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Edoardo Sanguineti’s letter to Luciano Berio of November 8 [], Esposizione, Traces and Laborintus II indeed share a type of distorted reflection of. Vic Hoyland on Laborintus II by Berio. Berio sent a postcard to Edoardo Sanguineti his friend and Dante scholar (at Via Vespucci, 25, Torino – 7 June ’62). Discover Edoardo Sanguineti & Luciano Berio’s track Laborintus 2. Complete your Edoardo Sanguineti & Luciano Berio record collection. Shop new and used .

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At this time, Berio was a guest-teacher at Mills College in Oakland; he laborints first met Anna, two years before, but it was this performance of The Five-Legged Stool that caused him to praise her theatre work as the “most interesting and alive approach to labborintus today.

It was precisely at Mills College, during an intensive period of teaching, that Berio began writing Laborintus IIsometime in This Californian period seems to have been exemplary for the diversity of his activities and the width of scope of musical influences.

Laborintus II programme notes

He not only would teach, but also engaged in political debate, enjoyed driving along the sun-kissed boulevards in his white Buick convertible and socialising with students at avant-garde and jazz concerts, even attending a rock conference hosted by Mills College and engaging in musical experiments sanguintei his ex-students in the Grateful Dead.

It was not a happy collaboration Ann seemed to have no wish to finalize the production, or to polish the results for public presentation, and Berio withdrew the piece after the first performances which were given at La Fenice Opera House, Venice.

Laborintus II soon followed Sanguineti tells us that a significant amount of text was rescued from Esposizioneespecially the long lists, and the whole project was radically revised and metamorphosed into Laborintus II. Berio gives us only vague ideas of how Laborintus ll might be staged.


Something of its spirit might be deduced from Esposizione. In this evening long work, each performer was given one task to do throughout the entire sanguinwti for laborinntus Along the way, from point to point, were placed the most outrageous obstacles.

Laborintus II (author’s note) | Centro Studi Luciano Berio – Luciano Berio’s Official Website

Three starting edoarvo were chosen one, for example, was edoagdo top of a cargo-net forty feet in the air for six different performers, and they all eventually moved to one goal everyone’s final goal was exiting off stage. Obstacles included five tiers of balconies the orchestra pit, the large imposing cargo net, which acted as a screen, and a ramp which slanted to the floor.

A space restriction was established and Berio created a time score, and activities might range from frantic and hysterical to slow and laborious. Lighting controlled what the audience might or might not be able to see at any moment.

Sanguineti’s early poetry laborinrustitled Laborintusconsisted of a working-out of a struggle between order and disorder, through a complication of the mind undergoing something like a nervous breakdown or mid-life crisis to an eventual simplification a purification and salvation.

The opening of his collection is titled Palus Putredinis Stinking Swamp.

He describes the procedure as “hurling oneself straightaway headfirst into the labyrinth of formalism and irrationalism, into the Stinking Swamp, in fact, of anarchy and alienation, into the hope of then truly emerging from it all with one’s hands dirty, but also with the mire mud once and for all behind one.

His third volume of poetry ends with: How do you justify yourself? But edoarod you see the mud behind us? And the children sleeping Edlardo same words of poetry are whispered at the end of Berio’s Laborintus II.

Death leading to rebirth is Sanguineti’s recurring topos. Sanguineti’s libretto, besides his own texts, uses as its greatest part, additional materials from Dante Divina CommediaVita nuovaMonarchicand Convivio ; there are also encyclopaedic lists in the manner of Isidore of Seville, and the Bible, with snippets laborintsu Ezra Pound Cantos and T.


Eliot the Four Quartetsand typical ‘s “chatter”. Berio’s composition is a no-story piece of music-theatre. However, far from being mere laboritnus or virtuosic vocal expression, it draws on his seemingly innate Italian gift for a dynamic sense of theatre. An electronic tape plays an important role about halfway-through the 35 minutes of the performance; it comes at labrointus point when Dante’s extraordinary lines are spoken: The beat-like cut-up of text lines this was the time of Allen Ginsberg and HOWL produces a number of central themes including memory; being lost and not knowing the way; all the sins against nature; with USURA and Banking the worst of all; and crawling in the mud while dreaming of Paradise.

The music is at times highly dramatic but can easily labirintus into a light-hearted jazzy or even funky swing feel not unlike cheap sixties, Italian thriller movies. It surprises and disappoints me that Berio never worked with Fellini or Pasolini! It maybe that “ma seguimi oramai” but follow me now which is also spoken at the sanguineto moments of Berio’s Laborintus IIrefers to Canto XI of the Inferno from The Divine Comedywhere Virgil encourages Dante to get a move on Dante always wants to linger!

The following Canto is indeed the Labyrinth where the Minotaur, like a mad dog, tries to bite and devour itself alive. Fortunately, Laborintus II ends at this point. Luciano Berio wrote Laborintus II over the period and first performances to celebrate the th anniversary of Dante’s birth took place in BrusselsFrance and Italy, winning a number of prizes, including the Prix Italia Palermo When it was first performed at La Scala, Milan, Sanguineti produced it and Berio appears to imply that, in his opinion, this was a mistake.