Roberto Caravella, Il Cantiere delle Muse
L'iguana

From a story by Annamaria Ortese is the soundtrack composed by Roberto Caravella for the film by Catherine McGilvray.

Here there is no more joking in the face of the ancient of the ancient, of "it was what it was" that projects us into an infinite future of acceptance of paradisiac tedium. Here it is exaggerated with the psychism uncovered by instruments of the soul that play by themselves, so accustomed are they to eternity. Tiorba, Lyra, Santur, Qanoon, Aulos, Rabele, accompany you in the memory of the immediate that we, distracted, overlook for misleading desires.

The ruthless beauty of the music brings all our lies to their knees, radiating us with compassion for our miseries. The obscure light illuminates our hiding places, making us see that the darkness is of our own making. The archaic freshness can be traced back to a tactile sensation of feeling the porosity of the stones of our inner columns on the fingertips. The visualization of the Temple is crystalline and beatifies our essence.

There is no craft, the music is visited by itself, mediated by the condemnation to "forever", we also aspire to divine life imprisonment. In absence, we float ecstatic at perceiving the inscrutable designs of God. The elasticity of the flow mediates the revelation of the denied hold where Sicily, the film's shooting location, provides the necessary sunlight of the glare.

One is wonderfully alone listening to this invisibility, duality is shattered a priori, no fighting, no playing. Impersonally we are projected towards disappearance, and we realize it in usage when moments of catharsis flood us so much that we no longer feel the physical body, translating ourselves into the body of the soul.

Symbols, metaphors, archetypes reverberate in the missing, in the sea of a consciousness accepting of Unity. Constant is the emotional annihilation where fullness, cleanliness, sweep away deceiving residues. An esoteric baroque pops up to wink an eye at us, hinting at a cruel peace. The song narrates magnetic epics scented with roses.

Childhood and unreality score a bridge of humanity: "A form... on images outside and inside time, like a crucible where the three alchemical phases of nigredo, rubedo, and albedo alternate, so that the work is accomplished."

The artistic direction of my dear friend Claudio hits the mark with the depiction of the hermaphrodite, the hermetic androgyne, inside the CD cover. The ensemble "Il Cantiere delle Muse" performs musically that all is material with the concrete rarefaction of "everything happens."

Ocana, the enchanted island, the island that is not there, eternal pain of the world, the musical texture is unsettling because it captures it and for a moment purifies it.