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    Ceretta

    Thursday 8 May 2025
    Cascina (PI), Città del Teatro
    Thursday 8 May 2025 h. 9:00 p.m.
    DIEGO CERETTA conductor
    Orchestra della Toscana
    Keiko Devaux / Fractured Landscapes
    Alfredo Casella / Serenade Op.46 bis, for chamber orchestra
    Pëtr Il'ič Čajkovskij / Symphony No.4, Op.36
    Duration 90 minutes about / with pause
    in collaboration with Accademia Chigiana di Siena

    This concert REPLACES the Ceretta-Colli concert of 15 March that was cancelled due to bad weather.
    For more info on tickets and access CLICK HERE
    Tickets
    Single ticket €12.00 (including advance sale)
    Tickets can be purchased online on Ticketone, in authorised outlets and at the theatre box office.
    For information tel. +39 050 744400 (extension 1)
    calendar
    Booklet

    One must always take risks in composition,” asserts Keiko Devaux, a Canadian composer born in 1982, whose work is being presented by the ORT. For her—who also studied with Salvatore Sciarrino at the Accademia Chigiana in Siena—eliciting emotion is not taboo, as it has been for many composers of the late 20th century. Her pieces aim for clarity of expression, unapologetically reveal their vulnerability, and seek to develop musical gestures and experiences that leave the audience suspended, floating in the time and space of listening.

    In the program led by our principal conductor Diego Ceretta, Devaux’s new work is placed alongside two compositions that could not be more different: Serenata op.46bis for string orchestra by Alfredo Casella, a true rarity, and the Symphony No. 4 by Pëtr Il’ič Čajkovskij, a cornerstone of the late Romantic symphonic repertoire beloved by audiences. A torrent of emotions, the symphony was written by Čajkovskij between 1876 and 1878, one of the darkest periods in the composer’s life, during which, in a misguided attempt to overcome his homosexuality, he made the reckless decision to marry a student—a marriage that lasted only a few hours. The composer described the hidden meaning of the symphony as pessimistic, portraying Fate as “the inescapable force that prevents our hopes for happiness from being fulfilled; that lurks, jealously, to prevent our well-being and peace from becoming full and unclouded: a force that, like the sword of Damocles, perpetually hangs over our heads and continually poisons our souls.”




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