a collective creation by Faber Teater
pdf performance sheet
Video by Diego Diaz, duration 2' 49''
“Buonasera, good evening. Tonight we won’t talk, we will just be singing. Just listen and...” This is the beginning of the musical show Allegro Cantabile, a written message.
The written, silent messages and the singing voices “talk” to the audience and accompany the audience in an ironic itinerary through sound, rhythm, timbre.
Six voices on the scene are conducting this crossing, six actors-musicians not only singing, but becoming interpreters of a cross repertory, including ballads, work songs, serenades. It starts with the tradition of Italian popular music, with songs from Piedmont, Veneto, Lazio, Campania, Abruzzo... to go on elsewhere.
The visual and auditive level are mixed in a game whereby the audience gradually become an accomplice. Thus you can“see” the polyphony and “listen to” the movement.
Thanks to a means of listening which evolves into something active, the audience turn into a musician of an orchestra, as a sound necessary among sounds and creator of music itself. Music capable to convey emotions, music telling stories hidden among the notes, evoking sonorous universes, leading an experience without getting in the chair.
eventually becoming a collective singing, a unique orchestra at the end, with joy and lightness.
And if an applause arrives well, even this is sound, even this is music.
From years as a group we do play and experiment with the voice, with singing and repertory from Italy and from all over the world. The research on the “musical actor” has been the heart of our artistic journey for the last 10 years.
The dramaturgical research that supports the show is oriented to articulate on
the stage the different forms of phonè (understood in the triple sense of ancient
Greek as sound, speech and voice ) that the six actors-musicians will offer to the
The weaving of the show creates a journey to accompany the perceptual experience of the audience from the simple to the complex (from silence to noise and then to sound , and then from monody to polyphony).
The show is a journey into an phonetic dramaturgy, but it is also an ironic game with the various ways in which the theatrical phonè comes to life on the stage: the sound, the sung word, the written and projected word, the spoken word, the word in language and the word in dialect, the voice without word, the silence.
An original show, which is ironical and with a science of the voice never performed.
A surprising show of extreme skill, played in a light hearted manner without any
ostentation and with an originality that entertains and amazes tirelessly