Angelo Maria Santisi / Rome, Italy


July 0921.30

The word “unplugged” means an electrical device that was disconnected by removing its plug from the socket. In the music field, “unplugged” means playing with mostly acoustic instruments. The term became popular in the 90s due to the famous MTV Unplugged, an American tv series showcasing musical artists usually playing acoustic instruments.
However, the cultural meaning of “unplugged” is more complex. Music reviewer Craig Conley writes: “When music is labeled acoustic, unplugged, or unwired, the assumption seems to be that other types of music are cluttered by technology and overproduction and therefore aren’t as pure”. Thus, Unplugged means a subtle gesture of resistance, by scaling down, by simplifying the means of production. It is an artistic and cultural strategy that creates its own aesthetics, offering a more intimate relationship with the public.
For this festival, we ask what can “unplugged” mean in 2019? Sustainability of art production? Scaling down on “special effects”? Opening the doors into the way in which artists work instead of presenting a polished finished product? Looking for proximity, a deeper and more intimate relation with spectators? Or maybe, an attempt to “unplug” our own gaze in favor of a wider understanding of what artistic practice can be?

Here’s how we imagine this experience: a walk in the evening from the town centre to the ancient Byzantine church of San Michele Arcangelo, patron saint of the city, to immerse yourself in the sounds of an unplugged concert, in a unique and intimate location.
A journey to discover the cello, an instrument with varied tones, from the moving, deep melodiousness, used for sound and musical experiments: a bridge between Bach and the repertoire of the twentieth century. From the rationality of Bach’s harmonic construction, moving to two composers who, refusing the sentimental emphasis of the 19th century, come closer to the baroque aesthetic –  Ligeti and Hindemith – to conclude with the avantgarde soundscapes of Berio and the contemporaneity of Sollima. The orchestral formation of Santisi is due to Leon Spierer, first violin of the Berliner Philharmoniker, and also to his training at the Accademia del Teatro alla Scala, as well as the Mimesis-MaggioArte course of the Teatro del Maggio Musicale Fiorentino, where he was chosen as first cello.

free event

duration 60'