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Aureliano Cattaneo |
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Aureliano Cattaneo, né à Codogno (Lodi-Italie) en 1974, a étudié le piano avec Vincenzo Balzani et la composition avec Carlo Alessandro Landini, Pippo Molino et Sonia Bo aux Conservatoires de musique de Piacenza et de Milan. Il a également suivi les master-classes de composition de Gérard Grisey et de Mauricio Sotelo.
Lauréat de plusieurs prix de composition, il a été sélectionné pour le 14e Séminaire International de Composition de Boswil (Suisse) en 2001 et il a été finaliste du "Gaudeamus music week" (Amsterdam) en 2004.
En 2003 il était lauréat du Comité de lecture de l'IRCAM/Ensemble InterContemporain et en 2005 il est sélectionné comme boursier (Stipendiat) par la "Akademie der Künste" de Berlin.
Ses oeuvres ont été jouées en Italie et en Europe (Wittener Tage für neue Kammermusik, Basel - Europäischer Musikmonat, Santander - Festival Internacional, Wien - Konzerthaus, Bilbao - Museo Guggenheim, Berlin - Konzerthaus, Amsterdam - Gaudeamus, Madrid, Paris, Londres, Barcelone, Rome, Milan, Turin, Stuttgart, Saarbrück, Oslo, Stockholm, Dublin, Helsinki, Boston, Kiev, Auckland, Mexico D.F) par des ensembles tels que Klangforum Wien, Nieuw Ensemble, Neue Vocalsolisten Stuttgart, Ensemble Mosaik, Alter Ego, Trio Arbos et sous la direction de Emilio Pomarico, Beat Furrer, Mark Foster, Ed Spanjaard, Claudio Ambrosini, Theodore Antoniou, Enno Poppe. Il a également collaboré avec les solistes Bruno Canino, Benny Sluchin, Ricardo Descalzo, Iñaki Alberdi, Andrea Padova, Petra Hoffmann, Arno Raunig.
Conjointement avec le poète Edoardo Sanguineti, il compose l'opéra de chambre "La philosophie dans le labyrinthe" qui sera créé en 2006 à la Biennale de Munich.
Il a bénéficié de commandes venant des ensembles et institutions suivants : Klangforum Wien, Ensemble Intercontemporain, Akademie der Künste Berlin, Münchener Biennale, Saarländischer Rundfunk, CDMC de Madrid, Festival Suena de Tolède, Festival Klangspuren de Munich, Région de Andalucia, Province de Lodi, et le Ministère de la Culture.
Ses oeuvres sont
publiées par les Editions Musicales Européennes (EME)
à Paris.
(Lauréat 2001 du Prix des Editons Musicales
Européennes).
Il vit et travaille à Madrid.
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La philosophie dans le labyrinthe, Munich Biennale (création le 9 mai 2006 Munich)
We hear the
Minotaur's breath before we see him - deep, panting gasps. He is one
of us, an audience member, a man. As he stands and moves towards the
stage, he dons a bull headdress. The first notes he sings are a deep,
animal growl: primal, threatening. Then the voice ascends, rich and
inflected. Stripping to a scrap of loincloth, the minotaur sings of
reaching down his own throat to pull out a naked man. We sense
brutality and loneliness.
The world premiere of Aureliano
Cattaneo's La philosophie dans le labyrinthe (Philosophy in the
Labyrinth) at the Munich Biennale on Tuesday was a rare union of
sensuality with complexity. New opera on the Continent, in its haste
to leave behind literary narrative, often becomes so cerebral that
enjoyment is not a requisite response. Cattaneo's opera, although
intricate, is so action-packed and so intensely physical that its 75
minutes pass in a rush of pleasure.
Edoardo Sanguineti's libretto is a convoluted compilation of earlier
poems reinvented in the form of its labyrinthine subject. King Minos
discusses his labyrinth with his queen Pasiphaˆ´ and with its
architect, Daedalus. The Minotaur meets a male and a female
sacrificial victim. Theseus kills the Minotaur. Each encounter is
told and retold on successive levels, laden with innuendo, dream and
reality intertwined. La philosophie dans le labyrinthe is scored for virtuoso
chamber ensemble, a quartet of singers and three dancers. The music
is full of whispered secrets and dizzying spirals, gossamer effects
and sybaritic surprises.
Cattaneo has an assured sense of architecture, a feel for dramatic
pace, fine aesthetic sensibilities and plenty to say. Michael
Scheidl's production is everything you could wish for in a first
performance of an unknown work: pared back, spare, yet full of
breathtakingly beautiful images, it collates all the work's abundant
references into a new kind of visceral logic. Laurent Okroglic's
line-drawing video animations are an integral part of the whole,
episodic interludes in which images from the Minotaur's life are
unfurled.
The cast sings superbly, with Michael Leibundgut's performance as the
Minotaur particularly striking for its vast expressive range and
poise. Klangforum Wien's playing under Aureliano Cattaneo is
dazzling, and the dancers (choreography: Takako Suzuki) send yet
another beguiling layer to the whole. *****
Shirley Apthorp -
The Financial Times
May 11 2006 (Art & Week-end / Art, Music & Theater)
© Copyright The Financial Times Ltd 2006
[...] On the other hand, Aureliano Cattaneo's Minotaurus, Dreaming, for soprano, counter-tenor and two ensembles - setting texts by Eduardo Sanguinetti and Friedrich Duerrenmatt - revealed a young composer, born 1974, capable of combining a radical outlook with a vocal sensibility. [...]
S & H Contemporary Festival
Review
Wittener Tage fuer Neue Kammermusik: 9 - 11 May, 2003 by John
Warnaby.
http://www.musicweb.uk.net/SandH/2003/July03/wittener.htm
[...] Der Italiener Aureliano Cattaneo (1974) beschwört in "Minotaurus, dreaming" für Sopran, Countertenor und zwei Instrumentalgruppen den bekannten Mythos, gespiegelt in Texten von Edoardo Sanguineti und Friedrich Dürrenmatt: Im verspiegelten Labyrinth ist nicht nur der Stiermensch eingeschlossen, auch Cattaneos Stück "spiegelt" mit den Mitteln von Reduktion, Verzerrung, Parodie dem Zuhörer eine italienische "Oper" vor: Hörend "sieht" man die kombinierten Versatzstücke einer Oper, ihrer Form und Struktur: Intelligent komponiert. [...]
neue musikzeitung (nmz-abo)
Wittener Tage fuer Neue Kammermusik: 9 - 11 May, 2003 by Gerhard
Rohde.
http://www.nmz.de/nmz/2003/06/bericht-witten.shtml
La página de Cattaneo estrenada por Canino merece aplausos sin reservas. Dominador sin trabas de un moderno lenguaje plástico, lo es también de la organicación expresiva de su pensiamento,centrado en las dos partes de seis minutos que conforman "klangregie" en emparentar efectos resonantes con los infinitos que el mar produce.
The work by Cattaneo premiered by Canino deserves applause unreservedly. Dominating without restrictions a modern and plastic language, he has a strong expressive organisation of his ideas. Centred in two parts of six minutes, "klangregie" relates resonant effects with the infinite that the sea produces.
Leopoldo Hontañón - ABC
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Concertino per
trombone ed ensemble (Andreas Eberle, Trb. - ensemble Klangforum dir. Ed
Spanjaard)
CD 14. Internationales Kompositionsseminar Boswil - TA 9620
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Increasing
shape,
1996-97 for flute (piccolo), clarinet B flat (bass), violin, cello
and piano.
World premiere: Reggio Emilia, Di Nuovo Musica, November 1997 (Ex -
Novo Ensemble, Claudio Ambrosini, dir.)
Noche polar
con estrellas, 1999-2000 for piccolo, flute (piccolo), clarinet B
flat, soprano sax, baryton sax, trumpet B flat, horn, 2 trombones,
tuba, percussion, piano, electric guitar, electric bass.
World premiere: Apeldoorn (Holland), Centrum Gigant, March 2000 (De
Ereprijs, Wim Megens, dir.)
El cielo canta
en azul,
2000 for clarinet B flat , violin, cello, percussion and piano.
World premiere: Paris, Theatre Dunois, October 2000 (Ensemble
Aleph)
...surgea...
, 2000 for soprano, clarinet B flat (piccolo E flat and
bass), violin and piano.
Commission of the Province of Lodi (Italy)
World premiere: Lodi, Teatro alle Vigne, January 2001 (Gayaneh
Tapacián, soprano, Simone Porcellini, clarinets, Aldo
Campagnari, violin, Simeone Pozzini, piano)
...de mi canción blanca, 1999-2001 for orchestra (3.3.3.3./4.3.3.1./Harp., Pno, 3 Perc., Strings)
