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:: GREAT CINEMA AT THE GREEK THEATRE

At the Opera of Paris, Christine Daee is guided to success by a mysterious voice that comes from beyond the walls of her dressing room. The voice belongs to a mysterious man whose face is covered by a mask and invites her to leave her boyfriend in order to pursue her singing career. Christine pretends to accept but once the Phanton discovers she's cheating on him, he kidnaps her and detains her in the theater's basement.


GIOVANNI RENZO
Born in Messina in 1962, he graduated at the Conservatorio “Corelli” of his hometown in Piano in 1986, and perfectioned his education in Rome with Martin Joseph at the National Music Jazz Workshops in Siena with Enrico Pieranunzi and Bruno Tommaso, at the Berklee Summer School of Perugia with Bud Fredman in composition and orchestration, and at the Musical Academy Chigiana of Siena with Ennio Morricone and Sergio Miceli in Soundtrack. In 1986, with bass player Pippo Mafali and drummer Angelo Tripodo, he forms a trio that has collaborated, among others, with Paolo Fresu, Gianluigi Trovesi, Giulio Capiozzo, Bradley Wheeler, Faisal Taher. In 1994 he founded and directed the Messina Jazz Orchestra. He regularly plays in concerts and festivals in tour around Italy, alternating his concerts to teaching and composition. He writes music for piano and for various chamber and orchestras, mostly focusing on theater and cinema. His first record, in 1989, is a collection of piano solo compositions. In 1996, he was part of the 50th Fringe Festival of Edinburgh and played three nights in a row at the Demarco European Art Foundation for the play Partitura per sangue e anima. In 1996 he also ended the composition of his work La distanza della Luna that premiered in January 1997 at the Teatro Vittorio Emanuele of Messina. With Le tempeste he won the 3rd edition of the National Contest for Piano Composition, set up by the Cultural Association “De Musica” of Savona. In 2001 his CD Il mare was released, taped with Paolo Fresu and the Quintet Suono e Ritmo. In January 2002 he followed the multi-medial performance Il gabinetto del dottor Caligari, freely inspired to the homonymous novel by Robert Wiene, with the Dance Company of Virgilio Sieni. For cinema, he realized and played live musics for mute films (Aurora di Murnau, Il gabinetto del dottor Caligari di Wiene, Musica classica di Roach, Cops di Keaton, Viaggio alla Luna di Melies, Il fantasma dell’opera); compositions for soundtracks with directors Francesco Calogero (Visioni private), Anne Riitta Ciccone (L’amore di Màrja), Citto Maselli (theatrical staging of Codice privato), Nanni Moretti. Giovanni Renzo’s main trait is his balance between improvisation and composition. The extremely personal features of his compositions makes any simplified definition univocal.


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