Posts Tagged ‘Sonia Arienta Collateral Effects’

Historic and terrestrial coordinates II, by Sonia Arienta

In XIX century first years, the italian peninsula counted up five important cities: Milan, Naples, Venice, Bologna, Florence and an urban texture made with more little ones. Tuscany, Lombardy, Venetian region, and Piedmont had a system of trading towns and administrative centres serving the surrounding lands. Close relations between country and urban areas originate the first industrial wave in Piedmont and Lombardy subalpine strips. In these zones, connective tissue between two realities, the urban and the rural one, is very thick. It is not contemplate a rigid distinction, but relations of mutual exchange.

In XIX century italian opera repertoire, urban locations attract the preferences among musicians and librettists, last trace of Enlightenment culture. In fact, cities are the place where had formed and grown bourgeoisie; whereas country is connected with Ancien Régime context…

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Historic and terrestrial coordinates, by Sonia Arienta

In an opera libretto space-time coordinates appear among the first indications, near by the names of the characters, and typify the plot, its historic and geographic locations. “Where” and “when” in the opera are the outcomes of an aware choice made by composer and librettist. Beyond of and notwithstanding the constraints of censor (in the age where it is active in an explicit way), the second (and third) hand origin of librettos, extracted from dramas and novels, and the antinaturalistic essence of a gender which uses stylisation as guarantee of a manner to create a “distance” effect in the audience.

In XIX century italian melodrama, the action set in our country are in a more little number compared with the one set abroad. A consequence of interest towards european literature products, at the origin of the plot, but, also the result of the cultural curiosity, of the desire in exploring what is “different”….

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Characters and audience – II, by Sonia Arienta

In an opera construction, the importance of the choice of the subject, of characters is an unavoidable element in understanding the message and the world vision proposed by the composer to his audience. But in too many examples, it takes second place in the thoughts, either by “simple” spectators, or specialists. Notwithstanding the different reasons. Melodic lines, harmonic and rhythmic structures, orchestration, beyond the considerations of poetics and aesthetic values, are functional to performance a story, a “sung” tale. With effects and consequences that the last one has at emotional and intellectual level for audience. All essential elements to invite spectators to make themselves questions not only about the opera, the poetic and aesthetic preferences of composer, but about his lecture of the world. Especially in order to the contemporary interpretation of repertoire melodramas it is always necessary to consider the coexistence of two levels: the reactions searched and obtained by composer towards audience contemporary to him; the ones shown to the nowadays audience…
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