© Zani-Casadio
Giovanni Sollima
Cello Ensemble
special guest Enrico Melozzi
Leila Shirvani , Riccardo Giovine, Andrea Cavuoto, Carlo Maria Paulesu, Jacopo Francini, Andrea Rigano, Giovanni Inglese, Chiara Burattini , Irene Marzadori, Giovanni Crispino, Francesca Bongiorni, Theophane Ramet, Sofia Volpiana, Caterina Rossi violoncello
The best Rock riffes (arr. Enrico Melozzi)
Pearl Geminiani, Allegro (arr. Giovanni Sollima)
Johann Sebastian Bach (1685-1750)
Preludio dalla Suite n. 1 per violoncello
Vincenzo Bellini (1801-1835)
Sinfonia da “Adelson e Salvini” (arr. Giovanni Sollima)
Domenico Modugno (1928-1994) – Pier Paolo Pasolini (1922-1975)
Cosa sono le nuvole (arr. Enrico Melozzi)
Henry Purcell (1659-1695)
Curtain Tune on a Ground
The Cold Song
Strike the viol
(arr. Giovanni Sollima)
Padre Komitas (1869-1935)
Krunk (arr. Giovanni Sollima)
Giovanni Sollima (1962)
Terra aria
Sirtaki
Queen
Bohemian Rapsodhy (arr. Giovanni Sollima)
Roger Waters (1943)
Another brick in the wall (arr. Enrico Melozzi)
Leonard Cohen (1934-2016)
Halleluyah (arr. Giovanni Sollima)
Nirvana
Smells Like Teen Spirits (arr. Giovanni Sollima)
Giovanni Sollima’s cellos are back four years after the first exciting tidal wave of strings, harmonies and emotions that inundated the city. There aren’t a hundred – that wouldn’t be possible – but the vigour and tenacity, the irresistible passion and the interpretative impertinence are the same now as then. Once again this instrument that you could call seraphic and aloof, haughty and reflective, in the hands and under the direction of the Sicilian musician becomes a picklock capable of opening every door and entering into communication with the widest and most diverse of audiences. Indeed, if the voice of a single cello, so similar in tone and texture to the human voice, succeeds in a sinuous and almost maternal way in embracing the listener, a veritable ensemble of cellos, which in their multiplicity mirror each other, can capture the emotion, overwhelming it. Especially if Sollima is the guiding light of everything: a virtuoso of unquestionable fame and a composer performed all over the world – years ago the American press did not hesitate to call him “the Jimi Hendrix of the Cello”, for his extraordinary technical and interpretative qualities, of course, but also and above all for his unique ability to establish links between the most diverse of styles and cultural spheres, tearing down the barriers between genres. His is a disruptive power, which draws its lifeforce from the classical tradition, from the Baroque to the twentieth-century avant-garde, from the territories of rock and jazz, as well as from the popular repertoire of the tradition of his homeland. Addressing, indeed, everyone.
