Seventeenth-Century Opera and the Sound of the Commedia dell’Arte

Wilbourne, Emily

doi:10.7208/chicago/9780226401607.001.0001

Cited by 29 publications

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“…Monteverdi's attention to the germane extra-musical aspects, without which a representation of music as drama would be incomplete, was well acknowledged in his letters (Monteverdi & Stevens, 1980). The papal states of Florence, Ferrara, and Mantua, in healthy artistic competition with one another, were environments that held long traditions of pastoral plays, intermedi, and commedia dell'arte (Carter, 1993a;Pirrotta & Povoledo, 1982;Wilbourne, 2016). The first opera singers were professional actors, notes Calcagno (2002, p. 386), specifically citing the example of Virginia Ramponi Andreini, the first Arianna (Wilbourne, 2008).…”

Section: Writing For Vocal Performers: Prevalent Vocal Performance Cultures In Italymentioning

confidence: 99%

Reimagine to Revitalise

Mani

2021

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This Element links intercultural musical understanding in the present to the reconsideration of the history of Western music from a global perspective. It examines the compositional style of composer Claudio Monteverdi from the perspective of Karnatik music of South India through the complementary methodological lenses of historical and comparative musicology and features a critical analysis of vocal ornamentation and technique, using theory and artistic research. The outcomes include an innovative approach to studying musics from the past, a decahedral framework of hybridity between early opera and Karnatik music, and practice-based vocal enactments of hybridity, as both process and artistic product of the plurality. The research design harks back to a historical time in early modern Europe, wherein a borderless mobility of musicians from the East paved the way to an unprecedented plurality of musical cultures, and holds deep implications for diversity in and decolonisation of current music performance and education.

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Section: Writing For Vocal Performers: Prevalent Vocal Performance Cultures In Italymentioning

confidence: 99%

Reimagine to Revitalise

Mani

2021

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“…3 What we know as Monteverdi's Lamento d'Arianna (Lament of Ariadne) is likely the result of a collaboration that involved not only the librettist and the composer, but also the singer who created the role of Ariadne, Virginia Andreini Ramponi; see Cusick, 1994;Carter, 1999;Wilbourne. that librettists and composers instill in the audience. 5 Crucial to the process is the creation of a new space for Alcina's lament, which, as this essay shows, builds on the model of Ariadne.…”

Section: Introductionmentioning

confidence: 99%

Echoes of Ariadne in the Musical Reception of Ariosto and Tasso

Refini

2020

Renaiss. Q.

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This article discusses Fulvio Testi's libretto “L'isola di Alcina” (1626), based on Ariosto's “Orlando furioso.” After considering its significance to the cultural politics of the Este and the author's preoccupations with poetical and political lineage, the essay focuses on the sorceress Alcina's lament in act 4 and its afterlife in the Baroque cantata repertoire. Echoes from Claudio Monteverdi and Ottavio Rinuccini's “Arianna” as well as the memory of the sorceress Armida from Torquato Tasso's “Gerusalemme liberata” are crucial to the gradual reshaping that, across poetry and music, transforms the evil character into a woman worthy of the audience's sympathy.

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Transnationality: Intercultural Dialogues, Encounters, and the Theatres of Curiosity

Drábek

2023

The Palgrave Handbook of Theatre and Migration

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Seventeenth-Century Opera and the Sound of the Commedia dell’Arte

Cited by 29 publications

References 0 publications

Reimagine to Revitalise

Reimagine to Revitalise

Echoes of Ariadne in the Musical Reception of Ariosto and Tasso

Transnationality: Intercultural Dialogues, Encounters, and the Theatres of Curiosity

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