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Intolleranza 1960
''Intolleranza 1960'' (''Intolerance 1960'') is a one-act opera in two parts (''azione scenica in due tempi'') by Luigi Nono, and is dedicated to his father-in-law, Arnold Schoenberg. The Italian libretto was written by Nono from an idea by Angelo Maria Ripellino,〔Ripellino published "Mayakovsky and the Russian avant-garde theater" in 1959. The major arbitrator of Slavic literature in Italy (Stenzl wrote) is a comprehensive textbook for ''Intolleranza''. There was a rift, as the libretto Nono massively cut, reworked and expanded. Jürg Stenzl, Luigi Nono, Rowohlt, Reinbek b. Hamburg, 1998, p. 53-58〕 using documentary texts and poetry by Julius Fučík, "Reportage unter dem Strang geschrieben";〔Dietz, Berlin, 1948. F. Rausch, Translator〕 Henri Alleg, "La question (The Torture)"; Jean-Paul Sartre's introduction to Alleg's poem; Paul Eluard's poem "La liberté;"〔Nono used the verses 7, 8, 4, 16, 19〕 "Our march" by Vladimir Mayakovsky; and Bertolt Brecht's "To Posterity". The plot concerns a migrant, who travels from Southern Italy looking for work. Along the way, he encounters protests, arrests and torture. He ends up in a concentration camp, where he experiences the gamut of human emotions. He reaches a river, and realises that everywhere is his home. The opera premiered on 13 April 1961 at the Teatro La Fenice in Venice. It has a running time of approximately one hour and fifteen minutes.
==Background and performance history==
''Intolleranza 1960'' was Luigi Nono's first work for the opera stage and is a flaming protest against intolerance and oppression and the violation of human dignity. The year in the title refers to the time of the work's origin. Nono himself said of this work that it "did mark a beginning for me, but in no sense did it constitute a ''tabula rasa'' or in response to 'divine inspiration'". It was commissioned for the 1961 Venice Biennale by its director Mario Labroca. The first performance was conducted by Bruno Maderna on 13 April 1961 at the Teatro La Fenice in Venice. The stage design was by the famous radical painter Emilio Vedova, a friend of Nono's. The premiere was disrupted by neo-fascists, who shouted "Viva la polizia" during the torture scene. Nono's opponents accused him of poisoning Italian music.〔Matthew Boyden, Nick Kimberley, Joe Staines: The Rough Guide to Opera, Rough Guides, 3 Edition, 2002, p. 550〕 (Nono revised the work into a one-act version for a 1974 performance.)〔Hodges, Nicolas, "Record Review" of Luigi Nono's ''Intolleranza 1960'' and ''Prometeo'' (July 1996). ''Tempo'' (New Ser.), 197: pp. 50-51.〕 A performance by the Boston Opera, in 1964, was suppressed by the John Birch Society and other right-wing activists. It was subsequently presented the following year, with Maderna conducting Sarah Caldwell's production, with Beverly Sills in the cast.
Fabrice Fitch has commented that this work has "no plot as such", but rather consists of a series of scenes that illustrate aspects of intolerance.〔Fitch, Fabrice, "Reviews: Luigi Nono" (CD reviews) (1995). ''The Musical Times'', 136 (1829): p. 366.〕 Nono himself interpreted the testimony of his work as follows:
:"Intolleranza 1960" is the awakening of human awareness in a man who has rebelled against the demands of necessity - an emigrant miner - and searches for a reason and a "human" base for life. After several experiences of intolerance and domination, he is beginning to rediscover human relations, between himself and others, when he is swept away in a flood with other people. There remains his certainty in "a time when one wants to be a help to you". Symbol? Report? Fantasy? All three, in a story of our time.〔According to the booklet of the CD "Intolleranza", Teldec 4509-97304-2, p. 10, quoted by Raymond Fearn: Italian Opera Since 1945, Harwood Academic Publishers, 1998, p. 79 and 80〕
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