Al gran sole carico d’amore (azione scenica in due tempi per soli, piccolo e grande coro, orchestra e nastro magnetico) is an emblematic example of Luigi Nono’s musical theater in the 1970s. The preliminary work for the new staging of the azione scenica at the Salzburg Festival in August 2009 indeed raised wide‐ranging interpretation issues as to the possibility itself of restaging this production today without its composer. As is well known, most of Nono’s compositions are a result of the direct collaboration with their performers. The musical theater has always been a vantage point for this active involvement which – in Nono’s case – is reflected in the sources being essentially incomplete and ever‐changing.
