L’Elisir d’amore al Teatro Massimo di Palermo

Conductor: Maestro Elia Andrea Corazza, Teatro Massimo in Palermo, Italy, 2025. ph. © Elia Andrea Corazza, 2025.

Il 15 e il 17 aprile ho diretto 2 performance dell’Elisir d’amore di Gaetano Donizetti al Teatro Massimo di Palermo.

Tutte le info qui: https://www.teatromassimo.it/event/lelisir-damore/

Conductor: Maestro Elia Andrea Corazza. L'Elisir d'amore by Gaetano Donizetti. Teatro Massimo in Palermo, 2025.
Conductor: Maestro Elia Andrea Corazza. L’Elisir d’amore by Gaetano Donizetti. Teatro Massimo in Palermo, 2025.
Elisir d’amore – Teatro Massimo Palermo – 2025. Conductor: Elia Andrea Corazza
Elisir d’amore – Teatro Massimo Palermo – 2025. Conductor: Elia Andrea Corazza
Elisir d’amore – Teatro Massimo Palermo – 2025. Conductor: Elia Andrea Corazza
Conductor: Maestro Elia Andrea Corazza. L'Elisir d'amore by Gaetano Donizetti. Teatro Massimo in Palermo, 2025.
Conductor: Maestro Elia Andrea Corazza. L’Elisir d’amore by Gaetano Donizetti. Teatro Massimo in Palermo, 2025.
Elisir d’amore – Teatro Massimo Palermo – 2025. Conductor: Elia Andrea Corazza

Tournedos alla Rossini – maggio 2025 – Teatro Massimo Palermo

Tournedos alla Rossini. Music by Elia Andrea Corazza based on Rossini. Teatro Massimo, Palermo, 2025. All rights reserved. ph. © Franco Lannino.
Tournedos alla Rossini - Rossini-Corazza Cartellone Teatro Massimo, maggio 2025
Tournedos alla Rossini – Rossini-Corazza Cartellone Teatro Massimo, maggio 2025

Tournedos alla Rossini
musiche di
Gioachino Rossini

orchestrazioni di Elia Andrea Corazza

Drammaturgia Paolo V. Montanari
Direttore Elia Andrea Corazza
Regia Yamal das Irmich
Elementi di scena Stefano Canzoneri
Costumi Marja Hoffmann

Orchestra del Teatro Massimo

Personaggi e interpreti

Gioachino Rossini Roberto Burgio
Adelina Patti Noemi Muschetti / Federica Maggì
Marius Luciani Paride Cicirello
Antonio Tamburini Daniele Muratori Caputo / Francesco Bossi

Prossimi spettacoli dal 6 al 18 maggio 2025
Tutte le informazioni qui.

Tournedos alla Rossini

Donizetti, L’Elisir d’amore: 15 e 17 aprile, Teatro Massimo

Elia Andrea Corazza, direttore d'orchestra. Teatro Massimo Palermo, palco reale. 2024. photo credit © Emy Bernecoli.

Il 15 e il 17 aprile dirigerò 2 performance dell’Elisir d’amore di Gaetano Donizetti, come assistente del Direttore onorario a vita Gabriele Ferro, al Teatro Massimo di Palermo.

Orchestra e cast d’eccezione.

Tutte le info qui: https://www.teatromassimo.it/event/lelisir-damore/

Concerto sinfonico – Gabriele Ferro, Teatro Massimo Palermo

Elia Andrea Corazza, orchestra del Teatro Massimo di Palermo. Prova. Sintropia 2, dalla raccolta Il Lai dell'universo di Gabriele Ferro, Palermo, dicembre 2024. © Elia Andrea Corazza, 2024, all rights reserved

Grande successo per il concerto inaugurale della stagione sinfonica del Teatro Massimo del 5 dicembre diretto dal Maestro Gabriele Ferro.

Vi è stata la prima esecuzione assoluta del suo pezzo Sintropia 2 (dalla raccolta Il Lai dell’universo) – un pezzo composto negli anni Sessanta ma di una originalità assolutamente contemporanea, al quale ho collaborato realizzandone la trascrizione, l’elettronica, alcune letture con orchestra e, dal vivo, al mixer con la diffusione dell’elettronica.

Così scrive Gabriele Ferro nell’emozionante libretto di sala:

“Ringrazio il maestro Elia Andrea Corazza, mio allievo prediletto dai corsi dell’Accademia di Fiesole, che mi ha assistito nella preparazione di questo concerto”, Gabriele Ferro.

"Ringrazio il maestro Elia Andrea Corazza, mio allievo prediletto dai corsi dell'Accademia di Fiesole, che mi ha assistito nella preparazione di questo concerto", Gabriele Ferro. Elia Andrea Corazza, orchestra del Teatro Massimo di Palermo. Mixer. Sintropia 2, dalla raccolta Il Lai dell'universo di Gabriele Ferro, Palermo, dicembre 2024. © Elia Andrea Corazza, 2024, all rights reserved
“Ringrazio il maestro Elia Andrea Corazza, mio allievo prediletto dai corsi dell’Accademia di Fiesole, che mi ha assistito nella preparazione di questo concerto”, Gabriele Ferro. Elia Andrea Corazza, orchestra del Teatro Massimo di Palermo. Mixer. Sintropia 2, dalla raccolta Il Lai dell’universo di Gabriele Ferro, Palermo, dicembre 2024. © Elia Andrea Corazza, 2024, all rights reserved

14 novembre h. 17, conferenza-concerto in Accademia Chigiana

Emy Bernecoli, Elia Andrea Corazza, Accademia Chigiana, Siena, Salone dei Concerti, 14 novembre 2024. © 2024 all rights reseerved.

Elsa e Ottorino. I Respighi a Palazzo Chigi Saracini

Accademia Chigiana di Siena

Musiche di Ottorino Respighi, Tomaso Vitali, Antonio Vivaldi, Johann Sebastian Bach, Alfredo Casella, Elia Andrea Corazza

Emy Bernecoli, violino

Elia Andrea Corazza, pianoforte

link

La biblioteca risonante, accademia chigiana, Elia Andrea Corazza, Emy Bernecoli, Cesare Mancini, 14 novembre 2024.
La biblioteca risonante, Accademia Chigiana, Elia Andrea Corazza, Emy Bernecoli, Cesare Mancini, 14 novembre 2024, h. 17.

Unquestionable Answers & Attraverso

Attraverso by Elijax - image Antica dispensa by Emidio Bernecoli

UNQUESTIONABLE ANSWERS is pervaded by a chorale played by strings, which expands and contracts. Some tinkling glockenspiels and heavily filtered white noise are added in the highest part of the spectrum. The elaboration of the parts generates tensive crescendos which culminate in explosions. The decays of the blasts are characterized by arpeggi of synthesized plucks, in stochastic major/minor chords. All the music materials are based on the tone row discovered by Anton Webern in his unfinished opus 32.
The title is a reversed quotation of Unanswered Question by Charles Ives. In my composition I testify the complete overturning of the meaning of Ives’ masterpiece. The contemporary human being can not ask questions, can not search for answers, can not pursue a higher meaning and can not seek for a teleological meaning of the existence. The real questions are banned. The answers are pre-established, inculcated in the masses and in every human being since its conception. While incapable of questioning, the contemporary human being must follow ready-made answers, with operose passiveness, as imposed by the contemporary society. We are running frantically in order to stay still while the universe and the immutable celestial stars evolve.
The piece takes inspiration from, and thus is dedicated to, Aldous Huxley (for his Brave New World Revisited) and to Giorgio Agamben (for his Homo Sacer).


ATTRAVERSO (THROUGHOUT) Luigi Russolo’s writings, paintings and thoughts about the futuristic orchestra gave birth to the modern poetics of composition. The noise of urbanized cities, of technology, and also of weapons, is integrated in the so-called “classical” music. Everything is noise, or the silence is noise… the boundaries between organized sound and noise are overcome. From a philosophical perspective, randomness (indetermination) is absolute, and the idea itself is overcome by the concept of integration of a deterministic randomness, or by a rational indetermination.
My sound experimentations begun with a survey on noise: random noise, pseudo-random noise (as generated by computers), or “unrepeating random noise”, in which all samples are unique. I generated one second of an unrepeating random noise at 48KHz, which I used as a ground for the ideas of this composition. It is an interesting concept, since the randomness of the samples following the first sample decreases with the number of samples generated, until the last one which is necessary. I downsampled this second of generated unrepeating noise, finding a tone row, and I evaluated the potential of the pitch classes.
After deciding the structure of the piece and some tone colors, I composed freely. Eventually I used some previous samples of mine which fitted with the overall sound/noise.
The first part is sidereal. A few kinds of glockenspiels are generated from the noise passing throughout some filters with self-resonance and resonators. The crescendi are made by granular delays. At minute 3 there are some stable pitches made with a reversed reverbered granular harp, with stretched waveforms. Over this, around 4 minutes and 30 seconds there is chorale played by a string orchestra, made upon the tone-row of the previous glockenspiels and resonators. Around minute 8 there is an arpeggiator on randomized minor chords and a random drum.
This piece is a tribute to the composer from Portogruaro, to his coherence, to his vitality and dynamism, to his theories and artistic output, which, throughout times, still inspires us.


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Attraverso by Elijax - image Antica dispensa by Emidio Bernecoli
Attraverso by Elijax – cover art “Antica dispensa” by Emidio Bernecoli