Luci mie traditrici


How to understand Luci mie traditrici?
I think what concerns the artistic language there are more questions than answers. This can be said also about this opera. Although I do not like to synthesize any work, I could isolate in Luci mie traditrici the main idea of ​​the impossibility of love, but I insist that the answers are acquired during the musical experience. So it's the viewer who responds to him and will formulate new questions to the work. And so the complex nature of the artistic language that becomes the reason for being


Why did you choose a seventeenth-century history to construct the plot?

I never thought that a story was due to the historical period in which it is conceived. In fact, the best stories are those that do not expire, those that over the years maintained a universal meaning. Like Greek tragedy.


The opera is an inquiry into the realm of the senses?
Yes I have always driven my language to an evolution of perception. This implies not only a sense that something is there and we can perceive. It also has to do with Eros or feelings, because man is an organic whole.


Excerpt from an interview by Benjamin Rosado to Salvatore Sciarrino at El Cultural from Spain.


  • Luci mie traditrici
    (Argentinean premiere)
    Opera in two acts by Salvatore Sciarrino with a libretto by the composer
    From Il tradimento per l’onore by Giacinto Andrea Cicognini

  • with
    La Malaspina
    Raminta Babickaite

  • Il Malaspina
    Ekkehard Abbele

  • L’ospite
    Daniel Gloger

  • Il servo
    Florian Just

    Ensamble Lucilin, Luxemburg and argentinean musicians

  • Lights
    Jorge Pastorino

  • Set and costumes
    Oria Puppo

  • Musical direction
    Tito Ceccherini

  • Stage direction
    Alejandro Tantanian

  • Running time: 75 minutes.

  • Argentinean premiere: November 5th, 2011, Ciclo de Música Contemporánea, XV Edition, Sala Casacuberta, Teatro San Martín, Complejo Teatral de Buenos Aires (CTBA), Argentina