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[Text available only in English] Lament of the Nymph
multimedia concert adapted from Monteverdi

SABINA MEYER voice

LETIZIA RENZINI electroacoustic, video

DIANA FAZZINI viol

THE PROJECT On the tracks of the imaginary, but defined by form, process, and image, that unite the baroque to the contemporary, the three artists and musicians have defined, in a series of steps, a project that will lead to the creation of the multimedia show "Il Ballo delle Ingrate".

LAMENT OF THE NYMPH The performative core of the...
[Text available only in English] Lament of the Nymph
multimedia concert adapted from Monteverdi

SABINA MEYER voice

LETIZIA RENZINI electroacoustic, video

DIANA FAZZINI viol

THE PROJECT On the tracks of the imaginary, but defined by form, process, and image, that unite the baroque to the contemporary, the three artists and musicians have defined, in a series of steps, a project that will lead to the creation of the multimedia show "Il Ballo delle Ingrate".

LAMENT OF THE NYMPH The performative core of the project is the concert (enhanced by the projection of images) which combines the rigorous execution of the vision with the contemporary touch of electroacoustic accompaniment. This multimedia mode of composition contextualizes and enhances existing instances of timeless baroque musical revolution.

THE REPERTORY The program is constructed around a walk through of the beautiful music of the great opera composers of the late Renaissance and early Baroque. The common thread is the aria for solo voice which dates from the beginning of the 17th century and is in stark contrast to the pervasive polyphony of the previous century wherein vocal expression was a reflection of the worldly harmony of the spheres. The esoteric politeness of the madrigal is thereby a symbolic space for more personal and visceral expression.

With the introduction of the singing voice by Claudio Monteverdi, the self is placed at the center of the universe. Every nuance of the sung and play-acted word becomes audible. These subtle resonances penetrate the ear of the listener while colluding to excite the emotions. The singer is in turn carried by the power of speech and ferries himself and the audience into a world of looks, transience, ecstasy, and sighs.

Performances (1)

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