CHILDREN FIRST 31-03-2007 20:51 Pagina 85

81L U X U R Y S t y l e o f L i f e

Learco Saporito sketches a brief profile ofMaestro Giancarlo Menotti, founder of

Spoleto’s Festival of Two Worlds. Anentirely feminine art exhibition in Rome.Edoardo Lombardi examines the “idealmodel” of the manager who can appreciatemen in the front line.

Learco Saporito traccia un breve profilodel Maestro Giancarlo Menotti,

fondatore del Festival dei Due Mondi diSpoleto. Un mostra d’arte interamente alfemminile a Roma. Edoardo Lombardiesamina il “modello ideale” del managercapace di valorizzare gli uomini in primalinea. Istambul, una città che vive da sempresu due continenti.

�еарко �апорито вспоминает �аэстро�жанкарло �енотти, основателя

музыкального �естиваля �вух �иров вгороде �полето. �сключительно женскаяхудожественная выставка в !име. Эдоардо�омбарди разрабатывает «идеальнуюмодель» менеджера, способного ценитьлюдей, находящихся на переднем крае.

cultureLUXURY

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During the first days of Fe-bruary, Giancarlo Menotti left

us forever: he was 95 years oldand all of them were spent on mu-sic and culture. The Duke of Spole-to, as he was called, was workingon the staging of his most impor-tant composition “La Medium”, atthe Teatro dell’Opera of MonteCarlo. Everyone agrees when con-

sidering Menotti the greatestcomposer of the last century,where his kindness and elegan-ce have placed him at the hi-ghest levels of art, culture andhigh society worldwide. His son,Francis Menotti, attested to“the serene passing of his fa-ther”, who had been a studentat the Milan Conservatory, hadcompleted his musical educa-tion in the United States, and

has left us a large collection ofcompositions, including a splendidrepertoire for concerts and bal-lets.And almost as if wanting indi-cate an omen, the National Orche-stra of the Academy of St. Cecilialast December had actually listedon their program Menotti’s con-cert for piano and orchestra, asmall masterpiece of instrumental

music production, concert andsymphonic, by the Maestro. It isnecessary to say that Menotti willbe remembered above all for hismost beloved creation, the Festivalof two Worlds at Spoleto that thisyear celebrates its 50th year fromits foundation. Everyone recogni-ses that with this initiative, Menot-ti wanted to create a model of in-tegrated culture (music, ballet,theatre, painting, cinema) thatcontrasted with the left wing fas-hion culture prevalent in Italy bet-ween the 1950s and 60s. I believethat Menotti had sacrificed his ta-lent as a composer on behalf ofsuch a cultural choice, and thatduring his lifetime he received lessrecognition than what he deser-ved. Someone said that in Italy,Menotti was frequently forgotten.

by Learco Saporito*photo by Archivio Francis Menotti

behind the scenes

Giancarlo Menotti and theFestival of Two Worlds atSpoleto

82L U X U R Y S t y l e o f L i f e

*Senator of the Italian Republic, elected from the ranks of Alleanza Nazionale. Alawyer and scholar, he has edited several legal publications and was professor of

Public, Private and Administrative Law at different Italian universities. He currently holdsthe Chair of Public Law at the Telematic University "Guglielmo Marconi" in Rome. Hewas a member of the Commissions for Constitutional Affairs, Defence, Mafia-relatedproblems, and Public Education. During the 14th legislature, he was appointed Under-secretary of State for Civil Service. He is President of the National Association of EmigrantFamilies, member of the Union of Catholic Jurists, he is married and has two children.

The Dream of The Dream of an Artist an Artist But how many of us have had the

privilege of knowing him, remembe-ring him and thanking him for themagnificent “dream” he had givento the world with the Spoleto Festi-val. The most beautiful gift that one

could give to the great Maestro isthat of continuing to have his Fe-stival live on. I cannot forget theMaestro’s face and his wordswhen he faced the problems of li-fe, of the art of music.

TOP, GIAN CARLO MENOTTI AND

FRANCIS MENOTTI AND THE TEATRO

NUOVO OF SPOLETO DURING THE

FESTIVAL OF TWO WORLDS

IN ALTO, GIAN CARLO MENOTTI E

FRANCIS MENOTTI E IL TEATRO

NUOVO DI SPOLETO DURANTE IL

FESTIVAL DEI DUE MONDI

�верху: �жан �арло �енотти и�рансис �енотти в �еатро�уово города �полето во времяпроведения �естиваля �вух�иров

TOP, DANCE GALA

IN SPOLETO’S

PIAZZA DUOMO

GIAN CARLO

MENOTTI AND

FRANCIS MENOTTI

FRANCIS MENOTT

WITH A FEW ARTISTS

OF ORA MISTICA

AND MAESTRO

GUSTAVO DUDAMEL

DIRECTING THE

2006 INAUGURAL

CONCERT

IN ALTO, GALA’ D

DANZA IN PIAZZA

DUOMO D

SPOLETO, GIAN

CARLO MENOTTI E

FRANCIS MENOTTI

FRANCIS MENOTT

CON ALCUNI ARTIST

DI ORA MISTICA E

IL MAESTRO

GUSTAVO DUDAMEL

�верху�анцевальный

гала-концерт наплощади �уомо в

�полето, �жан�арло �енотти и�рансиз �енотти

с артистами изоркестра Ора

�узика и маэстро%уставо �удамелдирижировавшим

во время концертаоткрытия

фестиваля 2006года

From March 8, 2007, ten artists,Carla Accardi, Lia Drei, Nedda Gui-

di, Bice Lazzari, Paola Levi Montalcini,Carolina Lombardi, Titina Maselli, ElisaMontessori, Carmengloria Morales, Si-mona Weller, are on exhibition at“WOMEN OF ART. Ten abstract wo-men from Accardi to Weller”, organi-sed by the Galleria Cortese & Lisanti.An exhibition that sets itself apart forthe predilection of works testifying tothe artists’ presence in Rome, it cele-brates the attraction of existing rela-tionships between the various indivi-

duals assembled, different for theircultural and linguistic backgrounds,but united by their commitment andcreative inspiration. The Women of Artare the witnesses of a cultural turmoiland the transformation of time, realprotagonists of the appearance of ar-tistic personalities in the nineteen hun-dreds. A language stolen from politicalevents from the feminist movement,one could say “feminist militancy”,interpreted not as an emancipatingstopping place, but as an explorationof oneself.

�8 марта 2007 года работы десятяхудожниц �арлы Аккарди, �ии

�рей, �едды �уиди, �иче �аццари,�аолы �еви "онтальчини, �аролины�омбардии, $ины "азелли, Элизы"онтессори, �арменглории "оралеси �имоны 'еллер будутпредставлены на выставке«)енщины искусства. �есятьженщин абстракционисток отАккарди до 'еллер», котораяорганизована Galleria Cortese &Lisanti в -име. Эту выставкуотличает особый подбор работ,раскрывающий римскуюпринадлежность художниц.Экспозиция отражаетиндивидуальность каждой,обусловленную культурными,языковыми особенностями, но в тоже время она представляет собойединое целое, объединенное ихтворчеством и креативнымиустремлениями. «)енщины вискусстве» являютсясвидетельницами развитиякультурных процессов и ихтрансформации во времени, в каждойиз них нашла отражение творческаяиндивидуальность, свойственная 55

веку. �оворяязыкомдвижения феминисток, их можноназвать «женщинами-активистками»,но их творчество не стоитрассматривать как этап эмансипации,скорее это внутренний поиск.

art event by Matteo d’Altilia

Ten womenon exhibitionin Rome

1. CARLA ACCARDI (“LIGHT

BLUE-GRAY”) . SIMONA

WELLER (“RAIN AND SUN

ON THE GRASS”); 3. AND 4.CAROLINA LOMBARDI

(“AIR” AND “UNTITLED”);5. TITINA MASELLI (“THE

BALL PLAYER AND THE

BUILDING”); 1. CARLA ACCARDI

(“AZZURRO GRIGIO”); 2.SIMONA WELLER (“PIOGGIA

E SOLE SULL’ERBA”); 3. E 4.CAROLINA LOMBARDI

(“ARIA” E “SENZA

TITOLO”); 5. TITINA

MASELLI (“IL CALCIATORE E

IL PALAZZO”) 1. �арлы Аккари «�ераяголубизна»; 2.�имоны'еллер «�ождь и солнцена траве»; 3. и 4.�аролины �омбарди«Ария» и «�езназвания»; 5. $итины"азелли «?утболист идворец»;

6. ELISA MONTESSORI

“UNTITLED”; 7. PAOLA LEVI

MONTALCINI (“THE POINT OF

CATASTROPHE”); 8. BICE

LAZZARI “RHYTHM”; 9.PHOTOGRAPHS OF THE GALLERY

6. ELISA MONTESSORI “SENZA

TITOLO”; 7. PAOLA LEVI

MONTALCINI (“CATASTROFE A

CUSPIDE”); 8. BICE LAZZARI

“RITMO”; 9. IMMAGINE DELLA

GALLERIA

6. Элиза "онтессори «безназвания», 7. �аола �еви

"онтальчини «остроконечнаякатастрофа»; 8. �иче �адзари

«ритм»; 9. 'ид галереи

Donne d’arteDieci donne in mostra a Roma

Dal 8 marzo 2007 dieci artiste,Carla Accardi, Lia Drei, Nedda

Guidi, Bice Lazzari, Paola Levi Montal-cini, Carolina Lombardi, Titina Masel-li, Elisa Montessori, CarmengloriaMorales, Simona Weller, sono in mo-stra nella rassegna “DONNE D’ARTE.Dieci donne astratte da Accardi aWeller”, organizzata dalla GalleriaCortese & Lisanti. Una mostra che sicontraddistingue per la predilezionedi opere testimoni della presenza aRoma delle artiste. L’allestimento esal-ta le affinità di relazione esistenti tra levarie individualità convocate, diverseper appartenenze culturali e linguisti-

che, ma accomunate dall’impegno edall’ispirazione creativa. Le Donned’arte sono le testimoni dei fermenticulturali e delle trasformazioni deltempo, vere protagoniste dell’emer-gere della personalità artistica nel No-vecento. Un linguaggio rubato alla vi-cenda politica del movimento femmi-nista, si potrebbe dire “militanza fem-minile”, in-t e r p r e t a t anon cometappa eman-cipatrice, macome esplo-razione di sé.

)енщины искусства�есять женщин на выставка в-име

Women Womenof Art

1.

2.

3.

4.

5.

6.7.

8.

9.

with 2164 cannons at his disposal, whileVilleneuve commanded 40 vessels with2920 cannons. Just before the battle, Nel-son, always careful to motivate his men,had a signal flag raised on the warship thatstated, “England expects that every manwill do his duty” and so it was in fact. Vil-leneuve arranged his ships, following tradi-tion, in a tight line on a 5- mile front; Nel-son on the otherhand, relying on theability of his canoncrew, divided his fleetinto two columns:that on the left with“Victory” at its head,which he set out tocommand himself,and that on the rightwith “Royal Sove-reign”, commandedby his second, Admi-ral Collingwood. Thetwo columns shouldhave broken throughthe centre of theenemy line, destro-yed the Admirals ofthe Fleet and then confronted one enemyship at a time. Since the ships during thatperiod did not have cannons at the prow,the approaching British columns would ha-ve been unprotected up until the momentof contact, but Nelson was prepared to runthat risk by relying on the inexperience ofthe opposing gunners. When the French-Spanish opened fire against the British,“Victory”, that had succeeded in sailingastern towards the Spanish admiral, Bu-centaure, wiped out its deck into smithe-reens and caused the death of 400 sailors.A similar success ensued with “Royal So-vereign”. Continuing its plan of action,“Victory” then attacked the warship “Re-doutable”, from which however origina-ted an unexpected and violent musket fi-re that brought down the British equip-ment, amassed on the main deck. It wasjust after 1 PM. A bullet hit Nelson in thechest, breaking his spinal cord. While they

were assisting him, he repeatedly askedhis assistant Hardy, “How goes the battle,how does the day proceed for us?” Hard-y’s response was, “Very well, Sir, we havetaken twelve ships.” And then he exclai-med, “Thank God, I have done my duty.”At five in the afternoon all was finished.The Franco-Spanish fleet had lost 18 ves-sels and 7000 men between the dead and

wounded. The British didnot lose a single sailingship, although half oftheir warships were se-riously damaged: they suf-fered 450 dead and 1240wounded. More or less atthe same time, Nelsonbreathed his last breath.His body, stripped andshaved, was immerged ina cask full of rum, in orderto preserve it. From thenon, British sailors refer torum as “Nelson’s blood”.Tom Peters, the renownedAmerican managementconsultant, retains thatthe leaders successful in

today’s business are those who have theability to transmit power and assist thoseworking in the front line. John Sculley,who is famous for the great recovery hehad planned for Apple Computer, stated,“Those who answer the telephone, visitstores and sell products and likewise forthose who build them, they are the newheroes of Apple. There is nothing wrongwith the marketing experts and with thetalented designers. They are essential. Butthere is something wrong with the com-panies that rely on them to <take thebread out of the oven >. The bread is al-ways more frequently taken out of theoven at two in the morning and unloadedon the loading docks and in the reserva-tion centres, that is on the line of fire. Therole of every other member of the organi-zation is that of protecting and increasingthe ability of the front line to carry out isduties.” Peters highlights several traits

from those leaders who know how to de-legate power to the men in the front line:1) They should direct the maximum atten-tion to those operating on the front. Thatapplies to salary management (those inthe front line should earn more than tho-se who are on staff), to valorising opera-tional tasks (to consider those of the staffto be more important, even if more di-stant from the power) and their involve-ment in important decisions. 2) They mustknow how to generate motivation in col-

leagues and in subordinates. They cantransform uninteresting jobs into excitingand coveted tasks thanks to their enthu-siasm. 3) They must draw pride from thesuccesses of others. To recognize the re-sults of those who are in the front line canawaken motivations appeased for a longtime; what is important in light of the ne-cessity of high-level performances is thatwe always expect more from them. Ifirmly believe that Nelson would havebeen the “ideal manager model” for Pe-ters, as he was capable of appreciatingmen in the front line.

The theme has been argument of a trans-mission of Navigator in Time on the Me-diolanum channel which transmitsthrough SKY with the number 803

“W ooden ships and ironmen”. This slogan perso-nifies the Royal Navy or

rather the British navy of the eighteenthcentury very well. Although slower whencompared to other navies, it could rely onthe vast experience of its commanders andcrew; furthermore it took meticulous carein instructing their canon crew, required tofollow an intense training. The warshipswere very similar to seventeenth centurygalleons, high on the ship’s side with threemasts and several decks, but significantlybetter regarding structural techniques andthe design of the rigging. The cannon crewand the sailors lived and slept beside theship’s canons, while around them lived theclucking hens and the grunting pigs thatthe officials ate during the long crossings.For the sailors, there was only salted fishand stale biscuits. Enormous casks of waterused for ballast were stored, on the otherhand, in the ship’s hold together with ca-non balls, powder and other materials. The

crew was comprised of the scum ofthe harbours, vagabonds anddrunks recruited from the taverns ofthe seaside cities by special squa-drons. When they sobered up aftertheir drunken sprees they were al-ready far out at sea. Their “career”began with the most humble tasksto culminate with “high manoeu-vres” performed on the masts thatcould also vary from 10 to 15 metresin height. At that point, there werethe “lookouts”, real sailors who re-presented the key strength of the

crew. Discipline was extremely rigid: thecat-o’-nine-tails, a whip made of thin stripsof leather with lead balls at the ends, wasthe rage and occasionally hanging was re-sorted to. The commanders were fearedand frequently despised, and in several ca-ses they resulted in mutinies that were non-etheless violently repressed. The Battle ofTrafalgar was fought on October 21, 1805,off the shore of Cape Trafalgar on the Spa-nish coast between the joint fleets of Fran-ce and Spain against the Royal Navy. TheRoyal Navy had entrusted their commandto Admiral Lord Horatio Nelson, one of themost fascinating personalities of the historyof that period. He carried within himself acombination of professionalism and genius,vanity, courage and dedication to sacrificein spite of his human weaknesses. At the ti-me, he was 47 years old: son of a Presbyte-rian clergyman. He began his career as asailor when very young, and when he wasonly 13 years old he embarked on the ship“Raisonable” as cabin boy. He was idolised

by his sailors; when in 1783 he left his com-mand of the ship “Albemarle”, the entirecrew requested that, when he took com-mand of another vessel, they be allowed tojoin him. And this was an extraordinary tri-bute to the qualities of their captain, consi-dering the times. His attention towards hismen was tireless: his care for their clothing,for their lodgings and above all for theirfood would not have been unusual in thetwentieth century, but – during the time inwhich he lived – it was so rare as to seemeven eccentric. His firm belief was that“what counted the most in military serviceis the health of the men and it must beagreed that it is easier for an official to keepthem healthy than for a doctor to healthem”. Furthermore, he represented an ex-traordinary example by his presence in theline of fire: in fact,in two differentbattles he lost hisright arm andright eye. But letus return to theBattle of Trafal-gar. Following along chase, Nel-son located theenemies at Cadizand, when theFranco-Spanishfleets with thewind in their fa-vour let go of their moorings steering to-wards the Straits of Gibraltar, the British in-tercepted them. Nelson had an inferiornumber of warships as he had 33 vessels

by Edoardo Lombardi*

88L U X U R Y S t y l e o f L i f e 89L U X U R Y S t y l e o f L i f e

Qualities in the Front Line

*Vice-president and managing director of the Mediolanum Bank. Vice-presidentof Mediolanum S.p.A .Past chief executive officer at Procter&Gamble Italy and theFerrarelle Sangemini Group.In 1987, he was appointed chief executive officer atFininvest Italy in the finance and insurance division. Afterwards he became andcurrently is Vice-president of the Mediolanum S.p.A, Vice-president and mana-ging director of the Mediolanum Bank, managing director of the Mediolanum Vi-ta. In addition, he is also Adviser at the Esperia Bank and managing director ofthe Mediolanum insurance.

Admiral Lord Nelson andtoday’s manager

Navy Victory

Nelson

During the first days of February,Giancarlo Menotti left us fore-

ver: he was 95 years old and all ofthem were spent on music andculture. The Duke of Spoleto, ashe was called, was working on thestaging of his most importantcomposition “La Medium”, at theTeatro dell’Opera of Monte Carlo.Everyone agrees when considering

Menotti the greatest composerof the last century, where hiskindness and elegance have pla-ced him at the highest levels ofart, culture and high societyworldwide. His son, Francis Me-notti, attested to “the serenepassing of his father”, who hadbeen a student at the MilanConservatory, had completedhis musical education in theUnited States, and has left us a

large collection of compositions,including a splendid repertoire forconcerts and ballets. And almostas if wanting indicate an omen,the National Orchestra of the Aca-demy of St. Cecilia last Decemberhad actually listed on their pro-gram Menotti’s concert for pianoand orchestra, a small masterpieceof instrumental music production,

concert and symphonic, by theMaestro. It is necessary to say thatMenotti will be remembered abo-ve all for his most beloved crea-tion, the Festival of two Worlds atSpoleto that this year celebrates its50th year from its foundation.Everyone recognises that with thisinitiative, Menotti wanted tocreate a model of integrated cul-ture (music, ballet, theatre, pain-ting, cinema) that contrastedwith the left wing fashion cultureprevalent in Italy between the1950s and 60s. I believe that Me-notti had sacrificed his talent as acomposer on behalf of such acultural choice, and that duringhis lifetime he received less reco-gnition than what he deserved.Someone said that in Italy, Me-notti was frequently forgotten.

by Learco Saporito*photo by Archivio Francis Menotti

behind the scenes

Giancarlo Menotti and theFestival of Two Worlds atSpoleto

82L U X U R Y S t y l e o f L i f e

The Dream of The Dream of an Artist an Artist

TOP, GIAN CARLO MENOTTI AND

FRANCIS MENOTTI AND THE

TEATRO NUOVO OF SPOLETO

DURING THE FESTIVAL OF TWO

WORLDS

IN ALTO, GIAN CARLO MENOTTI E

FRANCIS MENOTTI E IL TEATRO

NUOVO DI SPOLETO DURANTE IL

FESTIVAL DEI DUE MONDI

�верху: �жан �арло �еноттии �рансис �енотти в �еатро�уово города �полето вовремя проведения �естиваля�вух �иров

*Senator of the Italian Republic, elected from the ranks of Alleanza Nazionale. A lawyerand scholar, he has edited several legal publications and was professor of Public, Priva-

te and Administrative Law at different Italian universities. He currently holds the Chair of PublicLaw at the Telematic University "Guglielmo Marconi" in Rome. He was a member of the Com-missions for Constitutional Affairs, Defence, Mafia-related problems, and Public Education. Du-ring the 14th legislature, he was appointed Under-secretary of State for Civil Service. He is Pre-sident of the National Association of Emigrant Families, member of the Union of Catholic Ju-rists, he is married and has two children.

But how many of us have had theprivilege of knowing him, remem-bering him and thanking him forthe magnificent “dream” he had gi-ven to the world with the SpoletoFestival. The most beautiful gift that

one could give to the great Mae-stro is that of continuing to havehis Festival live on. I cannot forgetthe Maestro’s face and his wordswhen he faced the problems of li-fe, of the art of music.

TOP, DANCE GALA

IN SPOLETO’S

PIAZZA DUOMO,GIAN CARLO

MENOTTI AND

FRANCIS MENOTTI,FRANCIS MENOTTI

WITH A FEW ARTISTS

OF ORA MISTICA

AND MAESTRO

GUSTAVO DUDAMEL

DIRECTING THE

2006 INAUGURAL

CONCERT

IN ALTO, GALA’ DI

DANZA IN PIAZZA

DUOMO DI

SPOLETO, GIAN

CARLO MENOTTI E

FRANCIS MENOTTI,FRANCIS MENOTTI

CON ALCUNI ARTISTI

DI ORA MISTICA E

IL MAESTRO

GUSTAVO DUDAMEL

�верху:�анцевальныйгала-концерт наплощади �уомо в�полето, �жан�арло �енотти и�рансиз �еноттис артистами изоркестра Ора�узика и маэстро%уставо �удамел,дирижировавшимво время концертаоткрытияфестиваля 2006года.

FROM THE TOP, THE SPOLETO JAZZ

FESTIVAL IN PIAZZA DEL MERCATO, THE

PERFORMANCE OF ERCOLE SUL

TERMODONTE AT THE CAIO MELISSO

THEATRE, GIANCARLO MENOTTI, THE

CHOIR OF YOUNG TIFFIN BOYS AND

FRANCIS MENOTTI WITH GUSTAVO

DUDAMEL AND THE PIANIST YUNDI LI.DALL’ALTO, SPOLETO JAZZ IN PIAZZA

DEL MERCATO, LO SPETTACOLO “ERCOLE

SUL TERMODONTE” AL TEATRO CAIO

MELISSO, GIANCARLO MENOTTI, IL CORO

DEI GIOVANI TIFFIN BOYS E FRANCIS

MENOTTI CON GUSTAVO DUDAMEL E IL

PIANISTA YUNDI LI.Ансамбль «�полето �жаз» на*ьяцца дел �еркато, представлениеErcole sul Termodonte в театре «�айо�елиссо», �жанкарло �енотти,молодежный хор «�иффин +ойз» и�рансиз �енотти с %уставом�умаделем и пианистом Юнди 1и

Giancarlo Menotti e il Festival dei due Mondi di Spoleto

Iprimi giorni di febbraio ciha lasciati Giancarlo Me-

notti: aveva 95 anni, spesiper la musica e per la cultu-ra. Il Duca di Spoleto, comeveniva chiamato, stava la-vorando alla messa in scenadella sua composizione piùimportante, “La Medium”,presso il Teatro dell’Operadel Prncipato di Monaco.Tutti sono concordi nel con-siderare Menotti il più gran-de compositore del secoloscorso, la cui amabilità e si-gnorilità lo hanno collocatoai più alti livelli di arte, cul-tura e mondanità in tutto il

mondo: il figlio, Francis Menotti,ha testimoniato “la dolce uscitadi scena del padre”, studente delConservatorio di Milano checompletò la sua formazione mu-sicale negli Stati Uniti e ci ha la-sciato un’ampia mole di composi-zioni, tra cui uno splendido reper-torio concertistico e per balletti. Equasi come a voler segnare unpresagio, l’Orchestra Nazionaledell’Accademia di Santa Cecilianel dicembre scorso ha avuto incartellone proprio il concerto perpianoforte e orchestra di Menot-ti, un piccolo capolavoro dellaproduzione di musica strumenta-

le, concertistica e sin-fonica del Maestro.Bisogna però direche Menotti è ricor-dato soprattutto perla sua creatura piùcara, il Festival deidue Mondi di Spole-to che quest’annofesteggia il 50° difondazione. Tutti ri-conoscono che con questa inizia-tiva Menotti volle creare un mo-dello di cultura integrata (musica,balletti, teatro, pittura, cinema)che si è contrapposta alla preva-lente cultura di sinistra di moda inItalia fra gli anni 50-60. Penso cheMenotti abbia sacrificato il suo ta-lento di compositore a tale sceltaculturale, e che in vita abbia avu-to minori riconoscimenti di quan-to meritas-se. Qual-cuno hadetto chein ItaliaMenotti èstato spes-so dimen-ticato. Maquanti dinoi hannoavuto ilprivi legio

di conoscerlo, lo ricorderanno e loringrazieranno per il magnifico“sogno” che con il Festival di Spo-leto ha saputo offrire al mondo. Ildono più bello che si potrà fare algrande Maestro è quello di conti-nuare a far vivere il suo Festival.Non potrò dimenticare il volto delMaestro e le sue parole quandoaffrontava i problemi della vita,dell’arte della musica.

Il sogno di un artista

84L U X U R Y S t y l e o f L i f e

85L U X U R Y S t y l e o f L i f e

�начале февраля от нас ушел�жанкарло �енотти. 4му было

95 лет, и он посвятил их музыке икультуре. %ерцог �полето, как егоназывали, работал над самой важнойпостановкой своей жизни - оперой«�едиум», которую он собиралсяосуществить на сцене оперноготеатра �няжества �онако. *ообщепринятому мнению �иноттиявляется самым крупным опернымкомпозитором прошлого столетия.�астерство и благородство привелиего к высотам мирового искусства,культуры, открыли двери в избранноеобщество. 4го сын �рэнсис говорито кончине �енотти, как «о тихомуходе отца со сцены». �аэстро былстудентом �иланской�онсерватории, затем завершил своемузыкальное образование в �8А. Оноставил нам в наследство блестящийконцертный и балетный репертуар.�ловно из-за какого-то предчувствияв декабре прошлого года оркестр�ациональной Академии �анта;ечилия включил в своюрепертуарную программу концерт�енотти для фортепиано соркестром, маленький шедеврсимфонической и фортепианноймузыки. Однако необходимозаметить, что, прежде всего, имя�енотти останется в памяти

благодаря его самому дорогомудетищу - �естивалю двух �иров в�полето. � этом году он отмечаетпятидесятилетие своего основания.�семи признанно, что через своюинициативу �енотти хотел создатьмодель интегрированной культуры(музыка, балет, театр, живопись,кино), как противовес левым моднымтечениям в культуре >талии 50-60годов. �умаю, что �енотти принес вжертву своей инициативекомпозиторский талант и поэтомупри жизни не был признан в тоймере, как он того заслуживал.

+ытовало даже мнение, что в >талиио �енотти часто забывали. �о те изнас, кому посчастливилось узнатькомпозитора поближе, никогда незабудут его и будут всегдаблагодарны за волшебный сон,который �естиваль �полето подарил�иру. �амым большим даром памятивеликому �аэстро станетпродолжение 4го дела и 4го�естиваля. �икогда не забуду лицо�аэстро и сказанное им в моментыразмышления о проблемах жизни,искусства и музыки.

�жанкарло �енотти и �естиваль двух �иров в �полето

�он художника TOP, THE CAIO MELISSO

THEATRE DURING THE

FESTIVAL, THE ARTIST

IGOR MITORAJ AND

FRANCIS MENOTTI AND

THE ENTRANCE TO THE

CONCERT IN THE PIAZZA

IN ALTO IL TEATRO CAIO

MELISSO DURANTE IL

FESTIVAL, L’ARTISTA IGOR

MITORAJ E FRANCIS

MENOTTI E L’INGRESSO AL

CONCERTO IN PIAZZA

�верху: �еатр «�айо�елиссо» во время�естиваля, артист>горь �иторай и

�рансиз �енотти увхода на «�онцерт на

*лощади»

Festival dei Due Mondi - 50° anniversarySpoleto, 29th June -16 July 2007President and Artistic Director Francis Menotti Toll free number 800565600www.spoletofestival.it