Alessandra Celletti
Metamorphosis

I didn't even know it existed. I stumbled upon it by chance while looking for another album mentioned on these pages. And I must admit that it was the name of the composer and the price (for once "reasonable", €12.50) that first caught my interest.
Then, however...

Listening to the album, which showcases Alessandra Celletti's interpretations of Philip Glass's pieces, confirmed a sort of premonition that struck me as I looked at the cover and skimmed through the titles. It became clear that it wasn't mere repetition (though inevitable when tackling such material) that was the focal point of this Roman pianist's effort, but rather the timbral exploration, the color of a sound capable of highlighting the melodic and emotional consequences of the chosen compositions. Pieces selected from an extensive discography not with the intention of representing the peaks or the most significant episodes, but with the explicit aim of "playing those pieces of music that most touch the heart*".

And for me, the intent is happily achieved throughout the unfolding 47’17” of the 9 tracks that comprise the album, with a careful execution that fluidly ties together the characteristic rhythmic and melodic modules of the American composer and highlights their evocative tendency, sometimes hypnotic, other times ecstatic.
The opening, appropriately titled “Opening”, (1989) immediately captures the listener's attention, and the subsequent Five Metamorphosis (1989) hold it steady, leading through two pieces from the splendid soundtrack of the film “The Hours” (2002) to the closing piece, Modern Love Waltz, composed by Glass in 1977, and here excellently representing the more clearly “mathematical” nature of his compositional structures.

While considering the productions from the early part of P. Glass's career as fundamental and significant, I highlight this album not only for the undeniable performance qualities of Alessandra Celletti (also a creator of video direction and multimedia works) but for its potential to draw in those who haven't yet had the chance to explore authors and music worthy of great attention. Those who are already familiar with the works of the American musician will find the opportunity to appreciate, through this performance, nuances and accents, if not always new, happily gathered in a single commendable album.

In the discography of Alessandra Celletti, I also point out the presence of two other CDs produced for the same label, KHA records, where she tackles 20th-century composers, “Esoteric Satie” and “Black Baby”, dedicated respectively to the music of the French “mammal” and the king of ragtime, Scott Joplin. Interesting choices, as interesting seems to be the path taken so far by the Roman pianist and composer, not devoid of historical and literary references and inspirations. A certain curiosity is also sparked by the news of the anticipated release in October of an album under the name Pinky Lizardbrain, which will collect the results of a foray into pop that Celletti has embarked on alongside Swedish conceptual artist and performer Paulina Wallenberg Olsson. We shall listen.

For now, a small piece of advice: if you have the chance, let her reach your heart, once there she seems to know what to do...

* From an interview published on Biblio-net © Copyright 2004 - Biblio-net.com