a unitary and stylistically rigorous musical story, capable of returning the psychological and symbolic facets of the Ibsenian drama through a sober but dense interpretation of meaning.
The “author’s frame” entrusted to Sandro Capoelletto She returned to Knut Hansson’s “hunger”, finding similarity and analogies between the protagonist of the novel and the Ibsenian anti -hero, focusing on their not recognizing themselves in the social context in which they live.
The participating welcome of the public confirmed the full success of a project that has been able to highlight the poetic pregnancy of Grieg and the topicality of the myth of Peer Gynt, reaffirming the vocation of the Setenovecento festival to propose cultured, analytical and at the same time profoundly communicative readings of the great repertoire.
The concert was dedicated to the Palestinian photographer Abu Hatab killed in Gaza on 1 July.
Alessandro Cammarano
(September 20, 2025)
