Posts Tagged ‘biographie

En hommage à Milva (suite)

26avr

Pour poursuivre mon article d’hier

,

en hommage très ému à Milva,

voici la vidéo d’un extraordinaire concert (de 85′) donné au Piccolo Teatro de Milan, en 2010, en hommage à Bertolt Brecht,

un concert intitulé « Milva canta Brecht« .

Avec en complément

l’article de Wikipedia, en anglais, d’une utile biographie assez exhaustive de Milva (Goro, 17 juillet 1939 – Milan, 23 avril 2021)…

Milva
Milva

Milva at a theatre presentation of La variante di Lüneburg (2009)

Maria Ilva Biolcati ; 17 July 1939 – 23 April 2021),[1] known as Milva, was an Italian singer, stage and film actress, and television personality. She was also known as La Rossa (Italian for « The Redhead« ), due to the characteristic colour of her hair, and additionally as La Pantera di Goro (« The Panther of Goro« ), which stemmed from the Italian press having nicknamed the three most popular Italian female singers of the 1960s, combining the names of animals and the singers’ birth places. The color also characterized her leftist political beliefs, claimed in numerous statements.[2][3] Popular in Italy and abroad, she performed on musical and theatrical stages the world over, and received popular acclaim in her native Italy, and particularly in Germany, where she often participated in musical events and televised musical programmes. She also released numerous albums in France, Japan, Korea, Greece, Spain and South America.[4]

She collaborated with European composers and musicians such as Ennio Morricone in 1965, Francis Lai in 1973, Mikis Theodorakis in 1978 (Was ich denke became a best selling album in Germany), Enzo Jannacci in 1980, Vangelis in 1981 and 1986, Franco Battiato in 1982 and 1986.

Her stage productions of Bertolt Brecht’s recitals and Luciano Berio’s operas toured the world’s theatres. She performed at La Scala in Milan, at the Deutsche Oper in Berlin, at the Paris Opera, in the Royal Albert Hall in London, and at the Edinburgh Festival, amongst others.[5]

Having received success both in Italy and internationally, she remained one of the most popular Italian personalities in the fields of music and theatre. Her artistic stature was officially recognised by the Italian, German and French republics, each of which bestowed her with the highest honours. She was the only Italian artist in contemporary times who was simultaneously : Chevalier of the National Order of the Legion of Honour of the French Republic (Paris, 11 September 2009), Commander of the Order of Merit of the Italian Republic (Rome, 2 June 2007), Officer of the Order of Merit of the Federal Republic of Germany (Berlin, 2006) and Officier of the Ordre des Arts et des Lettres (Paris, 1995).

Life and career

Early life and career beginnings

Maria Ilva Biolcati was born in Goro, Province of Ferrara, Italy, on 17 July 1939.[6] In 1959, when she was twenty, she won a contest for new voices, and was named the overall winner from more than seven thousand six hundred participants. In 1960 she recorded her first 7″ single with Cetra Records : Édith Piaf’s song « Milord« . Her real debut was on the stage of the Sanremo Music Festival in 1961, where she took third place.[7]

1960s

Claudio Villa, Milva and Nicola Arigliano in 1964

In 1962 Milva was the first singer to sing Édith Piaf’s repertoire at the prestigious Olympia theatre in Paris. In 1983 she performed the repertoire at the venue again and again received an ovation from the audience and the French press, very surprised how a non-French artist could interpret with such a feeling and energy the songs of Piaf. Music critics named her singer of the year.[8]

Shortly afterwards, Milva released her second LP record, Milva canta per voi, a studio album that compiled several songs previously published as singles, in addition to covers of Édith Piaf songs, such as Non, je ne regrette rien, translated to Italian as Nulla rimpiangerò, and Et maintenant, written by composer Gilbert Bécaud and lyricist Pierre Delanoë (a song which, in English, would later become known as What Now, My Love ?« ).[9]

In 1962 Milva co-starred in the Italian film La bellezza di Ippolita alongside Gina Lollobrigida and Enrico Maria Salerno in a comedy film directed by Giancarlo Zagni, playing the role of Adriana. The film was entered into the 12th Berlin International Film Festival.[10] In the same year, she also appeared in the film Canzoni a tempo di twist, an Italian film directed by Stefano Canzio.[11]

In February, Milva participated in the Sanremo Musical Festival of 1962, competing with Tango italiano, a jazz-infused song written by Bruno Pallesi and Walter Malgoni. Her performance earned her second place in the competition and the single that followed reached number one on the Italian charts.[12]

From 30 April to 4 May 1963, Milva was a television presenter on the Italian variety show Il Cantatutto.[13]

Shortly after, Milva released her third LP record Da Il Cantatutto con Milva e Villa, in which she performed studio versions of the songs she had sung on Il Cantatutto. In the album, she performed Quattro Vestiti, composed by Ennio Morricone, a song which would be released on an EP by the same name.[14][15] Milva also recorded the songs from the EP in Spanish, releasing the Spanish-language EP Milva canta en español, which was released in Spain.[16]

Later in the year, she released her fourth studio album Le Canzoni del Tabarin – Canzoni da Cortile, an Italian-language album that covered Italian songs from the 1920s and 1930s, featuring new musical arrangements, released on the Fonit Cetra label.[17]

In January 1965, Milva released the multilingual studio album Canti della libertà, an album in which she sang revolutionary songs and songs of freedom, including the national anthem of France, La Marseillaise, written by Claude Joseph Rouget de Lisle,[18] and La Carmagnole, a French song created and made popular during the French Revolution. Amongst the other songs that composed the album were Italian-language versions of the marching song John Brown’s Song, the Spanish Los cuatro generales, and Fischia il vento, an Italian popular song based on the music of the Russian popular song Katyusha.[18]

In 1965, a meeting led to a definitive change in her career : Italian director Giorgio Strehler _ Trieste, 14 août 1921 – Lugano, 25 décembre 1997 _ helped to develop her skills in staging and singing in Italian theatres (especially the Piccolo Teatro in Milan) and she began to perform a more committed repertoire, including songs of the Italian resistance movement, songs from Bertolt Brecht’s pieces). In the following years she starred in Giorgio Strehler’s production of Brecht’s The Threepenny Opera which was performed in several cities of Western Europe. Milva’s albums were certificated gold and platinum in West Germany.[19]

Milva in 1970

In 1968, Milva released her fifth studio album, Tango, an album that consisted of tango standards sung in Italian. The album was released in Italy, Germany, Spain and Brazil and featured an orchestra conducted by Iller Pattacini.[20] In 1969, she released her sixth studio album Tango Inspirationen, an album released in Germany and composed of tango standards performed in German and Italian. Amongst the songs performed on the album were La Cumparsita, A Media Luz (Guardando intorno a te) and Adios, Pampa Mía.[21] In 1975, the album was reissued as Milva singt Tangos deutsch und italienisch.[22]

In late 1969, Milva co-starred in the Italian musical comedy Angeli in bandiera, alongside Gino Bramieri. The musical was written by Italian playwrights Pietro Garinei and Sandro Giovannini and featured music by Bruno Canfora and premiered on 20 October, at the Teatro Sistina, in Rome, Italy.[23] An original cast recording of the musical featuring I cantori moderni di Alessandroni was released in Italy and Canada in the same year.[24]

During the same year, Milva appeared in the Italian film Appuntamento in Riviera, a musical comedy directed by Mario Mattoli. [25]

1970s

1970 saw the release of the studio album Ritratto di Milva, an Italian-language featuring orchestrations composed and conducted by Detto Mariano, infused with pop and chanson elements.[26]In September 1970, Milva performed concerts at Sankei Hall, in Tokyo, Japan, accompanied by Nobuo Hara and his big band, the Sharps & Flats. Excerpts of the recordings of the concerts were compiled and published on the live album Milva on Stage (Live at Tokyo Sankei Hall), released shortly thereafter on the Ricordi label.[27]

In 1971, Milva released Milva canta Brecht, an album of music written by Bertolt Brecht and music composed by Hanns Eisler and Kurt Weill, directed by Giorgio Strehler.[28]

In 1972, Milva appeared in the Italian film D’amore si muore, directed by Carlo Carunchio, starring in the role of Leyla.[29] She also covered the title song of the movie, titled D’amore si muore, a song composed and conducted by Italian composer, conductor and orchestrator Ennio Morricone with lyrics written by Carlo Carunchio and Giuseppe Patroni Griffi, which was included in her album Dedicato a Milva da Ennio Morricone, released in the same year.[30] Following Milva’s appearance in D’amore si muore, Ennio Morricone dedicated a series of songs from his film scores to Milva for her to sing lyrics to.[31] The collaboration between the two musicians produced the studio album Dedicato a Milva da Ennio Morricone (Dedicated to Milva by Ennio Morricone), an album that featured music entirely written, composed, orchestrated and conducted by Morricone in which Milva covered twelve of his works, such as Chi Mai, La Califfa, and the bossa novainfused Metti, una sera a cena.[32]

During the same year, Milva released a Japanese-language album, Love Feeling in Japan, containing twelve songs sung entirely in Japanese, released on the Ricordi label.[33] She then released the live album Milva in Seoul in South Korea, accompanied by the Korean Broadcasting System Symphony Orchestra. It includes her singing « Barley Road » in Korean.[34]

1972 additionally saw the release of her compilation album La filanda e altre storie.[35]

In 1973, Milva collaborated with French composer Francis Lai, the output of their work resulting in the studio album Milva & Francis Lai – Sognavo Amore Mio, which was directed and orchestrated by Lai. Amongst the ten Lai compositions covered by Milva in the album were A Man and a Woman (Un homme et une femme) and Love Story. Milva also duetted with Lai on the song Oltre le colline.[36]

In 1974, she released the studio album Sono matta da legare.[37] The song Monica delle bambole was its lead single, released in 7″ format in Italy and Yugoslavia.[38]

Milva and Italian composer Giorgio Gasliniin 1975

In 1975, Milva released Libertà, a studio album composed of military hymns, marches and folk songs whose central themes revolve around freedom and liberty. Among the songs featured on the album was Bertolt Brecht’s Kälbermarsch, a parody of the song Horst Wessel Lied. The album was released on the Ricordi label in Italy, Germany and Japan.[39]

In 1977, Milva released the eponymously titled studio album Milva,[40] in which she performed Andrew Lloyd Webber’s Don’t Cry for Me Argentina from the musical Evita, in Italian, titled Non pianger più Argentina, which was the album’s lead single.[41] Milva was released in Italy, Spain, Belgium, Austria and Japan.[42] In Germany, the album was released as Non pianger più Argentina.[42]

In 1977, Milva released the studio album Auf den Flügeln bunter Träume, an album composed of popular German film and cabaret standards, including a version of Lili Marleen and Tango notturno. The album was released in America, Canada and Germany and in 1998 was reissued in Japan.[43]

In 1978, she released the live album Canzoni tra le due guerre, an album flavoured with chanson and jazz elements that was recorded live at the Piccolo Teatro di Milano in October 1977, in a musical show produced by Filippo Crivelli.[44] The album was released in Germany as Lieder Zwischen den Kriegen.[45]

In 1978, Milva began collaborating with Greek composer Mikis Theodorakis, resulting in the release of the studio album Von Tag zu Tag in Germany and Austria, which became a best-selling album in Germany.[46][47] In 1979, the album La Mia Età, the Italian-language counterpart of Von Tag zu Tag was released.[48] The album was released in Italy, Germany, Austria, Brazil, Japan, Greece, Spain, and Venezuela.[49]

In 1979, Milva released the studio album Wenn wir uns Wiederseh’n, a German-language album that consisted of songs written by Austrian songwriter, composer and conductor Robert Stolz.[43] The album was also released under the alternate title Schön war’s heute Abend (Milva singt Robert Stolz).[50]

From 1973 to 1980, Milva was on tour (Italy, USA, Greece, France, Germany, Canada, Russia and Japan) with the band « I Milvi » with Neno Vinciguerra on piano, Franco Paganelli on guitar, Claudio Barontini on bass, Giovanni Martelli on drums and Marco Gasperetti on flute.[51]

1980s

In 1980, Milva released the studio album, Attends, la vie, a French language album featuring songs composed by Greek composer Mikis Theodorakis, whose orchestrations were arranged by Italian composer Natale Massara. The album was released on the RCA Victor label in France, and on Metronome label in Germany. Milva had already worked with Mikis Theodorakis two years earlier, when she recorded Von Tag zu Tag and La Mia Età.[52]

1980 also saw the release of La Rossa, a studio album featuring songs written and composed by Italian composer Enzo Jannacci. The album was released in Italy, Germany and Argentina. The title song, La Rossa, was released on the single La rossa/Quando il sipario and would come to be considered Milva’s signature song.[53] In the course of the same year, Milva released the multilingual compilation album Milva International which she sang in English, French, Spanish, Italian and German. It was released in Germany.[54]

1981 saw the commencement of a collaboration between Milva and Greek composer Vangelis, with whom she has collaborated on several occasions.[55] The 1981 collaboration would result in the release of both a French and a German language album. The first, sung in German, was Ich hab’ keine Angst. It was released in Germany, Austria, Japan and South Korea,[56] and produced the German 7″ single Ich hab’ keine Angst/Christine.[57] The title song, Ich hab’ keine Angst, is based on Vangelis’ composition To the Unknown Man, a song which, in French, would become the title of her next album of 1981, Moi, je n’ai pas peur, which was released in France, and covered the songs included on the German release.[58]

In 1982, Milva starred in the role of Veronica in the Italian film Via degli specchi, a crime-drama film directed by Giovanna Gagliardo.[59] The film was entered into the 33rd Berlin International Film Festival.[60] Later in the year, Milva released the German studio album Immer mehr,[61] as well as the live double album Das Konzert. The album was released in Germany, Austria and Japan.[62]

In 1983, Milva hosted an episode of the Italian variety show Al paradise, a television series directed by Antonello Falqui.[63] That same year, Milva released the Italian language studio album Identikit, distributed in Italy under the Metronome label. She collaborated with Vangelis for the album, covering two of his songs; To the Unknown Man, this time recorded in Italian under the title Dicono di me, as well as an Italian language version of I’ll Find My Way Home.[64] Later that year, she released the studio album Unverkennbar, an album sung entirely in German.[65] In 1984, the single Vielleicht war es Liebe/Eva was released in Germany.[66] 1983 additionally saw the release of the original cast recording of the German ballet chanté Die sieben Todsünden der Kleinbürger (The Seven Deadly Sins [of the Petty Bourgeoisie]), which had been recorded in Berlin in January 1981. The cast recording featured all nine movements of the musical in which Milva had starred two years earlier, in the leading roles of Anna I and Anna II. In 1990, the album was re-released in Japan.[67]

On 29 September 1984, Milva performed with Argentine tango composer, arranger and bandoneón player Ástor Piazzolla and his quintet, the Quintette de tango contemporain, at the Théâtre des Bouffes du Nord, in Paris, France. [68] A recording of the performance would become the basis of Milva’s next album and would mark the beginning of a series of future collaborations with Ástor Piazzolla in which Milva interpreted the composer’s nuevo tango compositions.[69] Later that year, Milva released the live album Milva & Ástor Piazzolla – Live at the Bouffes du Nord, released in collaboration with Ástor Piazzolla. The album featured nuevo tango compositions composed by Piazzolla and sung by Milva, in a musical style that incorporates elements from jazz and classical music, with Piazzolla accompanying his quintet on his bandoneón. Milva interpreted his compositions in French, Italian and Spanish. The album was published in Argentina, Japan, France, Germany and Italy.[70]

On 1 January 1985, she released the studio album Mut zum Risiko, an album containing schlager and europop musical styles. It was released in Germany on the Metronome and Bertelsmann Club labels. The release of singles Die Kraft unserer Liebe/Du bist ein Freund and Nein – Ich ergeb mich nicht/Rosa soon followed.[71]

In April 1985, Milva participated in the Italian supergroup Musicaitalia per l’Etiopia, recording Domenico Modugno’s Volare (Nel blù di pinto di blù) as part of a fundraising effort for the benefit of those affected by the 1983–85 famine in Ethiopia.[72] A 12″ single and an EP were released.[73]

Over the course of the same year, she released Corpo a Corpo, a studio album infused with schlager, italo-disco, europop, and synthpop influences. The album was released in Italy, Japan and Germany.[74] The album produced the single Marinero, an italo-disco pop song sung in English, released in Italy, Germany, Japan and Spain in various 7″ and 12″ formats.[75]

In March 1986, Milva played the role of Renata Palozzi in the French film Mon beau-frère a tué ma soeur (My Brother-in-law Killed My Sister), a film by Jacques Rouffio which received a nomination for a Golden Bear Award at the Berlin International Film Festival.[76]

In 1986, Milva returned to collaborating with Greek composer Vangelis, five years after her success with Ich hab’ keine Angst and Moi, je n’ai pas peur. This new collaboration would result in the release of two new studio albums, one in Italian and one in German; Tra due sogni and Geheimnisse.[77] The studio album Tra due sogni was released on the Metronome label in Germany, Greece, Spain, Japan and Argentina. In Italy, it was released on the Dischi Ricordi label, while in France it was released on the Polydor label.[78] It was released in Argentina as Tra Due Sogni – Entre Dos Sueños on the Polydor label in 1987.[79] The album spawned three singles; the Maxi single Canto a Lloret, released in Italy, the 7″ single Canto a Lloret/Blue Notte, released in France on the Barclay label, as well as the 7″ single Canto a Lloret/Spring, Summer, Winter and Fall, which was released by the Polydor label in Spain. The album was released on the Seven Seas label in Japan in 1987, and was reissued in 1992.[80][81] Shortly after the release of Tra due sogni, Milva recorded a German version of the album, entitled Geheimnisse, which was released on the Metronome label.[82] The album contained German versions of the songs presented on Tra due sogni, plus one song, Venedig im Winter, which was omitted from the Italian version. The Italian version, Tra due sogni, contained an Italian language version of the song Da oben ist sein Zimmer, In sogno, which had appeared on her 1981 album Ich hab’ keine Angst. Geheimnisse produced two 7″ singles; Du gibst mir mehr/Etwas mehr and Deine Frau/Arie, both released in West Germany on the Metronome label in 1986.[83][84] Vangelis was credited with composing all songs on both Tra due sogni and Geheimnisse and was credited as the arranger on the songs « Canto a Lloret » (Du gibst mir mehr), « Cuori di passagio » (Wunche) and « L’Ultima Carmen » (Die letzte Carmen). Milva covered Spring, Summer, Winter and Fall, originally by Aphrodite’s Child, in English, a track which appeared on both Italian and German versions of the album. She also covered Bizet’s Habanera.[77]

In 1988, Milva released the studio album Unterwegs nach Morgen, written by Tony Carey and Peter Maffay, released in Germany and Japan, on the Metronome and Seven Seas labels, respectively.[85] In the album, she covered Tony Carey’s Wenn der Wind sich dreht and Melanie Safka’s To Be a Star in German, titled Wer niemals stirbt. The album spawned three singles; Wenn der Wind sich dreht, released in both Maxi single and 7″ formats, as well as Komm zurück zu mir, released in 7″ format, all of which were released in Germany.[86][87] Following the success of Wenn der Wind sich dreht, Milva recorded an Italian version of the song called Vento di Mezzanotte, which was released as a 7″ single by the same name, under the Metronome label, in the Netherlands.[88] Vento di Mezzanotte also appeared on the Italian album Milva, published under the Ricordi label, in the same year.[89]

At the end of 1988, Milva appeared in the French film Prisonnières (Women in Prison), a crime drama written and directed by Charlotte Silvera, in the role of Lucie Germon, a prisoner in a women’s prison who has given up on life and fears the day of her release. The film was released on 12 October 1988.[90]

In 1989, she appeared in Ludi Boeken’s film Wherever You Are…, playing the role of a wife of an Italian diplomat.[91] That same year, Milva returned to collaborating with composer Franco Battiato, producing a total of three studio albums containing synth-pop arrangements, in which Milva sings in Italian, Spanish, French and German. This collaboration between Milva and Battiato produced the studio album Svegliando l’amante che dorme,[92] released in Italy. Milva also recorded the album in Spanish, with the album released as Una historia inventada, released in Spain later that year.[93] The Spanish version of the album generated the 7″ single Una historia inventada, which was released in Spain.[94]

In December 1989, Milva participated for a second time in the Italian supergroup Musicaitalia in a fundraising project organised and spearheaded by Charles Aznavour for the benefit of those affected by the 1988 earthquake in Armenia, contributing vocals for the song Per te, Armenia, which was released as a single.[95] Two music videos to accompany the song were later recorded and released in May 1990 as part of the fundraising effort.[96]

In 1990, the Italian version of the album was released in Japan under the original Italian title but contained two additional tracks that were not present on the original Italian release; Via lattea and Centro di gravità permanente, the latter of which is a duet with Battiato.[97] The album was also released as Una Storia Inventata [Eine erfundene geschichte] in Germany.[98]

1990s

 

In 1990, Milva returned to the Sanremo Music Festival for the first time since 1974, this time competing with Sono felice, a song written and composed by Rosalino Cellamare,[99] finishing in 4th place.[100] On 3 October 1990, Milva released the German language studio album, Ein Kommen und Gehen. The album contained pop/rock ballads and a cover of Udo Lindenberg’s Ein Kommen und Gehen, which was also released as a single. For the album, Milva collaborated with German songwriters and composers Udo Lindenberg, Peter Maffay, Udo Jürgens, Herbert Grönemeyer, Heinz Rudolf Kunze, Roland Kaiser and Tony Carey. The album was produced by German producers Edo Zanki and Vilko Zanki and was considered a success.[101][102]

The following year, on 27 September 1991, Milva released the studio album Gefühl und Verstand, an album containing pop/rock ballads sung in German.[103]

In 1992, Ich weiß es selber nicht genau and Mein Weg mit dir, two singles recorded by Milva, were released in Germany. [104][105]

In 1993, Milva released the studio album Uomini addosso, which was released in Italy, Germany, Japan and Spain.[106] The title track of the album, Uomini addosso, was presented by Milva at the Sanremo Music Festival.[107] Two songs from the German and Japanese editions of the album, Se ti va and Le ombre del giardino, written by G. Conte and Natale Massara, were used as the opening and closing theme songs of the 1993 Italian mini television series Private Crimes (Delitti privati).[108][109]

Later in the year, she starred as the protagonist in the acting and singing role of Zazà, in the Italian musical La Storia di Zazà (The Story of Zaza), a stage musical directed by Giancarlo Sepe and produced by the Comunità teatrale di Italia, premiering on 26 October 1993, at the Teatro Nuovo di Milano.[110] An original cast recording of the musical was produced and an album was released as Milva in La Storia di Zazà, with music composed by Stefano Marcucci and lyrics written by Giancarlo Sepe, on the Hollywood Records (Italy) label. The album, however, only saw a limited release.[111]

In 1994, Milva collaborated in the promotional album Milva in Café Chantant, a studio album featuring Café-chantant-inspired songs recorded in studio by Milva in Italian and Napolitan, with music arranged by Italian film composer and arranger Natale Massara. The musical release was part of the promotional Café chantant volumes distributed to the public by the Italian coffee manufacturer Lavazza. The overall theme of the album was coffee, with songs arranged and presented in a belle époque and nuevo tango style. In the album, Milva performs Édith Piaf’s 1956 song Les amants d’un jour in Italian language as Albergo an Ore, with lyrics translated by Herbert Pagani, a song Milva had once recorded in 1970 for her album Canzoni di Édith Piaf, and interprets Venezuelan composer Hugo Blanco’s Moliendo café with Italian lyrics, in addition to ‘A tazza ‘e café, a song made famous by Claudio Villa, in Napolitan language.[112] The album concludes with Milva’s EuroPop song Im Schatten der Träume, a song she had previously released on her 1991 German album Gefühl und Verstand.[113]

In 1994, Milva collaborated with German composer and big band leader James Last, releasing the studio album Milva & James Last – Dein ist mein ganzes Herz, in which she sings a number of pop ballads and classical-oriented pieces in German, Italian and French.[114] Milva had previously worked with James Last, who arranged a cover of Manos Haddidakis’ Greek folksong The Children of Piraeus, popularly known in English as Never on Sunday, which she sang in German and was released on James Last’s 1982 album Nimm mich mit, Käpt’n James, auf die Reise, under the title of Ein Schiff wird kommen.[115] Milva had previously covered the song in Italian, twice. In Dein ist mein ganzes Herz, she covered a version of the title song, known in English as « Yours Is My Heart Alone » or « You Are My Heart’s Delight« , an aria from the 1929 operetta The Land of Smiles (Das Land des Lächelns), with music composed by Franz Lehár and libretto by Fritz Löhner-Beda and Ludwig Herzer [de], arranged by James Last. In French, she covered French composer Georges Bizet’s Les Pêcheurs de Perles. She sang the second movement of Spanish composer Joaquín Rodrigo’s Concierto de Aranjuez, as well as an interpretation of Ombra mai fu, the opening aria from the 1738 opera Serse, by George Frideric Händel. In addition to other classical pieces composed by Russian composer Pyotr Ilyich Tchaikovsky and Czech composer Antonín Dvořák, all of which were arranged by James Last for the album, Milva covers some pop ballads, including a German interpretation of American recording artist Richard Marx’s Now and Forever, under the title Immer und Ewig. She also covered Italian singer-songwriter Lucio Dalla’s ballad, Caruso, a song dedicated to Italian tenor Enrico Caruso.[114] In 1995, the album was released in Japan.[116]

Beginning in 1994, Milva once again collaborated with Greek composer Thanos Mikroutsikos, releasing the studio album Volpe d’amore (Milva sings Thanos Mikroutsikos), an album featuring music composed by the composer and sung completely in Italian, with the exception of one song, Thalassa, which she sang in Greek. The album was released in Greece, Japan and Italy. In 1995, the album was re-released in Japan with the title Volpe d’amore[117] and the album was subsequently re-released as Milva canta Thanos Mikroutsikos in 1998 with a new song replacing Volpe d’amore entitled Vento d’amore.[118] In 2006, Volpe d’amore was re-released in Greece with the original album track listing.[119]

Following the release of Volpe d’amore in 1994, Milva re-recorded the album in German, an album that was released in Germany under the title Tausendundeine Nacht, featuring the same orchestrations by Thanos Mikroutsikos. The title track featured a choir, differentiating it from Il canto di un’eneide diversa, its Italian-language counterpart.[120]

In May 1994, she embarked on her fourteenth Japanese tour.[110]

In 1995, Milva starred in the Werner Herzog television film Gesualdo: Death for Five Voices (Tod für fünf Stimmen), in a film inspired by the life and music of Carlo Gesualdo, portraying the role of Maria d’Avalos, the adulterous wife murdered by Gesualdo along with her lover.[121] In the same year, she appeared in the Italian film Celluloide, a dramatic film directed and written by Carlo Lizzani, playing the role of an Italian countess, a portrayal that garnered her praise.[122][123] Later that year, Milva was appointed Officer of the Order of Arts and Letters (Officier de l’Ordre des Arts et des Lettres) by the French Ministry of Culture.[124]

In 1996, the album Milva canta un Nuovo Brecht produced by Jimmy Bowien was released in Germany.[125] The album consisted of songs written by Bertolt Brecht and Giorgio Strehler set to music primarily composed by Kurt Weill, sung in German and Italian. In the same year, Milva released Fammi Luce – Milva ha incontrato Shinji, an album written by and recorded in collaboration with Japanese composer Shinji Tanimura. The album was released in Japan, Germany and Italy.[126]

In September 1997, Milva released the album Mia Bella Napoli, a studio album in which she interpreted covers of Napolitan folksongs in the Napolitan language.[127][128]

In 1998, she sang with Alexia Vassiliou on Alexia’s album, Alexia – Mikis Theodorakis, a double album with new approaches to 26 Mikis Theodorakis compositions.[129]

Milva performing live, 31 January 2009

In 1999, Milva released Stark sein, a studio album produced by Chris Flanger and Isabel Silverstone and sung in the German language. In the album, Milva covered Amália Rodrigues’ fado song Canção do mar in German, titled as Das ja zum Leben. She also duetted with Italian singer Al Bano Carrisi, recording a new version of Io di notte, in German and in Italian under the title Zuviel nachte ohne dich (Io di notte), a duet of a song that both singers had individually recorded at the end of the 1960s.[130][131] The duet also appeared on Al Bano’s 1999 compilation album Grazie (Meine Schönsten Lieder – Meine Größten Erfolge). Stark sein was released in Europe under the BMG Ariola München label, and on the Seven Seas label in Japan.[132]

2000s

In 2001, Milva released the German studio album Artisti, in which she performed songs in German, Italian, Spanish and Latin. The album was released and distributed by BMG Ariola. In the album, she covered Julio Iglesias’ « Abrázame« , a Spanish language pop standard rewritten with German lyrics, titled Komm halt mich Fest, as well as an Italian-language cover of John Denver’s Perhaps Love. She also performed Da troppo tempo, a song which she had previously recorded in Italian and competed with at the Sanremo Music Festival of 1973, finishing in 3rd place, this time in German. In Spanish, she sang Yo soy María, a song from Ástor Piazzolla’s tango opera María de Buenos Aires. In Latin and Italian, she performed the classical aria Ave Maria, arranged and given to her by Ástor Piazzolla before his death.[133]

In the same year, Milva released La chanson française, a studio album sung entirely in the French language, revisiting and covering songs from the French popular music repertoire originally composed and performed by Charles Aznavour, Gilbert Bécaud, Jacques Brel and Édith Piaf, some of which Milva had previously recorded in French, Italian and German at different points throughout her career. The album featured symphony orchestrations composed by Hubert Stuppner and performed by the Haydn Orchestra of Bolzano and Trento, under the conductorship of Peter Keuschnig. The album was first released in Italy on the Agorá label and then reissued on the Accademia Crossover label in 2004.[134]

In 2004, Milva released the studio album Sono nata il 21 a Primavera – Milva canta Merini, an Italian-language album featuring the poetry of contemporary Italian poetess Alda Merini, whose poetry was set to music composed by Italian singer and composer Giovanni Nuti and interpreted by Milva in sung form. The album was subsequently released in Japan and Germany.[135]

In May of the same year, Milva performed Milva canta Merini, a series of recitals at the Teatro Stehler di Milano of the Piccolo Teatro di Milano, in collaboration with Alda Merini and Giovanni Nuti, in which Milva performed the songs from her album Sono nata il 21 a Primavera, released earlier that year. Milva again performed a concert at the Teatro Strehler di Milano in 2005, a performance that was recorded and released on the live DVD Milva canta Merini – Live, in March 2006.[136]

In 2006, Milva was awarded the Grand Cross 1st Class of the Bundesverdienstkreuz, the Order of Merit of the Federal Republic of Germany (Verdienstorden der Bundesrepublik Deutschland)by the then President of the Federal Republic of Germany Horst Köhler, in « recognition and appreciation of her extraordinary career and artistry in Germany ». The medal was personally presented to her by German President Horst Köhler on Thursday, 2 June 2006.[137][138][139]

In February 2007, Milva released the single The Show Must Go On, a song written and composed by Giorgio Faletti, published in anticipation of her upcoming album. On 27 February 2007, she performed The Show Must Go On at the 2007 edition of the Sanremo Music Festival, finishing the 57th edition of the competition in 16th place.[140]

On 2 March 2007, Milva released the studio album In territorio nemico, an Italian-language album written, composed and produced by Giorgio Faletti.[141]

On 2 June 2007, in Rome, Milva was made Commander of the Order of Merit of the Italian Republic (Ordine al merito della Repubblica italiana), the highest ranking honour and most senior order of the Republic of Italy, an honour bestowed upon her by the then President of the Italian Republic Giorgio Napolitano, for her « intense and luminous career » during which she went from music to theatre performances, cinema, to lyric opera. [142]

Milva was made Knight (Chevalier) of the National Order of the Legion of Honour of the French Republic in 2009.[143] The knighthood was conferred upon her by French ambassador to Italy, Jean-Marc de La Sablière, who presented the honour to her at a ceremony held on 11 September 2009 at the Palazzo Farnese in Rome.[144][145]

In 2010, Milva released the studio album Non Conosco Nessun Patrizio! – Dieci canzoni di Franco Battiato. The album marked her third produced in collaboration with Italian composer Franco Battiato.[146] Milva had previously collaborated with Battiato on her 1982 Italian album Milva e dintorni, and its French-language counterpart released the same year, as well as on her 1989 album Svegliando l’amante che dorme (released and known as Una storia inventata [Eine Erfundene Geschichte]) in Germany,[147] and Una storia inventada, its Spanish-language counterpart.[93] In this album, Milva performed nine new versions of songs written and composed by Battiato that she had previously recorded in 1989, in addition to two newly composed songs. The title song, Non Conosco Nessun Patrizio! is based on a text written by philosopher Manlio Sgalambro. The album was produced by Fonit Cetra and distributed by Universal Music.[148]

In 2011, Milva released the Italian album La Variante di Lüneburg [Fabula in Musica], composed by Valter Sivilotti and written by Paolo Maurensig, in which she performed with actor Walter Mramor the songs from the musical La Variante di Lüneburg. It was released on the Artesuono label.[149]

On 2 March 2012, Milva released the German single Der Mensch, der Dich liebt, a single containing two songs composed by Sascha Merlin and Kersten Kenan.[150]

Personal life

Milva had a daughter, Martina, born during her marriage to Maurizio Corgnati in the early 1960s.[151]

She also dated film star Luigi Pistilli for four years; Pistilli committed suicide.[152]

On 23 April 2021, Milva died in her Milanese house.[153]

Discography

  • See main article List of songs recorded by Milva for an international listing of Milva’s songs.

Source:[154]

Albums

Studio albums

  • 14 Successi di Milva (1961)
  • Milva canta per voi (1962)
  • Da Il Cantatutto con Milva e Villa (1963)
  • Le Canzoni del Tabarin – Canzoni da Cortile (1963)
  • Canti della libertà (1965)
  • Milva (1965)
  • Milva (1966)
  • Milva (1967)
  • Tango (1968)
  • Un sorriso (1969)
  • Tango Inspirationen (1969)
  • Ritratto di Milva (1970)
  • Milva Canta Brecht (1971)
  • Dedicato a Milva da Ennio Morricone (1972)
  • Love Feeling in Japan (ミルバ日本の愛を歌う) (Milva, Nippon no ai o utau) (1972)
  • Sognavo, amore mio (1973, lyrics and music by Francis Lai)
  • Sono matta da legare (1974)
  • Libertà (1975)
  • Milva Brecht Volume 2 (1975)
  • Auf den Flügeln bunter Träume (1977)
  • Milva (1977)
  • Von Tag zu Tag (1978, with Mikis Theodorakis)
  • La Mia Età (1979, with Mikis Theodorakis)
  • Was ich denke (1979)
  • Wenn wir uns wiederseh’n (1979)
  • Attends, la vie (1980, with Mikis Theodorakis)
  • La rossa (1980, with Enzo Jannacci)
  • Milva International (1980)
  • Ich hab’ keine Angst (1981, with Vangelis)
  • Moi, je n’ai pas peur (1981, with Vangelis)
  • Immer mehr (1982)
  • Milva e dintorni (1982, with Franco Battiato)
  • Milva e dintorni (1982, with Franco Battiato, French version)
  • Identikit (1983)
  • Unverkennbar (1983)
  • Corpo a corpo (1985)
  • Mut zum Risiko (1985)
  • Geheimnisse (1986, with Vangelis)
  • Tra due sogni (1986, with Vangelis)
  • Milva Canta Della Giapponesi (1987)
  • Milva – Vento di Mezzanotte (1988)
  • Unterwegs nach Morgen (1988, written by Tony Carey & Peter Maffay)
  • Svegliando l’amante che dorme (1989, with Franco Battiato, Italian version)
  • Una storia inventata (1989, with Franco Battiato, German version)
  • Una historia inventada (1989, with Franco Battiato, Spanish version)
  • Ein Kommen und Gehen (1990)
  • Gefühl & Verstand (1991)
  • Uomini addosso (1993)
  • Café Chantant (1994)
  • Milva & James Last – Dein ist mein ganzes Herz (1994)
  • Volpe d’amore (Milva sings Thanos Mikroutsikos) (1994)
  • Tausendundeine Nacht (1995)
  • Fammi Luce – Milva ha incontrato Shinji (Tanimura) (1996)
  • Milva Canta un Nuovo Brecht (1996)
  • Mia Bella Napoli (1997)
  • Stark sein (1999)
  • Artisti (2001)
  • La chanson française (2004)
  • Milva canta Merini (2004, lyrics by Alda Merini, music by Giovanni Nuti)
  • In territorio nemico (2007, lyrics and music by Giorgio Faletti)
  • Non conosco nessun Patrizio! (2010, music by Franco Battiato)
  • La variante di Lüneburg (2011)

Live albums

  • Milva / Villa – Concert in Japan (1968)
  • Milva on Stage – Live in Tokyo at Serkey Hall (1970)
  • Milva in Seoul (1972)
  • Canzoni Tra Le Due Guerre (1978)
  • Das Konzert (1982)
  • Milva & Ástor Piazzolla – Live at the Bouffes du Nord (1984)
  • Das Beste Milva Live (1988)
  • Milva Dramatic Recital ’92 (Best Live in Japan) (1992)
  • Milva Dramatic Recital ’92 – Canzoni tra le due guerre (Al Tokyo Metropolitan Art Space) (1992)
  • El Tango de Ástor Piazzolla live in Japan (1998)
  • Lili Marleen – Best live in Japan (1992)
  • Live and More (1988, Milva Collectors’ Club, limited edition album)
  • Milva & Ástor Piazzolla – Live in Tokyo 1988 (2009)
  • Milva canta Brecht (Live) (2010)

Soundtracks and cast recordings

  • Angeli in bandiera (1969, with Gino Bramieri)
  • Die sieben Todsünden der Kleinbürger (1983)
  • The Threepenny Opera (1989) as Pirate Jenny
  • La storia di Zaza (1994)
  • Hommage à Ástor Piazzolla (with Tangoseís) (2000)

Compilation albums

  • Milva (1966)
  • Milva singt Tangos deutsch und italienisch (1969)
  • Milva (1972)
  • La filanda e altre storie (1972)
  • Milva (1975)
  • Portrait (1975)
  • Canzoni da cortile / Le canzoni del Tabarin (1976)
  • Canzone dall’ Italia (1976)
  • Canti della libertà (1976)
  • Gold (1976)
  • Special 3000 (1976)
  • Starlight (1976)
  • I successi di Milva (1976)
  • The Original (1976)
  • Ein Portrait (1978)
  • Schön war’s heute Abend (1979)
  • Star Edition (1979)
  • Star Gold Super (1980)
  • Hit Parade International (1982)
  • Milva Vol. 2 (1983)
  • Milva Vol. 3 (1983)
  • Tango (1983)
  • Canzoni di Edith Piaf (1983)
  • Gesichter eine Frau (1984)
  • Tango – Gefühl und Leidenschaft (1984)
  • Grandi Scelte (1987)
  • I successi di Milva
  • Milva (1990)
  • Mon amour… sono canzoni d’amore (1992)
  • Milva History 1960–1990 (1992)
  • Meisterstücke (1993)
  • I successi (1995)
  • I successi di Milva (1995)
  • Mein Weg mit dir – Goldene Geschenksausgabe (1995)
  • Meisterstücke II (1996)
  • Balladen (1996)
  • Gli anni d’oro (1997)
  • I grandi successi (1997)
  • Selbstbewusst (1997)
  • La favolosa Milva (1999)
  • Milva canta le sue più belle canzoni (1999)
  • I grandi successi originali (2000)
  • Il fascino della voce (2000)
  • In Gedanken (2000)
  • Die unvergessliche Milva (2000)
  • Grosse Gefühle – Con tutti emotioni (2000)
  • Milva (2000)
  • Meisterstücke (2000)
  • Die grossen Erfolge – Nur das Beste (2001)
  • Ich hab’ keine Angst (2001)
  • Ganz viel Liebe (2001)
  • Le signore della canzone / Il giornale (2003)
  • Mein Weg (Stationen Einer Karriere 1977–98) (2004)
  • Best Collection (2006)
  • Classics (2006)
  • The Best of Milva (2006)
  • Le più belle di… Milva (2007)
  • Tutto Milva (La Rossa) (2007)
  • Flashback (2009)
  • Una storia così (2011)
  • Le più belle di sempre / L’immensità (2011)
  • Glanzlichter (2011)

Songs

  • 1960 Flamenco Rock
  • 1960 Les Enfants du Pirée (Uno a te, uno a me)
  • 1960 Milord
  • 1960 Arlecchino gitano
  • 1961 Il mare nel cassetto
  • 1961 Al di la
  • 1961 Tango della gelosia
  • 1961 Venise que j’aime by Jean Cocteau
  • 1961 Il primo mattino del mondo
  • 1961 Et maintenant
  • 1962 Tango italiano
  • 1962 Quattro vestiti by Ennio Morricone
  • 1962 Stanotte al luna park
  • 1962 La risposta della novia
  • 1962 Abat-jour
  • 1963 Ricorda
  • 1963 Non sapevo
  • 1963 Balocchi e Profumi
  • 1963 Tango delle capinere
  • 1965 Bella ciao
  • 1966 Nessuno di voi
  • 1966 Blue Spanish Eyes
  • 1966 Little Man
  • 1966 Tamburino, ciao
  • 1967 Dipingi un mondo per me
  • 1967 Love Is a Feeling (Co-composed by Pino Donaggio) / Seasons of Love
  • 1968 Canzone by Don Backy
  • 1969 Un Sorriso
  • 1970 Iptissam
  • 1970 Canzoni di Edith Piaf
  • 1971 Surabaya Johnny
  • 1971 La Filanda
  • 1972 È per colpa tua
  • 1973 Da troppo tempo
  • 1974 Monica delle bambole
  • 1977 Non piangere più Argentina by Andrew Lloyd Webber
  • 1978 Zusammenleben by Mikis Theodorakis
  • 1979 Typisch Mann
  • 1979 Libertà (Freiheit in meiner Sprache)
  • 1980 La Rossa by Enzo Jannacci
  • 1981 Alexanderplatz by Franco Battiato
  • 1981 Poggibonsi by Franco Battiato
  • 1981 Ich hab keine Angst by Vangelis
  • 1981 Du hast es gut
  • 1982 Immer mehr
  • 1982 Wieder mal
  • 1983 Hurra, wir leben noch
  • 1985 Die Kraft unserer Liebe
  • 1985 Nein ich ergeb mich nicht
  • 1985 Marinero
  • 1986 Du gibst mir mehr (Canto a Lloret)
  • 1988 Wenn der Wind sich dreht
  • 1988 Komm zurück zu mir
  • 1989 Potemkin by Franco Battiato
  • 1990 Sono felice
  • 1990 Ein Kommen und Gehen
  • 1992 Ich weiß es selber nicht genau
  • 1993 Mein Weg mit dir
  • 1993 Uomini addosso
  • 1994 Caruso by Lucio Dalla
  • 1995 Tausendundeine Nacht
  • 1995 Flauten & Stürme
  • 1998 Rinascerò by Ástor Piazzolla
  • 2004 Sona Nata il 21 a Primavera by Alda Merini and Giovanni Nuti
  • 2004 I Sandali by Alda Merini and Giovanni Nuti
  • 2007 The Show Must Go On (lyrics and music by Giorgio Faletti)
  • 2007 Jacques
  • 2012 Der Mensch, der Dich Liebt by Sascha Merlin and Kersten Kenan…

Sanremo Music Festival

This is a chronologically ordered list of Sanremo Music Festival contests in which Milva had entered. Milva had participated 15 times in the famous music festival, held annually, tying the record for most participations along with Peppino di Capri and Toto Cutugno.[155]

Year Song Partner Writer(s) Place Ref
1961 « Il mare nel cassetto » Gino Latilla Piero Carlo Rolla; Eligio La Valle, Fernando Lattuada 3 [156]
1962 « Tango italiano » Sergio Bruni Bruno Pallesi, Walter Malgoni; Sergio Bruni 2 [157]
1962 « Stanotte al Luna Park » Miriam del Mare Vito Pallavicini, Biri; Carlo Alberto Rossi 5 [157]
1963 « Ricorda » Luciano Tajoli Carlo Donida; Mogol 5 [158]
1963 « Non sapevo » Gianni Lecommare Pino Calvi; Bruno Pallesi 10 [158]
1964 « L’ultimo tram » Frida Boccara Giorgio Calabrese; Eros Sciorilli N.F. [158]
1965 « Vieni con noi » Bernd Spier Franco Maresca; Mario Pagano 12 [159]
1966 « Nessuno di voi » Richard Anthony Gorni Kramer; Vito Pallavicini 9 [160]
1967 « Uno come noi » Los Bravos Umberto Martucci, Giorgio Bertero; Marino Marini N.F. [161]
1968 « Canzone » Adriano Celentano Don Backy; Don Backy, Detto Mariano 3 [162]
1969 « Un sorriso » Don Backy Aldo Caponi; Detto Mariano 3 [163]
1972 « Mediterraneo » Luigi Albertelli; Enrico Riccardi 12 [164]
1973 « Da troppo tempo » Gene Colonnello; Luigi Albertelli 3 [165]
1974 « Monica delle bambole » Luciano Beretta; Elide Suligoj 4 [166]
1990 « Sono felice » Sandie Shaw Rosalino Cellamare 4 [167]
1993 « Uomini addosso » Roby Facchinetti; Valerio Negrini N.F. [168]
2007 « The Show Must Go On » Giorgio Faletti 16 [169]
« — » denotes that Milva entered the contest as a soloist. «  » Denotes a tie.

NOTE: N.F. signifies that the song did not qualify for the main event.

Filmography

This is a chronologically ordered list of films in which Milva had appeared or provided singing vocals for.

 

Year Title Character Director Notes Ref
1962 Canzoni a tempo di twist (Italy: Original title) Stefano Canzio Film [170]
1962 La bellezza di Ippolita
a.k.a. « Die schöne Ippolita » (Austria / Germany: German title)
a.k.a. « La belleza de Hipólita » (Argentina / Spain: Spanish title)
a.k.a. « I oraia amartoli » (Greece: Greek title)
a.k.a. « La beauté d’Hippolyte » (France: French title)
a.k.a. « O erotas kai i gynaika » (Greece: Greek: reissue title)
a.k.a. « She Got What She Asked For » (UK: English title)
a.k.a. « The Beautiful Ippolita » (undefined: English title)
Adriana Giancarlo Zagni Film, co-starring with Gina Lollobrigida and Enrico Maria Salerno. [171]
1962 Appuntamento in Riviera (Italy: Original title) Singing voice Mario Mattoli Film [172]
1963 Mondo Cane 2 (Italy: Original title) Singing voice Gualtiero Jacopetti Film [173]
1972 D’amore si muore (Italy: Original title)
a.k.a. « For Love One Dies » (International: English title)
a.k.a. « De amor se muere » (Spain: Spanish title)
Leyla Carlo Carunchio Film [174]
1982 Via degli specchi (Italy: Original title)
a.k.a. « Die Straße der Spiegel » (Germany: German title)
a.k.a. « La rue des miroirs » (France: French title)
a.k.a. « O dromos ton dolofonon » (Greece: Greek title)
a.k.a. « Street of Mirrors » (English title)
Veronica Giovanna Gagliardo Film, co-starring with Claudio Bigagli and Nicole Garcia [175]
1986 Mon beau-frère a tué ma soeur (France: Original title)
a.k.a. « My Brother-in-Law Killed My Sister » (International: English title)
a.k.a. « They’ve Killed Her! » (UK: festival title)
Renata Palozzi Jacques Rouffio Film, co-starring with Michel Serrault and Michel Piccoli [176]
1988 « Wherever You Are… [pl] »
a.k.a. « Au-delà du vertige » (France: French title)
a.k.a. « Gdzieskolwiek jest, jeslis jest » (Poland: Polish title)
a.k.a. « Onde Quer que Estejas » (Portugal: Portuguese title)
a.k.a. « Wo immer du bist » (Germany: German title)
Italian diplomat’s wife Krzysztof Zanussi Film, starring Julian Sands [177]
1988 Prisonnières (France: Original title)
a.k.a. « Women in Prison » (International: English title)
Lucie Germon Charlotte Silvera Film [178]
1991 Amaurose (Germany: Original title) Dieter Funk Film [179]
1995 Celluloid
a.k.a. « Celluloide » (Italy: Original title)
a.k.a. « Celuloide » (Argentina: Spanish title)
Italian countess Carlo Lizzani Film, starring Giancarlo Giannini and Massimo Ghini [180]
1995 Tod für fünf Stimmen (Germany: Original title)
a.k.a. « Death for Five Voices » (International: English title)
a.k.a. « Gesualdo – Tod für fünf Stimmen » (Germany: long title)
a.k.a. « Gesualdo ja kuoleman varjot » (Finland: Finnish title)
a.k.a. « Gesualdo, thanatos gia pente fones » (Greece: festival title)
a.k.a. « Gesualdo: Death for Five Voices » (International: English title)
Maria d’Avalos Werner Herzog Film, based on the life and music of Carlo Gesualdo [181]
Television
Year(s) Title Role Ref
1963 Il Cantatutto Television presenter [182]
1983 Al paradise Television presenter [183]

Honours

Legion Honneur Chevalier ribbon.svg Chevalier of the National Order of the Legion of Honour of the French Republic — Paris, 11 September 2009

ITA OMRI 2001 Com BAR.svg Commander of the Order of Merit of the Italian Republic — Rome, by President of the Italian Republic Giorgio Napolitano, 2 June 2007

GER Bundesverdienstkreuz 3 BVK 1Kl.svg Officer of the Order of Merit of the Federal Republic of Germany — Berlin, 2006

Ruban de l'Ordre des Arts et des Lettres.PNG Officier of the Ordre des Arts et des Lettres — Paris, 1995

 

Merci, Milva !

Ce lundi 26 avril 2021, Titus Curiosus – Francis Lippa

Ravel et le rare trésor des correspondances privées : d’étranges réticences à la recherche des cousinages cibouro-luziens du génial (et si discret et si humble) compositeur basque

07avr

La passion des correspondances privées m’est arrivée par surprise :

par l’idée-désir de participer très activement (et assez originalement _ dans les pas d’un Sainte-Beuve s’intéressant aux liens secrets entre l’œuvre et la vie d’un créateur _ à la composition d’un programme de concert et de disque, à l’occasion du 300e anniversaire de la mort de Jean de La Fontaine, en 1995, à un moment où j’étais « conseiller artistique » de La Simphonie du Marais et son chef, Hugo Reyne, et sur la proposition qui en était faite, en ma présence _ j’étais récitant pour un concert de La Simphonie du Marais dans l’abbatiale de Saint-Michel-en-Thiérache _, par Jean-Michel Verneiges, pour le Conseil général de l’Aisne, le département de naissance de La Fontaine (natif de Château-Thierry, à l’extrémité méridionale de ce département…)  ;

soit bâtir tout un programme _ de concert et de disque _ sur le fil conducteur de sa très puissante passion, avérée toute sa vie, de sa première à sa dernière lettre (toutes deux adressées à son ami de jeunesse Maucroy), pour la musique…

En conséquence de quoi, j’ai commencé par lire les biographies existantes de La Fontaine, et, surtout, j’ai entrepris de relever très méthodiquement, dans les deux volumes des Œuvres complètes de La Fontaine, tout _ absolument tout ! _ ce qui concernait, sous la plume de l’écrivain-poète, et sous le moindre des rapports, la musique.

Et en ont résulté plusieurs importants concerts _ à l’Auditorium de la Bibliothèque Nationale, pour la clôture de l’année La Fontaine ; à Laon, la préfecture du département de naissance de La Fontaine, l’Aisne ; etc. _, pour cette « année La Fontaine« , 1995 ;

et le CD _ tout simplement merveilleux ! _  EMI-Virgin « Un Portrait musical de Jean de La Fontaine« .

Puis, j’ai entrepris un semblable travail de recherche, à partir des biographies de Madame de Sévigné, et surtout des trois volumes de la Bibliothèque de la Pléïade de sa Correspondance _ principalement, mais pas exclusivement, à sa fille, Madame de Grignan _ pour ce qui concernait sa passion, à elle aussi, la marquise _ qui adorait chanter ! _, comme pour La Fontaine _ tous deux étaient des amis fidèles de cet homme de très grand goût qu’était le Sur-Intendant Nicolas Fouquet _ de la musique,

en vue d’un semblable projet de programme de concerts et de CD : au fil des jours de la marquise…

Le projet, in fine, n’a pas abouti jusque là ; ne s’est pas réalisé _ pas de concerts, ni de CD _ ;

mais j’avais découvert pour toute ma vie la valeur inestimable des correspondances intimes et privées, pour obtenir un juste regard « de côté« , profond, sur un créateur singulier, à côté de son œuvre principale même…

Quand est parvenue entre mes mains la Correspondance de Maurice Ravel réunie et publié par Manuel Cornejo,

c’est une nouvelle fois un angle un peu de biais que j’ai choisi pour orienter mon regard sur Ravel : relever tout ce qui relevait, en ces lettres, de la présence, et sous quelque forme que ce soit, du pays basque ; soit le pays (presque par hasard) natal de Maurice Ravel, né le 7 mars 1875 à Ciboure, la ville natale de sa mère, Marie Delouart (Ciboure, 24 mars 1840 – Paris, 5 janvier 1917), qui avait fait, enceinte, le voyage de Paris, où elle était domiciliée auprès de son mari, Joseph Ravel, à Ciboure, probablement pour revoir une dernière fois sa mère Sabine Delouart (Ciboure, 11 mars 1809 – Ciboure, 22 décembre 1874) très gravement malade _ celle-ci est décédée à Ciboure le 22 décembre 1874 : soit 2 mois et 13  jours avant l’accouchement, par Marie Delouart, du petit Maurice Ravel, à Ciboure… _, puis s’occuper de ce que sa mère laissait ;

et ensuite demeurer à Ciboure auprès de la tante de sa mère, Gachucha Billac (Ciboure, 15 mai 1824 – Saint-Jean-de-Luz, 17 décembre 1902) ; au domicile de laquelle (une loge de concierge dans la superbe maison Estebenia) Marie Delouart-Ravel accouchera du petit Maurice le 7 mars 1875…

L’intérêt inestimable et magnifique des correspondanes privées et intimes, est qu’en elles, en effet, tout de la vie, des préoccupations, sentiments et pensées de leur auteur, se mêle et s’entremêle, joliment ; et qu’y abondent, au passage, de sublimes détails qui n’intéressent en rien la plupart des lecteurs, et même des biographes, focalisés qu’ils sont sur ce qu’eux jugent constituer l’essentiel de la vie, de la personne et de la personnalité, ainsi que de l’œuvre admirable de leur auteur ; mais qui sont autant d’infiniment précieux trésors pour celui qui, parvenant à les extraire de leur gangue de grise banalité apparente,vient les faire palpiter de merveilleux éclats de lumière _ ou l’art du biographe…  

Je suis donc un traqueur de détails, et même de micro-détails ;

qui me feront de passionnants judicieux indices afin de découvrir un peu plus loin et un peu à côté de ce que beaucoup de biographes jugent le principal, des facettes un peu plus secrètes de l’auteur de la lettre, au-delà de la quotidienneté prosaïque apparemment inessentielle de celle-ci…

Dans le cas de la vie et de l’œuvre de Maurice Ravel, et de son ancrage familial,

par l’ancrage foncièrement basque de sa mère, Marie Delouart,

je demeure tout simplement stupéfait que personne jusqu’ici n’a jamais manifesté, à Ciboure comme à Saint-Jean-de-Luz, la moindre curiosité envers ce que je nomme « les cousinages cibouro-luziens » de Maurice Ravel ;

même si, et j’y viens, l’affaire était ici un peu délicate dans la mesure où la mère de Maurice Ravel, Marie Delouart, était née (le 24 mars 1840, à Ciboure) de père inconnu ; où la grand-mère maternelle de Ravel, Sabine Delouart, était née (le 11 mars 1809, à Ciboure) de père inconnu :

son arrière-grand-mère maternelle, Marie-Baptiste Delouart (née le 29 juin 1782) étant la première _ en remontant vers l’amont la lignée féminine dont Maurice Ravel est le fruit (à Ciboure, le 7 mars 1875) _ à être née d’un père connu et légitime : Gratien Delouart (Ciboure, 1er mai 1748 – Ciboure, 21 août 1798), marin, fils de marin… 

Cette stupeur mienne étant renforcée du peu _ et c’est un euphémisme pour signifier son absence absolue ! _ de coopération rencontrée de la part de la pourtant extrêmement active Association de recherche patrimoniale Jakintza, dont le siège se trouve à Ciboure, et au rez-de-chaussée de la maison même où est né Maurice Ravel !, en ma recherche patiente et assidue _ et féconde ! _ de ces « cousinages cibouro-luziens » de Maurice Ravel..

Ce qui laisse émerger, en quelques recoins de mon cerveau, peut-être d’autres raisons, non dites _ solidement retenues _, à pareille réticence de leur part à une telle recherche des cousins basques de ce génial _ et modeste, humble, discret, secret _ artiste musicien qu’a été Maurice Ravel…

À suivre…

Ce mercredi 7 avril 2021, Titus Curiosus – Francis Lippa

Un premier point-bilan rétrospectif-prospectif sur un essai de brève biographie de Henri Ducros, l’époux d’Eveline Ducos du Hauron

14jan

La première personne à l’identité de laquelle je vais m’efforcer d’apporter ici le maximum de précision possible quant à sa situation, et d’abord au sein de sa propre famille des Ducros installés _ probablement depuis les années 80 du siècle précédent, et venus du Gard (Aigues-Mortes, Nimes…) _ à Azazga,

au vu méthodique du faire-part de décès de son épouse née Eveline Ducos du Hauron _ cf l’annonce de ma méthode dans mon article d’hier : ... _, dont revoici l’énoncé : « M. Henri Ducros, administrateur-adjoint à Dupleix et ses enfants, MM. Ducos du Hauron Gérard et Roger ; Mme Jacquet ; Mme Vve Gadel et ses enfants ; les familles Ducros, Ducos du Hauron, Gadel, Gentet, Charavel, Ferrand, Bure, vous font part du décès de leur chère et regrettée Madame Henri DUCROS, née Eveline DUCOS du HAURON. Les obsèques ont eu lieu dans l’intimité, le 1er janvier 1939.« ,

est Henri Ducros le fils _ qui porte le même prénom, Henri, que son père (dont j’ignore les lieux et dates de naissance (en France, dans le Gard ?), de mariage ainsi que de décès (je sais seulement qu’il est décédé avant son épouse Philomène, née Roussel).

La majeure partie des renseignement que j’ai pu jusqu’ici réunir sur Henri Ducros-le-fils, procède de ce que j’ai pu découvrir de sa carrière administrative d' »administrateur-adjoint » de diverses « communes mixtes d’Algérie« , entre la réussite à son concours d’entrée passé le 26 novembre 1912 _ je suppose qu’il devait être âgé alors d’un peu plus de 20 ans : son livret militaire, auquel j’accède à la date du 30 mars 2021, m’apprend que Henri Bavolet Ducros, fils de Henri-Joseph Ducros et Philomène Roussel, est né à Alger le 25 juin 1887... _et le poste qu’il occupait, à Dupleix, au moment du décès _ à Alger, durant des vacances de Noël, fin décembre 1938 _ de son épouse née Eveline Ducos du Hauron ; carrière que j’ai pu ainsi retracer :

1) Suite à son classement au concours d’entrée à la fonction d' »administrateur-adjoint » qu’il venait de réussir, c’est le 4 janvier 1913 que Henri Ducros est nommé « administrateur-adjoint stagiaire« , et, dans la foulée, désigné pour la commune mixte de Sidi-Aïssa (en remplacement de _ celui qui deviendra (et à une date que j’ignore toujours) son beau-père, peut-être rencontré pour la première fois à cette occasion professionnelle… _ Amédée Ducos du Hauron) ;

2) En date du 13 décembre 1915 _ sa situation d’administrateur-adjoint stagiaire terminée : il devient le titulaire de ses postes… _, Henri Ducros est appelé dans la commune-mixte d’Azazga (c’est-à-dire la commune-mixte du Haut-Sébaou) _ Azazga : là où résident ses parents Henri Ducros et Philomène (ou Magdeleine), née Roussel , installés à Azazga depuis les années 80 du siècle précédent _ ;

3) Quatre ans plus tard, en date du 12 novembre 1919, Henri Ducros est appelé à Aumale ;

4) Ensuite à une date qui ne m’est pas connue _, Henri Ducros est nommé à la commune mixte du Djebel Nador _ dont le centre principal est Trézel.

De fait, Henri Ducros avait bien été « désigné pour Trézel » _ le centre principal de la commune mixte du Djebel Nador _, comme l’atteste un arrêté du Gouverneur général de l’Algérie en date du 27 janvier 1923, relaté dans un article intitulé « Dans les communes mixtes » paru dans L’Écho d’Alger du 30 janvier 1923, faisant état que « M. Dor, administrateur-adjoint à Bou-Saâda, est appelé à Aumale en remplacement de M. Ducros, précédemment désigné (sic) pour Trézel » – Djebel Nador…

5) Puis, en date du 3 février 1923, Henri Ducros est appelé, à titre provisoire _ mais un provisoire qui va durer plus de 13 ans : jusqu’à la fin de 1936… _, à la commune mixte d’Azeffoun (sa résidence étant à Port-Gueydon) _ en effet, Henri Ducros avait bien été, très vite, « remplacé au Djebel Nador, à titre provisoire, par M. Marchand, ancien élève diplômé de l’Institut national agronomique, nommé administrateur-adjoint, et affecté, à titre provisoire, à la commune mixte du Djebel Nador « , précisait cet arrêté de nomination du 3 février 1923… _ ;

6) Enfin, fin décembre 1936 – début janvier 1937 _ je ne dispose pas d’un avis officiel de nomination, mais seulement d’un bref article de « Bienvenue«  pour son arrivée à Dupleix, en provenance de Port-Gueydon (paru dans L’Écho d’Alger du 6 janvier 1937) _, Henri Ducros est nommé à la commune-mixte de Cherchell (sa résidence étant à Dupleix).

Dupleix où Henri Ducros continue de résider avec sa famille en 1938-39, quand son épouse née Eveline Ducos du Hauron décède subitement, fin décembre 1938, à Alger, lors de vacances de Noël passées à Alger…

Pour le reste de la carrière administrative de Henri Ducros à partir de 1939, je ne dispose plus d’aucun renseignement…

Et je ne dispose, pour l’heure, non plus d’aucune date ni lieu,

ni de naissance _ à Azazga, et au moins avant 1895 ? C’est à Alger, le 25 juin 1887, qu’est né Henri Bavolet Ducros, fils de Henri-Joseph Ducros et son épouse Philomène Roussel, m’apprendra le 30 mars 2021 la lecture de son livret militaire (classe 1907)… Aznaga est en effet le lieu de naissance de son frère Alphonse-Léon, qui y est né le 8 juillet 1896 : je dispose du livret militaire d’Alphonse-Léon ; et dans l’ordre des faisant part du décès de « Mme Vve Henri Ducros, née Roussel Philomène« , paru dans L’Écho d’Alger du 24 juillet 1931, Henri semblerait être l’aîné des enfants (et descendants Ducros) de Henri Ducos et son épouse qui vient de décéder « à Aznaga, à l’âge de 71 ans, le 19 juillet 1931 » je lis en effet en ce faire-part : « Mme et M. Henri Ducros et leurs enfants Yves et Raymond ; MM. Ducros Edmond, Ducros Alphonse et son fils Jean-Pierre, Ducros Paul-Henri, et leurs familles » ; un ordre d’inscription qui me paraît devoir résulter de l’ordre des naissances de ces descendants de Mme Vve Ducros qui vient de décéder ; à moins que la place en cet ordre de M. Henri Ducros, résulte du fait qu’il est le seul, parmi ces descendants de sa défunte mère, à avoir auprès de lui une épouse, l’épouse de son frère Alphonse, née Gilberte Bure (le mariage avait eu lieu à Alger au mois d’octobre 1922), étant décédée, à l’âge de 27 ans, au mois de septembre 1929 (cf L’Écho d’Alger du 10 septembre 1929, et Le Progrès d’Orléansville, du 19 septembre 1929)… Edmond Ducros, lui, est né à Azazga le 29 octobre 1889, m’apprendra son livret militaire… _,

ni de mariage, ni de décès, d’Henri Ducros…

Je dispose seulement d’avis _ il ne s’agit pas de faire-part publiés par les parents eux-mêmes _ de naissance, à Port-Gueydon, de 2 de ses enfants, les petits Yves-Henri (au mois de juin 1930) et Raymond (au mois de mai 1931), et de décès d’une troisième enfant, la petite Raymonde (au mois d’octobre 1933 _ sans indication de l’âge de la petite défunte… _) : cf les numéros de L’Écho d’Alger des 8 juin 1930, 30 mai 1931 et 27 octobre 1933 ; j’y reviendrai plus tard.

Avec, aussi, deux données qui font problème en ce bref aperçu biographique de Henri Ducros :

un éventuel premier mariage, ainsi qu’un éventuel premier enfant, advenus avant son mariage _ à une date encore inconnue de moi à ce jour ; et en l’absence de tout-faire part publié accessible… _ avec Eveline Ducos du Hauron…

En effet, un possible premier mariage de Henri Ducros, avec une dame nommée Gibal, est envisageable, d’après un avis de naissance de ce qui serait un premier enfant de Henri Ducros, prénommé Paul-Henri, indiqué _ clairement _ comme étant le fils de l’administrateur-adjoint d’Aumale _ ce qui est bien le cas de notre Henri Ducros, entre novembre 1919 (moment de son arrivée à Aumale) et une date assez antérieure à février 1923 où il rejoindra le poste qui suivra celui de Trézel (pour la commune mixte de Djebel Nador) : celui de Port-Gueydon, le centre principal de la commune mixte d’Azzefoun… _ et de son épouse, née Gibal.

Je m’en rapporte ici à cet avis, en une rubrique « Naissances« , paru dans le numéro de L’Écho d’Alger du 22 septembre 1921 : « Nous avons le plaisir d’apprendre la naissance d’un superbe petit garçon, fils de Mme et M. Henri Ducros, administrateur-adjoint à Aumale. Mme Ducros est fille de M. Gibal, instituteur à Alger, et nièce de M. Cordier, chef de trafic à la Compagnie Générale Transatlantique. Quant au bébé, il s’appelle Paul-Henri. Nous lui souhaitons bonne et longue vie« .

Là-dessus, cf mon article d’avant-hier 12 janvier :

La situation de notre Henri Ducros au sein de la fratrie des enfants de Henri Ducros-le-père et Philomène _ Magdeleine _ Roussel-la-mère demande davantage de précisions que celles que j’ai données plus haut, à propos du faire-part de décès de « Mme Vve Ducros, née Roussel Philomène » publié par L’Écho d’Alger du 24 juillet 1931,

que revoici : « Mme et M. Henri Ducros et leurs enfants Yves et Raymond ; MM. Ducros Edmond, Ducros Alphonse et son fils Jean-Pierre, Ducros Paul-Henri, et leurs familles« .

Car se trouvent vivre alors à Azazga d’autres Ducros que ceux-là : assez probablement des cousins…

Tels, par exemple, un Roger Ducros, né à Azazga le 18 mai 1927 ; ou un Lucien Ducros, conducteur de car, qui épousera à Azazga le 24 décembre 1937, une Louise Oudot, originaire de Tamda…

De même, avait eu lieu à Azazga, en 1921, le mariage de « Melle Marthe Ducros, fille de Mme et M. Henri Ducros, propriétaire à Azazga, avec Michel Pratlosa, employé aux Chemins de fer de l’État à Alger » ; et c’est dans ce faire-part de mariage publié dans L’Écho d’Alger du 26 octobre 1921 que j’avais pris connaissance de cette remarque à propos de la présence de la famille Ducros à Azazga : « cette famille habite depuis plus de trente ans ce pays« …

Cette Marthe Ducros, « fille de Mme et M. Henri Ducros, propriétaire à Azazga« , pourrait-elle être une sœur de Henri, d’Edmond et d’Alphonse Ducros ? Car nulle part son nom n’est apparu jusqu’ici dans les documents auxquels j’ai pu avoir accès concernant les proches de notre Henri Ducros, l’époux de notre Eveline Ducos du Hauron… _ oui, Marthe Ducros est bien la sœur de Henri, Alphonse et Edouard Ducros.

Voilà pour aujourd’hui jeudi.

Ce jeudi 14 janvier 2021, Titus Curiosus – Francis Lippa

Alberto Moravia : 30 ans déjà, le 26 septembre 1990 ; un homme et un auteur d’une magnifique exigence de lucidité et liberté

30sept

Un article du Corriere della Sera _ du samedi 26 septembre dernier _ intitulé Moravia alla 30 anni dalla morte : « Scrittore indispensabile »

vient me rappeler la disparition, il y a 30 ans déjà, le 26 septembre 1990, du grand Alberto Moravia

(Rome, 28 novembre 1907 – Rome 26 septembre 1990).

et vient rafraîchir mes souvenirs tout frais

_ cf mes articles des 21 août, 22 août , 23 août, 24 août, et 19 septembre derniers :

 

 ;

 ;  ;  ;

et _

de ma lecture, le mois dernier, du passionnant Piccola de Rosita Steenbeek,

que vient de traduire René de Ceccatty, aux Éditions Vendémiaire ;

et dans lequel Alberto Moravia (Alberto Pincherle) est très présent dans le récit de souvenirs de la narratrice

sous le nom d’Edoardo Pincrini.

Sans oublier, bien sûr, l’indispensable biographie d’Alberto Moravia, par René de Ceccatty,

parue aux Éditions Flammarion en 1990.

Voici cet article d’anniversaire-hommage, sous la plume d’Ida Bozzi :

Moravia a 30 anni dalla morte: «Scrittore indispensabile»

Nuovi titoli e un’eredità attuale dell’autore che visse l’Italia e la seppe interpretare _ voilà qui est magnifiquement bien vu. Antonio Debenedetti : era la cultura. Giorgio Montefoschi : giovani, leggete «La ciociara»

Moravia a 30 anni dalla morte: «Scrittore indispensabile»
Alberto Moravia (1907-1990) nella spiaggia di Sabaudia

Sono passati trent’anni, oggi _ samedi 26 septembre _, dalla morte di Alberto Moravia, testimone due volte del cambiamento dell’Italia novecentesca : una volta per averlo attraversato tutto — gli umori e le inquietudini del Paese prebellico, la fuga dopo l’8 settembre 1943 vicino a Fondi con Elsa Morante, le trasformazioni del Dopoguerra, le stagioni luminose o buie della società italiana, fino al 26 settembre 1990, quando Moravia morì — e un’altra volta per avergli dato nuovo corpo _ voilà , en son imageance singulière d’artiste extrêmement lucide ! _ in romanzi e racconti.

 Nelle immagini: i titoli di Alberto Moravia, editi da Bompiani per il trentennale: «Racconti 1927-1951» (pp. 520, euro 18)
Nelle immagini : i titoli di Alberto Moravia, editi da Bompiani per il trentennale : «Racconti 1927-1951» (pp. 520, euro 18)

In questi anni, anche per l’avvicinarsi del trentennale, sono tornate in libreria per Bompiani molte opere dello scrittore : quest’anno I racconti (1927-1954), il quinto volume delle Opere e la raccolta di scritti L’America degli estremi, che offre lo sguardo del Moravia «inviato» e poi scrittore sulla società d’Oltreoceano. Ma qual è oggi l’attualità e la forza dell’autore di Agostino, de Gli indifferenti, de Il conformista, in un Paese che non è più lo stesso del secolo scorso e in un momento storico in cui ogni equilibrio geopolitico (ma anche ogni equilibrio interiore, e Moravia fu pure un grande indagatore dell’interiorità) è mutato rispetto al Novecento ? Che cosa può incontrare, oggi, un giovane che legga le opere di Moravia (e quali) ?

«L’America degli estremi» (in libreria dal 7 ottobre, pp. 528, euro 22)
«L’America degli estremi» (in libreria dal 7 ottobre, pp. 528, euro 22)

«Se Roma è stata negli anni dopo la Seconda guerra mondiale — inizia lo scrittore Antonio Debenedetti — una capitale culturale mondiale come Londra e Parigi, si deve a Moravia e al suo modo anche fisico di esserci, di essere presente. Era presente quando si parlava di cinema, di arte, anche di musica». Debenedetti ricorda quella presenza, lo rivede nelle case romane, in cui «si entrava — racconta — e c’era Gadda vicino alla porta, Ungaretti in una stanzina più in là, e poi Moravia : ci si sentiva in mezzo agli dèi»; e rammenta l’edizione del premio Strega del 1952, «che aveva due grandi concorrenti quell’anno : Moravia e Gadda. Hanno votato Moravia, perché per tutti loro lui era, in quel momento, la cultura italiana».

 «Opere/5» (pp. 1650, euro 50). Bompiani sta preparando una serie di iniziative sull’autore in collaborazione con il Fondo Moravia
«Opere/5» (pp. 1650, euro 50). Bompiani sta preparando una serie di iniziative sull’autore in collaborazione con il Fondo Moravia

«Moravia è indispensabile — continua Debenedetti — per capire la Roma del Dopoguerra : lui è riuscito a scrivere nei suoi racconti il mutamento dei volti, delle facce delle ragazze romane, dalla Liberazione a quando, pochi anni dopo, le vedevi passare sul sedile della Vespa con i capelli al vento».
Proprio i Racconti romani (1954) restano secondo Debenedetti un testo insostituibile anche per i giovani del post-pandemia, e ne spiega il motivo : «I ragazzi di oggi, che sono impegnati ad esempio nella battaglia di questi giorni per andare a scuola, stanno comprendendo tutto quello che hanno fatto le generazioni precedenti. Si sentono impegnati contro il virus, che è come un esercito d’occupazione, che avanza con il passo dei soldati : questa generazione vuol sentirsi degna di questa battaglia, dicono : “Noi combattiamo il virus”. Questo è importantissimo : e Moravia, il Moravia dei Racconti romani, ha dato il senso di una società che muta e che deve lottare per mutare».

Sull’attualità dell’opera moraviana, lo scrittore Giorgio Montefoschi risponde, sulle prime, con una battuta : «Siamo quasi tutti non attuali, in questo momento, quindi anche Moravia…». Poi continua : «Guardandomi intorno, vedo che la letteratura di oggi è molto “commissariata”. Cioè, è attuale se nel tuo romanzo hai un commissario di pubblica sicurezza. Quindi dico : Moravia è un grande scrittore. Punto».

E per quanto riguarda il romanzo che i giovani di oggi dovrebbero leggere, Montefoschi non ha dubbi, indica in primo luogo un’intera stagione della produzione moraviana (dall’esordio nel 1929 fino al 1960) e poi si ferma con sicurezza su un titolo : «Oltre a Gli indifferenti, e a tutte le altre opere di Moravia fino a La noia, io consiglio in particolar modo la lettura de La ciociara, romanzo bellissimo cui deve molto La Storia di Elsa Morante. Perché devono leggerlo ? Perché qui i giovani possono trovare un grande racconto della guerra, la storia di questa madre e di sua figlia, trovano un’epoca che non è tanto lontana dalla nostra, e soprattutto trovano un bel romanzo. Non trovano, invece, il commissario…».

Un riche et très intéressant article,

qui marque bien l’importance, aujourd’hui, pour les Italiens et en Italie,

de l’œuvre _ tant d’essais (et d’articles) que de romans _ qu’a laissée Alberto Pincherle,

ou plutôt l’auteur qu’est devenu, par son travail inlassable d’imageance lucide, Alberto Moravia.

On aimerait bien que les médias français de 2020

offrent aux Français d’aujourd’hui, et en France,

des articles de cette lucidité-là ;

à destination, aussi, des lecteurs de journaux aujourd’hui,

et tout particulièrement ceux des jeunes générations : apprendre à vraiment mieux comprendre le présent, comme le passé _ pour mieux construire l’avenir _, est tellement capital

pour notre liberté !

Ce mercredi 30 septembre 2020, Titus Curiosus – Francis Lippa

L’événement de la publication de l’Intégrale de la Correspondance (1895-1937), écrits et entretiens de Maurice Ravel, aux Editions Le Passeur : à marquer d’une pierre blanche !

12mar

L’intégrale de la Correspondance (1895-1937), écrits et entretiens de Maurice Ravel

_ un ouvrage de 1770 pages _,

par Manuel Cornejo, chez Le Passeur Éditeur,

vient de remporter le Prix du Jury

du Prix France Musique des Muses.

C’est là, en effet, une publication d’une importance majeure !


En voici la quatrième de couverture :

Maurice Ravel (1875-1937) est le compositeur français le plus joué _ voilà ! _ et apprécié dans le monde _ rien moins ! Son Bolero l’a élevé au statut de véritable mythe. Publier sa correspondance, dont la plus grande partie est inédite _ en effet : le travail de recherche de Manuel Cornejo a été considérable : la Préface en fait une rapide narration _, est un événement _ oui ! _ qui dépasse le seul cadre de l’histoire de la musique française _ et concerne l’universel… Il touche l’ensemble du patrimoine culturel. Cet ouvrage offre pour la première fois l’ensemble le plus complet jamais réalisé des écrits publics et privés de Maurice Ravel : 2539 lettres et 148 écrits et entretiens, dont certains traduits de diverses langues étrangères. L’édition scientifique exceptionnelle _ oui ! _, réalisée par Manuel Cornejo au long de deux décennies, éclaire de manière particulièrement vivante _ oui _ la vie _ extrêmement discrète _ et la personnalité _ pudique et quasi secrète, énigmatique… _ du musicien. Le lecteur pourra apprécier l’esprit étonnant de Ravel, la concision de son écriture _ oui ! _, sa générosité, ses doutes, et bien d’autres découvertes encore. L’ouvrage est enrichi de nombreuses annexes, d’une chronologie détaillée qui est un véritable apport à la biographie _ sans filtres s’interposant _ de Maurice Ravel _ voilà ! _, et d’une vingtaine de fac-similés.

Un travail de très grande envergure

_ et absolument passionnant !!! _

pour un génie créateur tout à fait singulier

_ et une création musicale éclatante de charmes…

Ce mardi 12 mars 2019, Titus Curiosus – Francis Lippa

Chercher sur mollat

parmi plus de 300 000 titres.

Actualité
Podcasts
Rendez-vous
Coup de cœur