Madness dressed in paradoxes: experimenting inside a costume of a 17th century prima donna.

• This performance presentation will demonstrate a 21st century singer’s close study of Deidamia’s mad scene from Francesco Sacrati and Giulio Strozzi’s opera La Finta Pazza from 1641. It is an example of artistic research inspired by the career and a portrait of one of the first opera singers in Venice, Anna Renzi Romana. The methods are based on artistic reflections essential to the development of the singer’s understanding of the scene, following the various realities encountered along the research process into the musical score and the libretto. The portrait of Anna Renzi was published in the volume Le Glorie della signora Anna Renzi Romana from 1644 by members of the Venetian Accademia degli Incogniti. The portrait exhibits a woman dressed in a male fashion, with a casacca underneath a doublet upper body with paned sleeves. Her curly hair is falling down on her shoulders and she has a fashionable short fringe, resembling more of a male hairstyle. Her female attributes in the portrait are the hairpins, earrings, brooch and necklace. Her costume proves to fit perfectly well with Renzi’s highly celebrated interpretations and performances of paradoxical mad scenes, demanding her ability to rapidly transform into male and female characters. The costume also inspires the 21st century performer to further explore the concept of paradox, both vocally as well as dramatically.

Ämnesord

HUMANIORA  -- Konst -- Musik (hsv//swe)

HUMANITIES  -- Arts -- Music (hsv//eng)

Nyckelord

Artistic research

17th century opera

Venice

Anna Renzi

Vocal performance practice

Mad scene

La Finta Pazza

Deidamia

La Finta Pazza

Mad scene

Vocal performance practice

Francesco Sacrati

Giulio Strozzi

Publikations- och innehållstyp

ref (ämneskategori)

kon (ämneskategori)