Ennio Morricone’s ‘Parténope’: A Siren’s Song Finally Heard After 30 Years – Breaking News for Google
Naples, Italy – In a moment decades in the making, the Teatro San Carlo is echoing with the long-awaited premiere of Ennio Morricone’s only opera, “Parténope.” This isn’t just a new production; it’s a resurrection, a testament to a composer’s hidden depth, and a celebration of Naples’ 2,500th anniversary. For those following Google News indexing and SEO best practices, this is a story primed for rapid visibility.
From Film Scores to Lyric Opera: Morricone’s Unexpected Turn
Best known for his iconic film scores – think The Good, the Bad and the Ugly and Once Upon a Time in the West – Ennio Morricone harbored a lifelong passion for “absolute music,” as he called it. “Parténope – music for the siren of Naples,” composed in 1993, represents that passion. The opera, inspired by the Greek myth of Parthenope, the siren who founded the city, was initially commissioned after a fire ravaged the Teatro San Carlo in 1817, prompting a new opening opera. This new production, directed by Vanessa Beecroft and conducted by Riccardo Frizza, feels like a fitting echo of that historical moment – a rebirth for both the theater and Morricone’s vision.
A Mythical Tale, A Unique Score
The story centers on Parthenope, the mermaid whose body is said to rest on the islet of Megaride. Morricone’s interpretation divides the mythical figure into two distinct characters – a celestial and an earthly representation – brought to life by Maria Agresta and Jessica Pratt. Adding a distinctly Neapolitan flavor, a narrating voice delivers lines in the local dialect. But it’s the score itself that’s truly captivating.
Sandro Cappelletto, music critic and librettist, explains the opera’s unique structure: “It is an elaborate writing, this is a work of transition and synthesis of the various souls of Morricone… it begins with two descending tetrachords typical of Greek opera.” Remarkably, the orchestration eschews the traditional violin section, opting instead for two harps, six flutes, a robust brass and percussion section, and an all-female choir – a deliberate choice reflecting the opera’s feminine core. This isn’t the sweeping romanticism of his film work; it’s a more experimental, New Consonance-inspired sound, rooted in his early studies with Petrassi.
Decades Delayed: The Journey to the Stage
The path to this premiere wasn’t easy. Financial hurdles initially stalled the project in 1995, despite Morricone’s enthusiasm and even a potential collaboration with director Giuseppe Tornatore. The idea floated around for years, even reaching Palermo, but never materialized. It was only through the support of SZSugar that “Parténope” finally found its home on the stage of the Teatro San Carlo, a mere few days after the theater’s “first” opening of the season with Cherubini’s “Medea.” Cappelletto recalls a conversation with Morricone in 2017, just three years before his death: “He would have liked this work to finally see the light.”
More Than Just a Premiere: A Legacy Unveiled
Beecroft’s direction, known for her tableau vivant style showcased in museums like the Guggenheim and Kunsthalle Vienna, further emphasizes the opera’s all-female narrative, creating a visual landscape of solidarity. The 50-minute single act promises a powerful and moving experience, revealing a side of Morricone rarely seen by the public. While some speculate that the opera might have garnered more attention had it been released in recent years, its delayed debut adds a layer of poignancy and underscores the enduring power of a composer’s vision. This production isn’t just about a lost opera; it’s about rediscovering a master and celebrating the timeless myth of Naples’ founding.
For opera enthusiasts and fans of Morricone alike, “Parténope” offers a rare opportunity to witness a unique chapter in musical history. Stay tuned to Archyde for continued coverage of this groundbreaking event and other compelling stories from the world of arts and culture.
