Tiziana Scandaletti

TIZIANA SCANDALETTI, soprano, defined by The Washington Post “a big voice who projected both humour and teatricality vividly”, is professor of Vocal Chamber Music at the Nicolini Conservatory in Piacenza. She got a diploma with top marks in Canto from the Vicenza Conservatory and a graduated with top marks and honours in History of Music from the University in Padua. She attended numerous perfection courses (with Albarosa, Clemencich, Curtis, Puecher, von Ramm and Susanna Ghione) and has been a winner at international competitions.
 
For a number of years she has been devoting her attention to contemporary music, recording with alluring reviews for broadcasts and telecasts in RAI, RSI, Azerbaijan National Radio Televisions, China National Televisions, Kazak National Radio Televisions, Uzbek National Radio, Vatican Radio, and for CD labels such as Ariston-Ricordi, Curci, Edipan and Nuova Era (seven CDs, included monographies on Giorgio Federico Ghedini, Alfredo Casella and Franco Alfano), Stradivarius (eight CDs, included the series La voce contemporanea in Italia – CDs 1-6, wide research project with musicological intervents by Quirino Principe, Paolo Petazzi, Guido Barbieri, Carmelo Di Gennaro, Stefano Leoni, Andrea Bedetti and La voce crepuscolare – Notturni e Serenate del ‘900), Urania Records (Tosti 1916. The last Songs on original Erard piano 1904)

She has worked with Teatro alla Scala, Santa Cecilia National Academy, Festival MiTo of Turin and Milan, Verona Arena Foundation, Umbria Music Festival, Milano Classica Orchestra and I Pomeriggi Musicali, National Orchestra of the Azerbaijan RadioTV, Orchestra della Toscana (ORT), Orchestra Filarmonica di Torino, Teatro Carlo Felice in Genua, City Theaters of Bologna, Modena and Reggio Emilia, Teatro La Fenice… many important Italian festivals and concert seasons (2nd May Association and Contemporary Music Center – Milan, Amici della Musica in Milan, Modena, Pistoia, Trapani, Udine, Antidogma Musica and Accademia Stefano Tempia – Turin, Incontri Europei con la Musica – Bergamo, Irpinia Festival – Avellino, I Teatri di Reggio Emilia, Nuovi Spazi Musicali, Musica d’Oggi, Incontri Musicali, PentArte, Nuova Consonanza – Rome, Società della Musica – Mantua, Solisti Dauni – Foggia, Sonopolis – Venice, Spazio Musica – Cagliari, Spazio Novecento – Cremona, Sulle ali del Novecento – Brescia, Teatro della Fortuna – Fano, Traiettorie Sonore – Como, etc.) and, abroad, with several important institutions. Many composers have dedicated pieces to her voice, including Giacomo Manzoni, Ennio Morricone, Marcello Abbado, Claudio Ambrosini, Giorgio Battistelli, Andrea Basevi, Umberto Bombardelli, Giovanni Bonato, Gilberto Bosco, Curt Cacioppo, Beatrice Campodonico, Pieralberto Cattaneo, Fabio Cifariello Ciardi, Alberto Colla, Giorgio Colombo Taccani, Azio Corghi, Fabrizio De Rossi Re, David Del Puerto, Luigi Esposito, Fabrizio Festa, David Froom, Ada Gentile, Giuseppe Giuliano, Giovanni Guaccero, Adriano Guarnieri, Richard Hermann, Carlo Alessandro Landini, Paola Livorsi, Giovanni Mancuso, Marco Molteni, Riccardo Piacentini, Alessandro Solbiati, Rossella Spinosa, Daniela Terranova, Fabio Vacchi, Dmitri Yanov-Yanovski, etc.

With the composer and pianist Riccardo Piacentini has formed the Duo Alterno, active since February 1997: concerts and master-classes on the contemporary vocal techniques all over the world.

Among the other artists who collaborated with her: Guido Arbonelli, Guido Boselli, Daniela Cammarano, Francesco Dillon, Katja Erfurth, Roberto Fabbriciani, Bryan Johanson, Michele Lomuto, Anna Maria Morini, Ivo Nilsson, Giuseppe Nova, Rocco Parisi, Madeleine Shapiro. Among the ensembles and the orchestras: Accademia Montis Regalis and Antidogma Musica – Turin, Ex Novo – Venice, Gruppo Fiati Musica Aperta – Bergamo, Nuovo Contrappunto – Florence, National Orchestra of the Azerbaijan RadioTV, Orchestra della Toscana (ORT), Orchestra del Teatro Comunale di Bologna, Orchestra Filarmonica di Stato di Baku, Orchestra Filarmonica di Torino, Orchestra I Pomeriggi Musicali di Milano, Orchestra Milano Classica, Penderecki String Quartet – Toronto, Studio for New Music – Moscow.
 
Since 1995 she is collaborating to the artistic planning of the Rive-Gauche Concerti in Turin. In the field of musicology she has published works for Cleup, Curci, Il Mulino, Il Giornale della Musica, Il Saggiatore, Il Santo and Neri Pozza.

Some reviews about Tiziana Scandaletti

La Stampa, october 31st 2018
“La musica contemporanea può essere divertente e a dimostrarlo arriva ‘Musiche in Mostra’, la rassegna di Rive-Gauche [...] ‘Portiamo la contemporanea in luoghi alternativi, tendenzialmente non nelle sale da concerto ma in musei, antichi palazzi e spazi inconsueti – spiega Riccardo Piacentini, presidente dell’associazione, compositore e pianista. L’idea è di farla arrivare in ambienti che permettano delle interazioni, perché ormai siamo giunti a un momento in cui si sente la necessità di uscire dai vincoli accademici, di liberarsi da un’impostazione un pochino rigida che questo genere porta con sé’. Largo quindi alla fantasia e alla sperimentazione per sfatare i luoghi comuni legati alla contemporanea, come quello che sia inaccessibile, che per ascoltarla ci sia bisogno di una preparazione particolare e che sia caratterizzata da suoni striduli e magari pure fastidiosi.” (Franca Cassine)
American Record Guide, july-august 2018: Tosti Last Songs
“[...] Tiziana Scandaletti's pleasant, a good match for these attractive, melodic songs [...] Her diction is also excellent. She is a native Italian and enunciates the double consonants clearly and is sensitive to the texts. Piacentini offers lovely accompaniments; his sensual handling of the Puccini waltz had me singing along [...] If you're a Tosti collector, you might want this.” (Reynolds)
MusicVoice, june 2018: When Tosti knocked on the door of modernity
“[...] a couple of artists who has made a name internationally in the panorama of vocal chamber music of the twentieth century and above all of contemporaneity and that represents a precise point of reference for this type of repertoire [...] The recording made by the Duo Alterno deserves to be examined for its inherent and stimulating peculiarities. First of all, we have to say about the choice of the songs presented by the two interpreters, that are works which almost all belong to the last period of the Abruzzese period [...]
Suonare News, may 2018: A voice actress for the last Tosti
“It could only be the Duo Alterno, who for decades have been passionate witnesses through concerts and cd recordings about the twentieth century Italian chamber music, to give voice to the last Tosti. By placing him not among the melodramatic 19th century lounge followers [...] Tiziana Scandaletti's acting voice is ideal, as well as it works with particular sound suggestion that the line of the piano theatrically supported by Piacentini has the antique voice of a nineteenth-century piano, an Erard of 1904.” (Angelo Foletto)
Chair of Department of Music, UMBC University of Maryland, Baltimore County,
april 23rd 2018
“Dear Tiziana and Riccardo [...] it was an absolute pleasure to welcome you to UMBC, and to hear your wonderful performance! The students were very intrigued and inspired by all that you presented, and I had many discussions with them about the value in making a performance both beautiful and surprising!” (Linda Dusman)
Quotidiano Nazionale, april 15th 2018: Listening to the beauty. Verses by the Vate and notes by Tosti, a true Consolation
“A recent CD Urania Records (2017) contains lyrics by Francesco Paolo Tosti (1846-1916) on verses by Gabriele d'Annunzio (1863-1938). The interpreters are the Duo Alterno, soprano and piano, so meritorious in the diffusion of the music of our twentieth century [...] the CD offers the poem 'Consolazione' (1916), 17 quatrains of endeasyllables taken from the 'Paradisiac Poem' [...] A very strong bass note and a prelude introduce the initial exhortation, 'do not cry anymore'. A fervid murmur envelops 'Dreams, dreams, my dear soul!'; bare, empty piano chords evoke the silence of an instrument dumb from years [...]” (Giuseppina La Face)
Classicaonline, march 2018: The late Songs for soprano and piano. Duo Alterno. 1 CD Urania Records LDV14033
[...] Piacentini, who chose a 1904 Erard piano not causally, giving them the elegance and essentiality that make these small pages 'album sheets' of uncommon quality, so deprived of any sentimental rhetoric often stuck by a deformed vision of late nineteenth-century sensibility. Complete this excellent program the interesting experiment, characteristic of the Duo, on the research 'photo-music with photo-sounds', where the 'soundscape' of Ortona, the birthplace of Tosti is portrayed: the artists have 'captured' among the houses of the time the fountains and the cobblestones that still smell of the past era, the 'acoustic context that, merged in more recent sounds, even today resists', presenting it in such genuine dress and, therefore, placed in counterpoint with one of the rare duets vocal of the author's production, 'Aimez, quand on vous aime!', obtaining an interesting and original result that closes in an unusual way a program no doubt uncommon for those who superficially liquidate Francesco Paolo Tosti as author of ‘lounge songs’.” (Bruno Belli)
Il Giornale di Voghera, january 29th 2018: Success of the first concert of Alia Musica. A journey to the “isle that does not exist”
“There are valid musicians as teachers, but not as composers or performers. There are those who perform well in the recording studio and live concert, and those who give the best only in front of the audience. There are good interpreters who are little looking and studying, and scholars who neglect the voice or the instrument. There are singers who have breath and not taste, or taste and breathless [...] The miracle I had Sunday afternoon at the Historical Museum, in the 'twilight concert' of the Duo Alterno dedicated to the Shoah: the first of the concerts of the new review of Alia Musica. Tiziana Scandaletti [... and] Riccardo Piacentini [...] have held concerts in all five continents, recorded about twenty CDs, deepened - for records and for concerts - music and composers known and less known, have experimented novelties like the 'fotosuoni' and moreover they are a nice couple.
Musica, december 2016 - january 2017: The Italian contemporary voice vol. 6
“We do not know if this is their last CD dedicated to the Italian contemporary voice, but it is sure we can make a balance of this project, developed over a decade. The recorded pieces belong to the last 60 years, but they go also back to the watershed at the end of the Second World War, proposing for instance works of Petrassi and Scelsi too. [...] Scandaletti’s voice stands out compared to the recorded part, with excerpts by the ‘Concert’ [...] to the Duo Alterno we have to recognize not only interpretation skills, but also high creative qualities in catching the sense of signs and building, with the composer, the true final piece. Piacentini’s piano has a tinny sound; Scandaletti shows remarkable technical skills and a pretty wide range: it is impressive to listen to a singer (se the final pitches in Guarnieri and Landini) who is so able in performing long and very high notes keeping a slight dynamic, a sort of Giotto’s circle in music field.” (Gabriele Moroni)
Amadeus, january 2016: The art of singing (and playing) reciting
“[...] in the foyer of Teatro Verdi in Padua [...] it was held the concert ‘Il teatro in una stanza’ [The theater in a room]. The concert started with a brief presentation by Piacentini on the evening, an idea that was crucial for better understanding the program. Then Berio’s 'Four popular songs' was performed, an impressive beginning to show the remarkable and powerful voice of Scandaletti and the wonderful technique of Piacentini, as well as making immediately clear the harmony between the two musicians [...] Heart of the program was the selection by ‘Epitaffi sparsi’ [Scattered Epitaphs] of Morricone, in a version with preludes and postludes dedicated by the author to the same Duo Alterno. Besides the advantage of showing the not film side of the very famous composer, this piece had also the task of introducing the concept of acting theater inside the concert, between declamations of the pianist and stage movements of the singer, not last the climb over the piano in the eighth ‘Epitaph’. This concept then was taken to extreme levels by Ada Gentile’s ‘How Betty Boop spends her daytime’, written in 2006 and dedicated to the duo [...] At the end of the program there were the ‘Four songs on ancient Neapolitan texts’ of Giorgio Federico Ghedini [...] that again confirmed the strong technique and precise sound research of the two performers.” (Alessandro Tommasi)
The Jakarta Post, October 18th 2015: Il Duo Alterno: Italian era intimates Asia
“[...] The contemporary composition ‘À la vie’, by Riccardo Piacentini and sung by Tiziana Scandaletti under the name Il Duo Alterno, pivoted between 100 years of essences captured, with ‘I Sonetti delle fate’ by Gian Francesco Malipiero and ‘L’adieu à la vie’ by Alfredo Casella, becoming nexus in explaining a world so distant in outlook as 1915 Italy. [...] Present were diplomats including Russians, Spaniards and Indonesians ready to be infused with the cultural exchange marking a historical moment. Each person in Il Duo Alterno was acknowledged by their command of vocal chamber music, a form of intimacy in song different to opera, which, sung Scandaletti, has the heights of a soprano with the aesthetic of confided storytelling. [...] To the ears and hearts of Piacentini [...] and Scandaletti, an opera-trained soprano [...] the nuances of different experiences in Italy can be traced through compositions. [...] Texts from Rabindranath Tagore, who won the 1913 Nobel Prize in Literature, complimented the pieces, alongide Rilke and Gabriele D’Annunzio. Expressing intensities on love, war and death a century ago by uncovering mysticism with the ecstasies of poetry, it was an eye-opener, brilliantly placed by Il Duo Alterno, on how the world changed. As text over Piacentini’s video projections and his coined ‘foto-suoni’ manifested those responses to war [...] ‘human sound for human people’ [...] as Italy’s best fly in and exchange ideas on many historical and modern interpretations.” (Angus Mitchell)