updated 3 January 2018
© Stefano Corso

Lucia Ronchetti

Italian composer born 3 February 1963 in Rome.

Lucia Ronchetti studied piano, composition, and electronic music, notably with Sylvano Bussotti and Salvatore Sciarrino. She went on to study with Gérard Grisey in Paris, and participated in the IRCAM Cursus (IRCAM’s composition and computer music course) in 1995-96, allowing her further study with Tristan Murail. She also earned a Doctorate in Musicology from the École Pratique des Hautes Études in Paris, under the direction of François Lesure.

She participated in the Stuttgart Staatsoper Forum Neues Musiktheater, and in 2005, was the recipient of a Fulbright grant for study at Columbia University in New York. She was awarded residencies from the Cité Internationale des Arts in Paris (1996-1997), Schloss Solitude in Stuttgart (1999), MacDowell Colony in Peterborough, New Hampshire (2003), DAAD in Berlin (2005-2006), Yaddo in upstate-New York (2007), Schloss Werdenberg in Switzerland (2013), and Villa Concordia in Bamberg, Germany (2016).

Lucia Ronchetti has written for a wide range of instrumentations, and often uses electronics. She draws inspiration from the natural sciences, philosophy (e.g., Die Sorge geht über den Fluss, a study based on Hans Blumenberg [1995]), and the poetry, literature, and paintings of Ludovico Ariosto, Nicolas Gogol (Die Nase [1994]), Velasquez (Hombre de mucha gravedad for vocal quartet and string quartet [2002]), and Adolf Wölfli (Musikfässli [1994], Zohrn [1994], and La violette geante [2012]).

She has also written numerous homages to historical composers, e.g., Prosopopeia, based on Schütz’ Musikalische Exequien (2009); Lezioni di tenebra, a scenic work after Giasone by Francesco Cavalli;Neumond, a chamber opera inspired by The Magic Flute (2012); Opus 100, after Schubert (2005); Ravel Unravel (2012); and Le Palais du silence after Debussy (2013).

Following a first period (which lasted until 1993) largely dedicated to works for chamber ensemble (notably including Tremblements de tendresse), Lucia Ronchetti became interested in radiophonic music, giving rise to L’Alibi del Labirinto, a setting of a text by Toti Scialoja (1993), and scenic works drawing upon Italian 20th century literature, e.g., that of Ermanno Cavazzoni (Le tentazioni di Girolamo [1995] and Esame di mezzanotte [2014]), Giorgio Manganelli (Pinocchio, una storia parallela [2005] and Amore [2002]) and Luigi Pirandello (Sei personaggi in cerca d’autore [2011]). A collaboration with the South African poet Ivan Vladislavic resulted in Rumori da Monumenti, presented as part of the i.n.t.o Project in Johannesburg in 2008.

Theatricality (in varied forms) is at the heart of Ronchetti’s creative identity. In 1999, she composed a collection of non-staged vocal works for Neue Vokalsolisten, known as “dramaturgies,” some of which were based upon madrigal traditions, e.g., Anatra al sal (1999). These were the first in a series of works written for the group, which includes Le Voyage d’Urien, a setting of a text by André Gide (2008); Pinocchio, una storia parallela (2005); Studio detto dei venti (2010); Der Sonne entgegen, a scenic work for fourteen voices (2007); and Blumenstudien, a madrigal after Gesualdo (2013). The Dresden Semperoper commissioned a three-part, large-scale theatrical work to be premiered over three seasons, comprising Contrascena (2012), Sub-Plot (2013), and Mise en abyme (2014). Following this, Ronchetti composed several operas, including: Esame di mezzanotte (2015), premiered at the Nationaltheater in Mannheim; Les Aventures de Pinocchio (2015), premiered by Ensemble Intercontemporain at the Rouen opera house in 2017; and Inferno, premiered at the Frankfurt Opera in 2018.

Lucia Ronchetti has received numerous accolades. Her chamber opera Der Sonne entgegen, for fourteen voices (2006), was awarded the Experimentelles Musiktheater NRW Fund Prize in 2006 and the Music Theater Now Prize from the Berlin International Theater Institut in 2008. A new version of this work was premiered at Maerzmusik in 2010 with support from the Haupt Stadt Kultur Fund. Ronchetti was also awarded the Künstlerinnenpreis from the City of Heidelberg in 2013.

Lucia Ronchetti teaches music theory, counterpoint, and composition at the Salerno Conservatory, and has appeared as a guest at numerous seminars in Europe, the United States, Latin America, and in Johannesbourg.


© Ircam-Centre Pompidou, 2018

Sources

Site personnel de Lucia Ronchetti ; Festival Musica, Strasbourg ; Rainer Pöllmann, « Lucia Ronchetti, compostitrice errante », in Osservatorio Nuova musica (voir ressources).

  • Solo (excluding voice)
  • Chamber music
  • Instrumental ensemble music
  • Concert music
  • Vocal music and instrument(s)
    • Ballade des pendus for voice and ensemble (1980)
    • Animalie Rapsodia for reader, voices and ensemble (1992), Ricordi
    • elec stage Le tentazioni di Girolamo musical theater for narrator, soprano, harp, double bass, tape and live electronics (1995), 50 mn, Edi-Pan
    • Bassa marea Lied for voice and harp (1996)
    • Les propos de Shitao for voice and ensemble (2000), 12 mn, Durand
    • elec stage L’ape apatica concerto game for children's voice, soprano, trombone, two percussionists, children's choir and electronics (2001), 30 mn, Rai Trade
    • elec stage Amore one-act musical theater, for female voice, viola and live electronics (2002), 25 mn, Rai Trade
    • Hombre de mucha gravedad dramaturgy on Las meninas by Velasquez for vocal quartet and string quartet (2002), 15 mn, Durand
    • elec stage Last Desire tragedy in one act, for three voices, viola and live electronics (2004), 50 mn, Rai Trade
    • elec stage Der Sonne entgegen musical theater for fourteen voices, brass ensemble and live electronics (2006-2007, 2009), 1 h 15 mn, Rai Trade
    • Le Voyage d’Urien dramaturgy for vocal and instrumental ensemble (2008), 20 mn, Rai Trade
    • Hamlet’s Mill dramaturgy for soprano, bass, viola and cello (2009), 20 mn, Rai Trade
    • stage Lezioni di tenebra musical theater after Giasone by Francesco Cavalli, for solo voices, vocal and instrumental ensemble (2010), 1 h 15 mn, Rai Trade
    • stage Narrenschiffe In-transit actions after Sebastian Brant , musical theater for actors, solo voices, amateur wind orchestra, amateur male choir and passers-by (2010), 40 mn, Rai Trade
    • stage Prosopopeia A study of personification , dramaturgy after Heinrich Schütz's Musikalische Exequien , for vocal and instrumental ensemble (2009-2010), 1 h 15 mn about , Rai Trade
    • stage Sei personaggi in cerca d’autore dramaturgy after Luigi Pirandello for six voices and orchestra (2011), 20 mn, Rai Trade
    • stage Neumond chamber opera for young audiences after Mozart's The Magic Flute , for solo voices, vocal and instrumental ensemble (2012), 60 mn about , Rai Trade
    • Florilegium for vocal ensemble, choir and orchestra (2013), 30 mn, Rai Trade
    • Studio di Urien for baritone and piano (2013), 10 mn, Rai Trade
    • Sub-Plot Intermezzo for soloists and continuo (2013), 20 mn about , Rai Trade
    • stage Esame di mezzanotte opera for actors, solo voices, vocal ensemble, children's choir, choir and orchestra (2014), 1 h 40 mn, Rai Trade
    • elec stage Forward and downward, turning neither to the left nor to the right opera for soloists, choir, orchestra and live electronics (2014), 1 h 30 mn, Rai Trade
    • Meines Wartens dramaturgy for spoken voice and viola (2014), 15 mn, Rai Trade
    • Mise en abyme chamber opera for soloists, vocal ensemble and chamber orchestra (2014), 60 mn about , Rai Trade
    • stage Les aventures de Pinocchio instrumental comedy, for soprano and ensemble (2015), 60 mn, Rai Trade
    • Rumori da monumenti for recorded voice and chamber orchestra (2015), 15 mn, Rai Trade
    • stage Abschlussball musical theater, for soprano, voice, actors and tape (2016), 2 h
    • Aria da baule dramaturgy for actor, soprano and string quartet (2016), 10 mn, Rai Trade
    • Lascia ch'io pianga for soprano and piano (2016), 15 mn, Rai Trade
    • stage Rivale chamber opera, for mezzo-soprano, solo viola and brass and percussion ensemble (2017), 60 mn
    • stage Inferno opera, for actors, solo voices, vocal ensemble, mixed choir, string quartet and wind and percussion ensemble (2017-2018), 1 h 30 mn
  • A cappella vocal music
  • Electronic music / fixed media / mechanical musical instruments

Discographie

  • Lucia RONCHETTI, « Drammaturgie » : Pinocchio, una storia parallela ; Hombre de mucha gravedad ; Hamlet’s Mill, Neue Vocalsolisten Stuttgart, Quatuor Arditti, 1 cd Kairos  2012, 0013232KAI.
  • Lucia RONCHETTI, « Lezioni di Tenebra », Katia Guedes : soprano, Daniel Gloger : contre-ténor, Vocalconsort Berlin, Jens Schubbe, PMCE (Parco della Musica Contemporanea Ensemble), direction : Tonino Battista, 1 cd Parco della Musica Records, 2012, enregistrement live.
  • Lucia RONCHETTI, « Xylocopa violacea » : Xylocopa violacea; Il sonno di Atys ; Interlude I for tape;Studi profondi;Interlude II for tape;Last desire cadenza, Barbara Mauer : alto,  Reinhold Braig : électroniquelive, 1 cd Stradivarius, 2011, STR 33869.
  • Lucia RONCHETTI, Anatra al sal, dans « Alles Theater », Neue Vocalsolisten Stuttgart, avec des œuvres de Georges Aperghis, Manuel Hidalgo, Luciano Berio, Paolo Perazzani, Carola Beauckholt, 1 cd Stradivarius, 2004, STR 33680.
  • Lucia RONCHETTI, « Portrait » : Schriffbruch mit Zuschauer ; Pinocchio, una storia parallela ; Il sonno di Ays, Reinhold Braig : électronique live, Andreas Fischer : basson, Barbara Mauer : alto, Martin Nagy : ténor, Daniel Gloger : contre-ténor, Guillermo Anzorena : baryton, Neue Vocalsolisten Stuttgart, Rundfunk-Sinfonieorchester, direction : Roland Kluttig, 1 cd Stradivarius, 2007, STR 33772. 
  • Lucia RONCHETTI, Talia, dans « Italian news, Freon Ensemble », Keiko Orikawa : voix, Ensemble Freon, direction : Stefano Cardi, avec des œuvres de Vito Palumbo, francesco Antonioni, Carla Magnan et Carla Rebora, Mauro Cardi, Fabrizio De Rossi Re, 1 cd Rai Trade edizioni, 2006, RTE 012 RTC.

Bibliographie

Voir la liste complète sur le site de Lucia Ronchetti, http://www.luciaronchetti.com/en/text-by-and-on-lucia-ronchetti-interviews-in-english-italian-french-and-german/p6-98

  • Guido BARBIERI, « Ask the Darkness: a prologue to the opera / Chiedi alle tenebre: un prologo all’opera », livret du cd « Lezioni di Tenebra », 2012.
  • Guido BARBIERI, « Zeremonielle Theatralität / Teatralità del cerimoniale », in Takte, février 2010, sur Prosopopeia).
  • Sandro CAPPELLETTO, « Bizarre Poetik / Poetica del bizzarro », in Takte, février 2005.
  • Mario GAMBA, « Lucia Ronchetti », in Manifesto, cd Xylocopa violacea, Stradivarius, 2011.
  • Clemens HAUSTEIN, « Von den Verwirrungen der Liebe », in Berliner Zeitung, 26 février 2011, sur Lezioni di Tenebra.
  • Alban Nikolai HERBST, « Die Dschungel. Anderswelt », sur albannikolaiherbst.twoday.net [sur Last Desire], 2011.
  • Daniele MARTINO, « Girotondo contemporaneo », inIl Giornale della Musica, 4 février 2012 (sur Sei personaggi in cerca d’autore).
  • Stefano NARDELLI, « La voce spezzata dei naufraghi d’Occidente », in** Il Giornale della Musica, avril 2007.
  • Rainer PÖLLMANN, « Lucia Ronchetti, compostitrice errante », in Osservatorio Nuova musica, février 2011*.*
  • Rainer PÖLLMANN, « Das Geheimnis der Lucia Ronchetti / The secret of Lucia Ronchetti / Il segreto di Lucia Ronchetti », catalogue Rai Trade, 2009.
  • Lucia RONCHETTI, « The Hearing Subject », in Design of the (In-)Human, Akademie Schloss Solitude, 2010.
  • Lucia RONCHETTI, « Studio di un labirinto acustico », in Enciclopedia delle Arti Contemporanee, Electa 2010 (sur la Wölfli-Kantatade Georges Aperghis).
  • Lucia RONCHETTI, « Über die Linie », in Programmheft Maerzmusik, mars 2010 (sur On Der Sonne entgegen).
  • Lucia RONCHETTI, « Nel ventre della città-cataclisma », in** Il Giornale della Musica, mai 2008 (sur Rumori da Monumenti).
  • Lucia RONCHETTI, « Albertine, the sound of a verbal universe / Albertine, der Klang eines verbalen Universums », in *Programmheft Maerzmusik,*2008.
  • Lucia RONCHETTI, « Last desire, A Tragedy in one Act », in Forum Neues Musiktheater, Staatsoper Stuttgart, 2005.
  • Lucia RONCHETTI, « Zu Geographishes Heft », in Programmheft Wien Modern, 2001.
  • Vincenzo SANTARCANGELO, « Lucia Ronchetti », in Rockerilla, sur le cd Xylocopa violacea, Stradivarius, 2011.
  • Christian SCHÜTTE, « Spiel mit der Finsternisin », in Zeitschrift für Musiktheater und Oper, 29 mai 2011, [sur Lezioni di Tenebra].
  • Rainer WAGNER, « Medeas folgenreiches Blind Date », in Hannoversche Allgemeine Zeitung, 31 mai 2011 (sur Lezioni di Tenebra).
  • Doris WEBERBERGER, « Lucia Ronchetti : Drammaturgie », in Osterreichische Musikzeitschrift, vol. 68, Issue 1, 2013.
  • Robin WILL, « Spectral baroque », in seatedovation.blogspot.com, mars 2011 [sur Lezioni di Tenebra].

Lien Internet

(liens vérifiés en janvier 2018).