{"id":9749,"date":"2024-10-16T12:34:10","date_gmt":"2024-10-16T10:34:10","guid":{"rendered":"https:\/\/dev.lucianoberio.org\/nota-di-programma-op\/la-vera-storia-authors-note\/"},"modified":"2025-01-23T12:55:40","modified_gmt":"2025-01-23T11:55:40","slug":"la-vera-storia-authors-note","status":"publish","type":"nota-di-programma-op","link":"https:\/\/dev.lucianoberio.org\/en\/program-note-work\/la-vera-storia-authors-note\/","title":{"rendered":"La vera storia (author&#8217;s note)"},"content":{"rendered":"<p>Luciano Berio<br \/>\n<strong>Opera Yes, Opera No<\/strong><\/p>\n<p>To say what happens in <em>La vera storia<\/em> is not easy, and I don\u2019t know that it\u2019s all that useful, granted that this is a work which tells its own story. In fact, I\u2019ve always thought of <em>La vera storia<\/em> as a work of musical theatre whose general thrust must be grasped at first contact, just as you understand a book when you read it for the first time (provided you know something about the author), or listen to a story being told (provided you know something about the person telling or singing the story). If I weren\u2019t afraid of being misunderstood or appearing rude, I wouldn\u2019t even have written these lines.<br \/>\n\t<em>La vera storia<\/em> is in two parts. In Part I, a series of events are set out in summary fashion: they establish a paradigm of elementary conflicts, expressed and represented with the familiar resources of a theatre where things are narrated through song: arias, duets, choruses etc. The text of Part II is identical to that of Part I, but it is distributed and segmented in a different way. So Part II offers a transfiguration, and in some respects an analysis of that paradigm of elementary conflicts by placing it in a substantially different musical and dramaturgical perspective. Part I is an opera (though instead of \u2018recitatives\u2019 there are ballads), Part II is not. Parts I and II set out the same thing in different ways, as if two ballad singers each offered their own version of the same event, each giving a different function to the same narrative structure. You might think of either Part as being a varied \u2018ritornello\u2019 &#8211; or even a parody- in relation to the other. However much Part I inclines towards the images and scansions of a folk tale, Part II tends instead to narrate nothing any more: it thinks about Part I. In Part I, made up of closed numbers, stage action predominates; in Part II musical action predominates. In Part I there are protagonists, in Part II only their echo remains. In Part I there are vocal characters (baritone voice, soprano voice, ballad singer, etc.), in Part II there is a vocal collectivity. Part I is real and concrete, Part II is dreamt. Part I embraces the opera house stage, Part II rejects it. Part I is \u2018horizontal\u2019, Part II is \u2018vertical\u2019. Part I implies summer, and the open air; Part II winter in the city. And so on.<br \/>\n\tBut where then is the true story: in the first or the second part? I don\u2019t know. Anyone watching and listening might glimpse the outlines of a virtual Part III that is perhaps more true than either, maybe like those towns and gardens of Calvino\u2019s whose terraces look out \u201conly over the lake of our mind\u201d.<br \/>\n\tThe origins of <em>La vera storia<\/em> lie deep in my own personal story, which has involved many encounters with popular music (Quattro canzoni popolari, <em>Folk Songs<\/em>, <em>Questo vuol dire che\u2026<\/em>, <em>Coro<\/em>, Il ritorno degli Snovidenia), but also the need to discover further functions implicit within an established musical proposition (<em>Chemins I-V<\/em> and <em>Corale<\/em>). <em>La vera storia<\/em> is to some extent the synthesis of these two preoccupations of mine which, combined, lead me to search out a musical and dramaturgical space that is open but not empty, a space that can be inhabited by figures and protagonists who are entirely concrete, but changeable: a space that is not inhabited by phantom characters imprisoned in a libretto.<\/p>\n<p>(1982)<\/p>\n<p>Luciano Berio<br \/>\nTranslation by David Osmond-Smith.<\/p>\n<p><a href=\"http:\/\/dev.lucianoberio.org\/note-dautore\/\">Note d&#8217;autore: informazioni generali | Author&#8217;s note: general info<br \/>\n<\/a><\/p>\n","protected":false},"template":"","meta":{"_acf_changed":false},"class_list":["post-9749","nota-di-programma-op","type-nota-di-programma-op","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>La vera storia (author&#039;s note) - Centro Studi Luciano Berio<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La vera storia (author&#039;s note) - Centro Studi Luciano Berio\" \/>\n<meta property=\"og:description\" content=\"Luciano Berio Opera Yes, Opera No To say what happens in La vera storia is not easy, and I don\u2019t know that it\u2019s all that useful, granted that this is a work which tells its own story. 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