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Valentina Lo Surdo, «The success? It’s a faith question», An interview with Cristian Carrara, Suonare News, December 2017

He is one of the most important composer of his generation . His music can reach the heart of the people thanks to the bravery of the simplicity. Cristian Carrara tell us his idea of art: «Look for the beauty that go to everyone». He suggest a thought to the young people that begin this profession: «Let’s remember that we write always for other people, do it only for ourselves is a limit. To whom will spend money and time to listen me, what I will give back to him? An other important thing is to believe in our ideas: if you have a winning one, don’t leave it, you will find the way to get it. The really functioning idea is the one that can be heard by everybody».

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Suonare News, December 2017, pp. 42-43

Giuseppe Rossi, Faust in the sky, «Musica», October 2017

In terms of the language, Carrara’s music could be signed up in the neoromantic trend of which composers that, refusing the experimentalisms of twentieth’s century vanguards, aim for recovery an immediate communicativeness trough attitudes of traditional writing, from a taste of a well- defined melody to the tonal harmony with modalisms, until the regularity of tonal structure. There is a certain minimalist influence in the obstinate repetitions of some rhythmic and melodic forms, but without the complexes procedures of elaboration typical of this trend. You know, a music low by appearance, simple and direct, written to please at first listen without put intellettual complications. The titles and the change of mood of the short movements suggest the necessity to go beyond the appearance, to search hidden meanings behind a path so straightforward that it seem like obvious. Really, in terms of the contents, Carrara means to speak about the anxieties and the neurosis of our time like the aspiration to get rid of them through the memory of the past or the achievement of a new energy able to trascend them, with the recurring presence of a clarinet, almost invested with the function to evoke the heartfelt voice of the composer himself. Candidly clear, but really very cunning in the dose of its elementary constituents, Carrara’s music has in this cd a return at the same time stubbornly sharper and passionate by Solisti Aquilani […]

Alessandro Beltrami. Venezia. Digital art reveals the mistery and Antonio Vivaldi’s visions, «», 29th of May, 2017

And the music is, still more of the technology, the true added artistic value of the operation. It isn’t obvious: because Cristian Carrara selected twenty fragments from various Vivaldi’s operas of every genres – all in benchmark editions, from Fabio Biondi to Francesco Maria Sardelli to Philippe Jaroussky – by sewing them with new music in three pieces, one for room, for 35 minutes seamlessly, to whom the pictures work like a “visual column”. A really refined operation, like a changing rendering that, on the basis of Berio’s teaching and of the Vivaldi Recomposed of Max Richter, merges and at the same time keeps identifiable ancient and contemporary.

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Alberto Laggia, How much is the “red priest” pop, «Famiglia Cristiana», 22th of May, 2017

[..] This full immersion in the life and in the art of Vivaldi is divided in three steps, as many are the rooms of the exhibition (but the term “exhibition” is perhaps an inappropriate term, by lighting only the visual aspect of the path). Inside them it is developed, in a musical continuum of pieces written by Vivaldi and sewn together with piano musics written for the occasion by Cristian Carrara, a route that wants to drive us inside the genius of the venetian composer, almost into his mind, to tap his synapses that make emerge the sublime art of his notes.
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Famiglia Cristiana

Gian Mario Benzing, Vivaldi to see, «la Lettura – Corriere della Sera», April the 2th, 2017

[…] At the Museo Diocesano in Venezia, from May the 13th, is going to be inaugured Viva Vivaldi, a new «artistic-spectacular format», that conducts the viewer in a total immersion in the music of baroque genius: sounds, pictures, even scents. […] Viva Vivaldi is ad exhibition with a high technological content. With the artistic management by Davide Rondoni, the musical part by Cristian Carrara and the visual by Gianni Canova […].
«Also the musical choices – explains to “La Lettura” Cristian Carrara – are made following the storyboard. With the composer’s look, I selected various sketches from Vivaldi, trying to give musical unity to pieces coming from various genres, like concerts, opera, sacred music, juxtaposed for assonance, colours, tonality, and linked between them with my interludes, like areas of pause; in some cases I allowed myself to add instrumental or extramusical sounds on. Anyway, the music is going to be in foreground, not like a soundtrack: the effort is to make sure that the multimedial scope will be functional to the sound experience».
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Paola Pini, GON, CARRARA, PODDA, TARALLI Trieste – Ridotto del Verdi – Sala Victor de Sabata – Progetti contemporanei, «Opera Click»

With Eveline-Hommage to Joyce and to Trieste by Cristian Carrara, it passes to new atmospheres, weakened, with a different charm, drawn by a text nearest to us in a chronological sense: the short novel from Dubliners. Here we have other suggestions from a writer so careful to the sound of the words that we consider almost a crime translate his works. As Italo Svevo wrote: “Dubliners (Gens de Dublin in French) are known […]- The importance of those short stories are less comparing with the following works, but we can say that Joyce found his whole bases on them. He is the impersonal narrator who doesn’t ignore anything, and he doesn’t forget a line of color. We can touch his characters.” Carrara gives suggestions that are almost a trace, the delicate smell of the spots described by the text. The inner drama is said instead very loudly without hide anything: unavoidability, impossibility to get out of a suffered condition, the hope betrayed, the desire of a good life. The percussive rhythm at a certain point, supported also by strings plucked, expresses all the angst of the female character.
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Nicola Sbisà, A Cinderella that could like it to the adults too. At Petruzzelli the fairy tale reread by Carrara and Pani, «Gazzetta del Mezzogiorno», October 1st, 2016

[…] The Cristian Carrara’s music is inspired, with fruitful creative vision, to this theatrical narration: soothing music, simple and sincerely aimed to an instinctive involvement of the young audience (“between Puccini and Bernstein” says the composer himself, but sincerely original, we add, and magnificently linked to the story). At the end of the show we are pleasantly amused and satisfied: just a fantastic journey in a fairytale world, that amuses the youngests, but at the same time urges the sincere interest of the adults also, perhaps, we would like to add, more tied to the story than the boys.

Sergio Zolli, The Ljubljana’s Slkovenska Filharmonjia closes Mittelfest 2016, «Instart», July 26th , 2016

Then, Cristian Carrara from Pordenone presents his The waste land, for viola and orchestra, Danusha Wakiewica soloist, a reflection on today human condition tied to the spiritual dryness in present day society based on the poem written by T. S. Eliot. The composition comprises, as the traditional solo concert, three movements, with the central one slower and meditative than the other two. The writing of Carrara is affected, in its sonorities and expressive solutions, by demonstrable evidences of historical avant-garde, from Ravel to Stravinsky and Bartok, and of jazz, and it is far from experiments, flow and pleasant to listen. The performance sees a wonderful Danusha Wakiewicz unreaveling the dialectic relationship with orchestra with a beautiful sound, a rare technical perfection and a passionate musicality. Viola and orchestra did a high performance, welcomed by the audience with prolonged applauses.

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slot machine

Massimo Marino, Two shows in Ravenna: Via Crucis for Slot Machine and the fanta insane theater of Operazione Atarax, «Il corriere di Bologna», 17 febbraio 2016

“We have already seen Slot machine in Spoleto during September 2014 in the form of experimental opera, with the beautiful music of Cristian Carrara. […] The music remains the one incisive, slipping, fluid of Cristian Carrara, without singers’s arias, in the mysterious stage space, mirror of the fractured self of the character, that for a while appears for flashes and fragments of face, limbs, arms, body at the light of a battery, between bowel sounds, giggle, snaps, bad noises, drawing up a sunk, broken down life”.
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Daniel Kepl, Christian Carrara’s Machpelah: Dialog for Violin, Cello & Orchestra, «Casa Magazine», January 8th, 2016

The recurrent theme throughout this rich program is dialog, musical and otherwise, explained Maestro Nir Kabaretti, who will conduct the premiere, together with works by Handel (Water Music), Gabrieli (Symphoniae sacrae), and Bartok (Concerto for Orchestra).We have the privilege of premiering a work by one of Italy’s leading composers that is in essence a dialog between cultures through two soloists. Carrara agreed to answer a few qestions leading up to the premiere.

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