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Gupea 2077 25514 1.Pdf “LASCIATEMI MORIRE” o farò “LA FINTA PAZZA" !esis for the degree of Doctor of Philosophy in Performance in !eatre and Music Drama at the Academy of Music and Drama, Faculty of Fine, Applied, and Performing Arts, University of Gothenburg. ArtMonitor dissertation No. "# ArtMonitor is a publication series from the Board for Artistic Research (NKU), “LASCIATEMI MORIRE” Faculty of Fine, Applied, and Performing Arts, University of Gothenburg o farò A list of publications is added at the end of the book. ArtMonitor “LA FINTA PAZZA” University of Gothenburg Faculty O$ce of Fine, Applied and Performing Arts Storgatan %& PO Box '%' Embodying vocal NOTHINGNESS on stage SE-%(# &( Gothenburg in Italian and French 17th century operatic Sweden www.konst.gu.se LAMENTS and MAD SCENES Translation of data excerpts: Lynn Preston Odengård, Anna Helander, Amanda Petrie and Annika Beijbom in cooperation with the author BY Graphic production: Daniel Flodin Elisabeth Belgrano Cover & layout: Elisabeth Belgrano Cover illustration: Detail from La Reunion de La Famille or La reunion musicale by Antoine Le Nain, c.')%( A Music Research Drama Thesis Back photo: La Finta Pazza, "('(, Photo: Per Buhre in a Prologue and 3 acts Printed by: Intellecta Infolog AB, Kållered "('' PART I © Elisabeth Belgrano "('' LIBRETTO ISBN: *+,-*'-*+,%++-%-" PART II IL CANNOCCHIALE per “LASCIATEMI MORIRE” o farò “LA FINTA PAZZA” (A descriptive text following the contents of the Libretto) Academy of Music and Drama Faculty of Fine, Applied and Performing Arts University of Gothenburg, Sweden Abstract Contents !is music research drama thesis explores and presents a singer’s artistic research process from the -rst meeting with a musical score until the -rst steps of the performance on stage. Acknowledgment 12 !e aim has been to de-ne and formulate an understanding in sound as well as in words around the concept of pure voice in relation to the performance of '+./ century vocal music from a "'0. century singer’s practice-based perspective with reference to theories on nothing- Part I ness, the role of the '+./ century female singer, ornamentation (over-vocalization) and the Libretto singing of the nightingale. !e music selected for this project is a series of lamentations and mad scenes from Italian and French '+./ century music dramas and operas allowing for deeper investigation of di1erences and similarities in vocal expression between these Argomento 17 two cultural styles. !e thesis is presented in three parts: a Libretto, a performance of the libretto (DVD) and a Scenario 20 Cannocchiale (that is, a text following the contents of the Libretto). In the libretto the Singer’s immediate inner images, based on close reading of the musical score have been formulated and performed in words, but also recorded and documented in sound and visual format, Personaggi 27 as presented in the performance on the DVD. In the Cannocchiale, the inner images of the Singer’s encounter with the score have been observed, explored, questioned, highlighted and Prologue 29 viewed in and from di1erent perspectives. Towards a deeper understanding and knowledge !e process of the Singer is embodied throughout the thesis by Mind, Voice and Body, of vocal expression and pure voice merged in a dialogue with the Chorus of Other, a vast catalogue of practical and theoretical references including an imagined dialogue with two '+./ century singers. As a result of this study, textual re2ections parallel to vocal experimentation have led to a A pure voice experience 31 deeper understanding of the importance of considering the concept of nothingness in rela- Searching for pure voice in performance 32 tion to Italian '+./ century vocal music practice, as suggested in musicology. !e concept Nothingness Ibid. of je-ne-sais-quoi in relation to the interpretation of French '+./ century vocal music, ap- Accademia degli Incogniti: observers of nothingness and Ibid. proached from the same performance methodology and perspective as has been done with supporters of the Venetian 17th century opera the Italian vocal music, may provide a novel approach for exploring the complexity involved th in the creative process of a performing artist. Singing voices from the 17 century: the voices of 36 Anna Renzi and Anne Chabanceau de La Barre Selecting music manuscripts 40 Title: “Lasciatemi morire” o farò “La Finta Pazza”: Embodying Vocal Nothingness on Stage The lamento and the plainte Ibid. in Italian and French '+./ Century Operatic Laments and Mad Scenes. The mad scene and the scene of fury 42 Language: English with a Swedish summary. Singing and observing: a method 46 A!ection, passion, feeling and emotion, Ibid. Keywords: voice, singing, nothingness, je-ne-sais-quoi, '+./ century opera, pure voice, lam- with reference to rhetoric entation, madness, passions, emotions, nightingale, transformation, ornamentation, ob- Seeking vocal nothingness & je-ne-sais-quoi 48 servation, improvisation, interpretation, vocal expression, embodiment, creative process, by applying mindful awareness performance, repetition, movement, inner images, artistic research. Over-vocalization and the singing of the nightingale 50 ISBN: 978-91-978477-4-2 Creating a music research drama thesis 51 Contents Contents Act I 55 Act III 121 Embodying transformation Performing je-ne-sais-quoi Scene 1 DEIDAMIA Ibid. Scene 1 ARMIDE (1664) Ibid. a soldier 56 Scene 2 ARMIDE (1686) 130 Helen of Troy 67 the abandoned lover 69 Part II Il Cannocchiale Scene 2 OTTAVIA 74 disprezzata 75 Act I 138 a"itta 77 Embodying transformation che fò, ove son, che penso? che penso? 80 ò delle donne miserabil sesso 81 Scene 1 DEIDAMIA Ibid. fabricar la morte partorir la morte 83 Voice, where is your source? Ibid. Nerone empio Nerone 85 Observing the inner images: a singer’s method 139 in braccio di Poppea Ibid. A voice in the distance 140 pianti miei miei martiri 86 The nightingale and the Singer Ibid. destin punir fulmini t’accuso t’incolpo 87 Out there – on stage – performing her observations 142 mio lamento mio tormento 88 Observing Nature & Art through scores of Ibid. à Dio 89 lamentation and madness vado 91 Nature 145 disperata 92 Improvising on Lucia’s madness 146 cor mio baciar mura 93 The soldier (and a woman) 148 io solinga pianti passi 94 Art & Nature – male & female – or all in one 149 sacrilego duolo 96 Rehearsing the Amazon on the roof 151 The kabuki dancer 152 The calling woman by the wall 154 Act II 99 Guerrieri all’armi – or observing a hand, that will never kill Ibid. Finding pure voice through ornamentation, repetition, In between boldness and fear – #nding the theater and a baron 155 movement and improvisation Curls in Venetian red 157 Beautiful Helen of Troy 158 Scene 1 ARIANNA Ibid. Silenzio o Dio 159 The abandoned lover 161 Scene 2ARIANE 115 Contents Contents Fear, nothing and physics in the air Ibid. Scene 2 OTTAVIA 162 Sweet tenderness 202 Words, words and only words Ibid. Considering the self through the personal and the private Ibid. Words and contradictions 163 Complexity 204 Scorn transformed though a $ow of air Ibid. Balancing in golden high heels on slippery rocks Ibid. Trust 165 Gone Ibid. The hidden chapel 168 The angel and Ottavia 172 Act III 207 Taking farewell 173 Performing je-ne-sais-quoi Report from a corset 177 Vivaldi’s putte, their fenced balcony and 179 Scene 1 ARMIDE (1664) Ibid. a glimps of the shaddows of Teatro Novissimo Et io – a performing self 180 Flying above and letting go Ibid. Silence 181 A pair of golden high heel shoes 209 Empty chairs in Jardin du Luxembourg 210 Growing wide in Switzerland 212 Act II 182 In-between moments: nothing and je-ne-sais-quoi 213 Finding pure voice through ornamentation, repetition, The silent pause 216 movement and improvisation Fury 219 Scene 1 ARIANNA Ibid. Scene 2 ARMIDE (1686) 220 The sounding line Ibid. Trillo – experiencing change 183 Chiaro-scuro: from simplicity to complexity and back again Ibid. The red line 185 Battling with $uidity 221 The rocky shore 187 Desire Ibid. Touching – feeling – hearing Ibid. Following the path of a singer 223 Teseo mio 188 Voices on a map 226 The arm of Latona 189 Limitations of logos 227 The siren 191 Figures of fury and madness in French 228 The horizon 192 Wonder, in#nity and nothing Ibid. Don’t leave me behind! 193 Herself in the other 195 Epilogue 231 From death to joy 197 Entretiens de les trois chanteuses Renzi, de La Barre et Belgrano Scene 2 ARIANE 198 WONDER Ibid. The rock Ibid. DESIRE 233 Suspension until the end 199 LOVE 234 Contents HATRED 235 JOY 237 SORROW 238 Bibliography 242 Music sources and libretti Ibid. Recordings 245 DVD Ibid. “Only at the cost of losing the basis of all my certainties can I question Literature 246 what is conveyed to me by my presence to myself” 3 Web links 253 List of Illustrations 254 Swedish summary 257 DVD Act I Scene 1 DEIDAMIA 29:35 Scene 2 OTTAVIA 38:31 Act II Scene 1 ARIANNA 31:14 Scene 2 ARIANE 24:25 Act III Scene 1 ARMIDE (1664) 13:51 Scene 2 ARMIDE (1668) 8:50 '. Merleau-Ponty, M. Phenomenology of Perception, Routledge, "((), ('*%#, '*)"), p.#(%. Acknowledgment '& Antica di Venezia; Bibliotèque Nationale de France, Paris; Biblioteca Nazio- Acknowledgment nale Marciana, Venezia; Archivio di Stato di Venezia; Fondazione Scienti- -ca Querini Stampalia, Venezia; Biblioteca Nazionale Centrale di Firenze; Gothenburg University Library. “Losing the basis of all my certainties” has been possible thanks to the frames I am greatly indebted to the following organization for supporting my provided by all the wonderful colleagues, friends, family and people around research: me. I would especially like to mention: Barbro Osher Pro Suecia Foundation, Alice och Knut Wallenbergs Stif- My supervisor Eva Nässén, and co-supervisors Cecilia Lagerström, Sven telse, Adlerbertska forskningssti4elsen, Jubileumsfonden, Iris stipendiet/ Andersson, Ruth Pergament, Andreas Edlund; KvinnorKan, Kungliga Musikaliska Akademin, Kungliga och Hvitfeldtska My opponents: Jakob Lindberg, Gunnel Bergström, Efva Lilja, Grith Fjeld- sti4elsen, Sti4elsen Anna Ahrenbergs fond för vetenskapliga m.
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