A teatro dai Secco Suardo
(2025)
author(s): Irene Luraschi
published in: KC Research Portal
In Bergamo, a small city in Northern Italy, in 1687 a new theatre was opened: the Teatro Secco Suardo, the only example of “teatro impresariale” that existed in this city. Its story is full of interest and allows us to observe a glimpse of the musical and cultural life of a provincial city in the period of Venetian domination and the resulting cultural influence. For this reason, I felt the need to narrate the story of this place in my own way, trying to combine the historical narration of facts and the discovery of music that was brought to life in our theatre. The play I wrote includes both real and fictional characters and develops following the path of historical facts but with some dramatic escamotages. The music plays two different roles, on one side accompanying the story as a sort of comment, and on the other, showing a glimpse of the "behind the scenes" of the work of the musicians. All the music is extracted and selected from the five operas that took place in the Teatro by Domenico Gabrielli, Marcantonio Ziani, Antonio Sartorio and Francesco Ballarotti, all composers of the Venetian area. The aim and the message of the play is to show the sometimes difficult attempts of people to bring cultural initiatives and spaces in smaller and provincial cities. And I hope that my play will be an example of this drive toward cultural vibrancy, with a future performance by the connection with local theatre groups.
Composition strategies for the creation of science-based interdisciplinary and collaborative music-theatre
(2024)
author(s): Daniel Blanco Albert
published in: Birmingham City University
The practice-based PhD research project comprises the development and application of composition strategies and techniques generated through interdisciplinary collaboration to integrate elements and ideas from non-sonic disciplines into the musical discourse of new music-theatre works, specifically opera. I explore mechanisms of mapping and association that engage with both the specific subject matter of each piece and the creative collaborative environment in which they are created, thus generating different compositional resources that I use to inform the creative process. By using mapping techniques, I can deeply engage and communicate a subject matter on different levels in the musical composition.
The framework for this research is the intertwining of art and science on a variety of levels from a music compositional perspective. Within this framework, I explored the integration of knowledge and data from the natural and social sciences to inform the composition of four science-based music-theatre works: In response to Naum Gabo: Linear Construction in Space No. 1 (2020), Autohoodening: The Rise of Captain Swing (2021), The Flowering Desert (2022), and TRAPPIST-1 (2023).
With this approach, I aim to closely link these works with their particular subject matter instead of being composed based just on my personal musical taste. By consistently and cohesively applying the strategies and techniques explored in this research, the outcome is not creating music about science or music inspired by science, but, instead, music embedded with science in which the scientific data and knowledge inform the composition decisions. The subject matter is therefore intertwined within the musical discourse, its performativity and theatricality, and its relationship with the other disciplines and collaborators involved in the creation of these music-theatre works.
Den gudomliga läckan - tractatus papyrus
(last edited: 2024)
author(s): PAN
This exposition is in progress and its share status is: visible to all.
Den gudomliga läckan - tractatus papyrus är en slags operaföreställning som ingick i projektet Paper Music som genomfördes i november 2022 i Mölndal.
Glories to Nothingness
(last edited: 2018)
author(s): Elisabeth Laasonen Belgrano, Björn Ross
This exposition is in progress and its share status is: visible to all.
GLORIES TO NOTHINGNESS
SORROW. MADNESS. NOTHING.
A voice. A gesture.
A beginning. An experiment. A sketch.
A becoming.
... based on the story of a singer’s performance of paradoxes and passions
in 17th century Venice.
... based on a singer’s research – performed in the 21st century – about the Art of Performing Everything and Nothing.
GLORIES TO NOTHINGNESS is an artistic research project investigating performative acts of moving between Vocalizing ≈ Articulating ≈ Mattering ≈ Trusting.
The research question: How to perform trust?
Every movement, utterance, projection and articulation is consciously exploring and honoring Nothingness as an idea and a concept much debated at the time when the first public opera productions were performed in Venice around 1640. Based on a performative research approach and new materialist theories, performance acts are methodologically diffracted through musical fragments composed by Luigi Rossi (c. 1597 – 1653), Claudio Monteverdi (1567-1643) and Francesco Sacrati (1605-1650); through selected poems from the volume Le Glorie della signora Anna Renzi romana (Venice, 1641); through thoughts entangled with figures such as RESISTANCE, VULNERABILITY and TRUST; through the practice of exploring force and form as every day performative acts.
Elisabeth Belgrano
vocal projections / performance
Björn Ross
visual projections / scenography
Den gudomliga läckan - tractatus papyrus är en slags operaföreställning som ingick i projektet Paper Music som genomfördes i november 2022 i Mölndal.open exposition comments (0)