The midday concerts I heard in
Palazzo del Pero were very good finalconservatory essays. On 17 September, I had the opportunity to listen to two
very interesting and contrasting concerts. At 12 noon in the gorgeous Galleria
Nazionale Umbra, the young but very professionalensembleNova Alta offered a concert called Seicento Stravagante ('The
Century') and at 9pm in the San Bevignate
Church a mostly Tunisian group offered a program called Au chouer du Soufi.
The first comment is on the beauty
of the contrasting key elements of the two concerts. Seicento Stravagante was
entirely happiness and joie de vivre, whilst Au
chouer du Soufi was full of melancholy, with the exception of an outburst of joy in the last number when
the entire audience joined the sufi group, clapping their hands. The first concert
was very joyful, the second sober and almost sad.
In the first concert, the Nova Alta
small ensemble — David Brutti, Danilo Tamburo, Stefano Bellucci, Andrea
Angeloni and Giulio Fratini) plays oninstruments as far as possible reconstructed using original seventeenthcentury tools, after a long search for instruments, mostly in Italy and inGermany. The instruments include a serpentona, a snake-like wooden
instrument which can reach a very low register.
The program included sixteen
short chamber music pieces. The listenercould feel the flavor of the comic or hilarious moments of Claudio Monteverdi's operas, such as the character of Iro in Il Ritorno di Ulisse in Patria or
the duet between the two youngsters in L'Incoronazione di Poppea when
both the page and young woman bid farewell to their respective virginity.