Morricone’s Lost Opera, “Parténope,” Finally Surfaces in Naples After 30 Years
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A decades-old composition by legendary film composer Ennio Morricone, “Parténope – music for the siren of Naples,” is set to premiere at the Teatro di San Carlo in Naples on December 12 and 14, marking a notable moment in both the city’s cultural history and the composer’s legacy. The opera’s debut coincides with the celebrations of Naples’ 2,500th founding anniversary, adding another layer of historical resonance to the event.
A Siren’s Song Delayed
The story of “Parténope” is one of unrealized ambition and eventual triumph. Originally conceived in 1995, the opera was born from a request by Ezio Alovisi, director of the “Little Festival” in Positano, for a lyrical work inspired by the history of naples. The narrative naturally gravitated towards the tragic tale of Parthenope, the mermaid who, according to legend, founded the city and is said to be buried on the islet of Megaride. Morricone, despite his global fame for film scores, readily embraced the project, accepting the libretto penned by sandro Cappelletto and Guido Barbieri as it was.
However, the initial momentum stalled due to financial hurdles. The project languished for years, even prompting Morricone to seek collaboration with director Giuseppe Tornatore, but attempts to stage the opera in Positano and later palermo ultimately failed. As one author recalled, the composer expressed his desire for the work to finally be heard, a wish that will now be fulfilled.
A Unique Musical Landscape
“Parténope” represents a departure from Morricone’s widely recognized cinematic style. Described as an “elaborate writing” and a “work of transition and synthesis of the various souls of Morricone,” the single-act opera,lasting approximately 50 minutes,delves into the complexities of the Parthenope myth. It features a distinctive instrumentation of 44 elements, notably excluding violins, and incorporates an all-female choir.
The opera is structured around two representations of Parthenope – one celestial, the other earthly – alongside a narrating voice in the Neapolitan dialect. according to music critic Sandro Cappelletto, the composition begins with “two descending tetrachords typical of Greek opera given that it is a Greek opera theme,” highlighting its classical roots. the score, imbued with the spirit of Naples’ popular music, showcases Morricone’s exploration of “New Consonance” experimentations, a style influenced by his early studies with composer Luigi Petrassi.
A Feminine Narrative Takes Center Stage
The production, directed by Vanessa Beecroft, promises a visually striking interpretation of the opera. Beecroft, known for her tableau vivant-style performances showcased in prominent museums like the Guggenheim in New York and the kunsthalle in Vienna, will utilize an all-female cast, including extras, to create a sense of “all-female solidarity.”
The opera itself is fundamentally a “feminine story,” exploring the duality of Parthenope as both virgin and mermaid, a concept likened to the work of filmmaker Pier Paolo Pasolini. The performance,featuring Maria Agresta,Jessica Pratt,Francesco Demuro,and Mimmo Borrelli,is positioned as a second opening of the Teatro di San Carlo’s season,following the December 6 premiere of Cherubini’s “Medea.”
Despite being composed three decades ago, “Parténope” is poised to resonate with contemporary audiences. As the authors noted, the opera might have garnered more attention had it been written today, given the evolving perception of Morricone beyond his film work. Nevertheless,the enduring quality of his music shines through,making “Parténope” a compelling and long-awaited addition to the operatic repertoire.
