of music critics, journalists, artistic directors,
and the premiere screening
of the exceptional concert at the Farnese Theatre
Ridotto of the Teatro Regio of Parma
Wednesday 22 May 2024
5.00 pm, free entry
Conversation with
Mauro Balestrazzi, Angelo Foletto, Mauro Meli, Gian Paolo Minardi
7.30pm, free entry (booking on eventbrite.it)
Premiere screening of the Concert at the Farnese Theatre
Claudio Abbado at the Farnese Theatre, 2011. Photo Roberto Ricci
The Teatro Regio of Parma remembers Claudio Abbado ten years after his death through the stories and contributions of music critics, journalists, artistic directors, and the images that testify to the Maestro’s presence in Parma.
Wednesday 22 May 2024, at the Ridotto of the Teatro Regio in Parma, an entire afternoon dedicated to him, which will begin at 5.00 pm with the conversation with Mauro Balestrazzi, journalist, author of Claudio Abbado note for note. An artistic chronology (LIM 2024), Angelo Foletto, music critic, author of I planted many trees. Claudio Abbado, Portraits reviews interviews (LIM 2024), Mauro Meli, former superintendent of the Teatro Regio, who in 2011 organized the concert at the Teatro Farnese, Gian Paolo Minardi, music critic who followed the entire span of Claudio Abbado’s career.
At 7.30 pm with free admission while seats last, reservations required on eventbrite.it, the premiere screening of the Concert at the Farnese Theater on 12 June 2011, an exceptional event which saw the Farnese host 1500 spectators for the occasion, with Claudio Abbado conducting the Mozart Orchestra, Isabelle Faust and Lucas Macias Navarro, interpreters of the Symphony n. 35 in D major K 385 “Haffner”, of the Concerto for oboe and orchestra in C major K 314, of the Concerto n.5 for violin and orchestra in A major K 219 by Wolfgang Amadeus Mozart, Symphony n. 6 in F major op. 68 “Pastorale” by Ludwig van Beethoven.
“Claudio inserted the Farnese Theater every two speeches, basically he talked about it with me every day! He adored that theatre, and couldn’t bear the idea that real shows couldn’t be put on there or that they weren’t put on at all” recalls Mauro Meli, then Superintendent of the Teatro Regio, in his volume La musica al rovescio (Ponte alle Thank you, 2016).
