July 24, 9:15 p.m.
A production of the La Spezia International Jazz Festival.
“History is not made by the conflicts between kings or the powerful, it is created by the labor of men”
Labor is probably along with love the human activity that music, song, has been most concerned with, both the learned and the popular, and in every corner of the world. From music born in slave fields to that of peasant barnyards, to fight songs, to contemporary folk song, to rock and its derivations, to jazz. Even what we call cultured or classical music has dealt with it. Labor and workers were not only the subject of music and song, they were active participants in it, just think of the flourishing of choirs, amateur philharmonic societies, people’s houses and dancing clubs. Song is the most widely used form of making music among workers and about their condition. We live in a time when workers count very little in economic and social life, they have lost income and power, they are more marginal, the same material condition, the complexity of new jobs is little known as if it did not interest them. We do not want to make an anthropological operation, much less a political one, ours is an exquisitely artistic project; to give the right space and role to this theme through the reinterpretation in another key of songs that have dealt with it, from fight and folk songs to songwriting, with the idea that art is the strongest and best way to have identity, to recognize oneself in a community of values and interests. We reread, we arrange, we reinterpret to bring out how labor, the condition of workers are modern issues of our daily lives, more than so much chatter that covers us, knowing that we musicians. First of all, we are workers.
Cristina Zavalloni, voice
Jazz-trained, she undertook the study of bel canto and composition at the Giovanni Battista Martini Conservatory of Bologna at the age of eighteen until 1999. For many years she devoted herself to ballet and contemporary dance practice. She performed in jazz festivals (Montreux Jazz Festival, North Sea Jazz Festival, Free Music Jazz Festival in Antwerp, Moers Music, Bimhuis in Amsterdam, Umbria Jazz, Rumori Mediterranei in Roccella Jonica, London Jazz Festival, I Suoni delle Dolomiti, Nouveau Theatre in Besançon, Sala Scarlatti in Naples, Novara Jazz Festival, Sant’Elpidio Jazz Festival, Klara Festival in Brussels, International Jazz Festival in Rotterdam, Concertgebouw in Bruges, Metastasio Jazz in Prato, Blue Note in Milan, Casa del Jazz in Rome, Banlieues Bleues in Paris) and in classical seasons (Lincoln Center in New York, Carnegie Hall in New York, Concertgebouw in Amsterdam, Palau de la Musica in Barcelona, Barbican Center in London, New Palace of Arts in Budapest, Auditorium Parco della Musica in Rome, Walt Disney Hall in Los Angeles, Teatro La Fenice in Venice, Teatro Comunale in Bolzano).
She has performed with orchestras such as the London Sinfonietta, BBC Symphony Orchestra, Schoenberg Ensemble, Sentieri Selvaggi, Musik Fabrik, Orkest De Volharding, Orchestra della Rai Torino, Los Angeles Philharmonic, ORT, Orchestra Toscanini, conducted by Martyn Brabbins, Stefan Asbury, Reinbert De Leeuw, Oliver Knussen, David Robertson, Jurjen Hempel, Georges-Elie Octor, Andrea Molino.
In 1997 she was Lucilla in La scala di seta at the Teatro Comunale di Bologna and performed Pierrot Lunaire (Schoenberg) at the Teatro Verdi (Pisa). In 1998 she is Justine-Juliette in Sylvano Bussotti’s La Passion Selon Sade at the Conservatorio Antonio Vivaldi in Alessandria. For the Teatro alla Scala in Milan conducted by Carlo Boccadoro he gave a recital in 2001 and in 2004 at the Teatro degli Arcimboldi.
She collaborates with Dutch composer Louis Andriessen, who has written some of his most recent masterpieces for her, including Passeggiata in streetcar per l’America e ritorno, La Passione, Inanna, Letter from Cathy, Racconto dall’Inferno, and the role of Dante in La Commedia, with which Zavalloni debuted at Carnegie Hall in New York in 2010, and the role of Anais in Andriessen’s monodrama Anaïs Nin in the 2010 premiere at the Teatro dei Rozzi in Siena, with which she is touring (the Netherlands, Germany, England, in 2012 the United States). She is the performer of first performances by Boccadoro, Emanuele Casale and designated interpreter of compositions by James McMillan (whose U.S. premiere of Raising Sparks she recently played, at Carnegie Hall in New York), William Parker (live world premiere of Alphaville Suite – Bologna 2010).
She experiments with the Baroque repertoire (in 2005 Drusilla in L’incoronazione di Poppea conducted by Rinaldo Alessandrini in Strasbourg, Clorinda in Il combattimento di Tancredi e Clorinda directed by Mario Martone at the Ravello Festival, starts a collaboration with Alain Platel and Fabrizo Cassol (VSPRS and Pitié!), and cultivates his passion for Brazilian Popular Music, in duo, with Brazilian mandolinist Hamilton de Holanda and in quartet, with Guinga, Gabriele Mirabassi, Roberto Taufic. In 2006 the recording of Andriessen’s Tale from Hell was released with the Los Angeles Philharmonic Orchestra for Deutsche Grammophon performed at Walt Disney Concert Hall. In 2007 she was Mirandolina in the world premiere of Luca Mosca’s Signor Goldoni with Sara Mingardo at Teatro La Fenice in Venice.
In 2011, he rediscovered the repertoire of Weill and Eisler, and tackled Cole Porter songs for the first time, with the ensemble I Fiati Associati (Weill and Porter Songs). On May 15 she made her debut in the part of Sexilia, in the premiere of Moscow’s L’Italia del Destino with Mingardo, at Teatro Goldoni (Florence) for the Maggio Musicale Fiorentino. On May 29 he performed, for the first time in concert, as a duo with pianist Stefano Bollani at the Foligno Young Jazz Festival. Cristina Zavalloni collaborates with the Egea Records label, which has released her last three CDs: IDEA (2006) and Tilim -Bom (2008), as a duo with Andrea Rebaudengo, and SOLIDAGO (2009), as a quartet.
She has recorded for Winter&Winter, Felmay, Ishtar, Cantaloupe, MN Records, Deutsche Grammophon-DG Concerts Series and presented her new jazz album at the Rumori Mediterranei Festival in Roccella Jonica, August 18, 2011.
In 2012 she was Clorinda in Il combattimento di Tancredi e Clorinda directed by Martone at the Terme di Caracalla for the Teatro dell’Opera in Rome and in 2013 the Female Chorus in The Rape of Lucretia at Teatro Alighieri in Ravenna, Teatro Municipale (Reggio Emilia) and Teatro Goldoni in Florence and Miss Jessel in Il giro di vite (opera) at Teatro Comunale in Bologna.
In 2016 she is Sor Juana Ínes de la Cruz in Andriessen’s Theatre of the World in Amsterdam.
Cristina Zavalloni has long collaborated with the EGEA label, which has released her last four albums, as a quartet. She has recorded for Winter&Winter, Felmay, Ishtar, Cantaloupe, MN Records, Deutsche Grammophon-DG Concerts Series. The program from her new jazz album for EGEA, The Crystal Woman, premiered at the Roccella Jazz Festival on August 18, 2011.
As of 2016,s he is a lecturer as part of the Accademia Musicale Pescarese’s Advanced Courses.