L’arte contribuisce a (ri)definire la nostra identità, le nostre prospettive, aiutandoci a traghettare idee, emozioni, sensazioni ed ambizioni dal passato al futuro. L’Opera, la musica lirica, il teatro sono veicoli e linguaggi indispensabili per compiere questo viaggio metatemporale ed elettivo.

Il valore delle arti – amplificato dalle nuove possibilità offerte dal digitale – dischiude un orizzonte generativo che possa coinvolgere e produrre un impatto importante sul nostro modo di esistere e coesistere.

L’impegno di Innovio è mettere in rete talenti, intelligenze e comunità per tenere viva questa missione, i cui valori sono espressi e contestualizzati da quattro domande fondamentali con le relative risposte:

Identità In Opera

Chi siamo? Usare l’arte per (ri)conoscere l’identità

“As a unique musical genre, at its heart opera is drama that invokes several modes of expression, including songs, stories, dances, rituals, and theatre. Opera can be grand, elitist, and formal, or comical, quotidian, and flexible, but it is eminently adaptable to the values and belief systems of its creators, producers, performers, and audiences.”

(…)

“In Music and the racial imagination (2000), Robert Radano and Philip Bohlman suggest that an exploration of the social constructions of ‘otherness’ in music at once opens up opportunities for (self-) reflection and collapses our willingness to explore them as too personal, too “ideological,” and therefore as unscholarly.”

Opera in a Multicultural World

Coloniality, Culture, Performance

Edited by Mary I. Ingraham, Joseph K. So, and Roy Moodley

Prospettive In Opera

Cosa vogliamo essere? Nutrire il desiderio di andare “oltre”

“Opera is impossible and always has been. Impossibility is baked into the art form’s foundations. The operatic ideal, an imagined union of all the human senses and all art forms—music, drama, dance, poetry, painting—is itself an impossibility. But this impossibility is productive and even liberating: all of opera’s bizarre and beautiful fruits, its cathartic embodiments of the extremes of human psychology, its carnivalesque excesses, its improbable moments of intimate revelation, stem from artists’ ongoing search for this permanently elusive alchemy. The art form’s first practitioners, in seventeenth-century Italy, strove to re-create the effect of ancient Greek drama, which of course they had never heard, and which no one can be sure was sung in the first place. Nearly four centuries later, Karlheinz Stockhausen wrote a twenty-nine-hour operatic cycle titled Licht (Light), which he called an “eternal spiral” with “neither a beginning nor an end.”

The Impossible Art

Adventures in Opera

Edited by Matthew Aucoin

Futuro In Opera

Cosa sappiamo immaginare? Esplorare i sentieri del futuro 

“If it is Western material history that has constructed in that narrative the idea of opera as a fin de siècle cultural monolith and opera studies as an associated scholarly pursuit, these at least serve a reflecting pools for our own work; though the spirit of opera and the prism of opera studies are inescapable legacies that must be revisited in the wake of new work and new approaches to scholarship.

(…) working to untangle historical residues, working to make visible entrenched assumptions and working to promote new perspectives. For us, collectively, the legacy of opera is one that is complex, being both the well-spring from which the source of so much fascination and creative material has bubbled, and the damp, mossy ground left as the well runs to a trickle. The legacy of opera—or indeed the spectre—looms large both as a creative energy and a delimiting force.”

The Legacy of Opera

Reading Music Theatre as Experience and Performance

Edited by Dominic Symonds and Pamela Karantonis

Tradizione In Opera

Da dove veniamo? Approfondire il legame con il passato e le nostre radici

“We study something firstly because we want to understand ‘the why and wherefore’ of it: why it is, and why it is as it is. We want to understand its constituents: how they are put together and why they are put together in that way. And, secondly, we want to understand why it has the effect that it has upon us, so as to know better the values that form our own subjectivity; to gain understanding of the basis of our own pleasures or displeasures, as individuals and members of particular groups and communities. And, finally, we study something for the light it casts upon the society and culture within which the object of our study exists (or existed). Even if Baudelaire didn’t express this last concern immediately, he was certainly one of the first critics to have understood how works of art tell us about their specific historical moment.”

The Cambridge Companion to Opera Studies

Edited by Nicholas Till

I sostenitori di In Opera