GLORIES TO NOTHINGNESS: A Music Research Seminar honouring Accademia degli Incogniti and Claudio Monteverdi
(last edited: 2020)
author(s): Elisabeth Laasonen Belgrano, Päivi Järviö, Johannes Boer, Dinko Fabris, Mauro Calcagno, Björn Ross, Charulatha Mani, Elisabeth Holmertz
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A Music Research Seminar
honouring Accademia degli Incogniti
and Claudio Monteverdi
Palazzo Grimani, Venice
15 June 2017
Nordic Network for Early Opera and Nordic Network for Vocal Performance Research, in collaboration with Scuola di Music Antica Venezia, are delighted to invite you for a performance seminar in Venice 15 June around the theme of vocality, music drama and the vibrant intellectual / artistic scene in Venice around Monteverdi and Accademia degli Incogniti. The idea comes from a desire to offer a fringe-event / sub-encounter / prologue for (among others) participants of the two symposia co-happening in Venice 16-17 June: The Foundazione Cini conference on Monteverdi (16-17 June) and the symposia "Encounters, Discussions, Experimentations: Art, Research and Artistic Research in Music”, the Research Pavilion of the University of the Arts Helsinki, Venice Biennale 2017 (16-17 June)
We are also hoping to meet anyone interested to explore the fairly new academic field of Artistic Research.
15 June 2017
Palazzo Grimani, Ruga Giuffa off Campo Santa Maria Formosa, Venezia,
The otherness of the self - how to curate a seventeenth century opera and sing all the roles yourself
author(s): Elisabeth Holmertz, Jonas Howden Sjøvaag, Elisabeth Laasonen Belgrano
published in: Norwegian Academy of Music
The Otherness of the Self
- how to curate a Seventeenth century Opera and sing all the Roles yourself. (or: -how to connect and disconnect the roles of the Baroque soprano and her postmodern Otherness. ) (or - a Voce sola in dialogo)
-Is it possible to perform an opera and sing all the roles yourself? Is it even possible that we’ll come closer to the core in the music and the narrative if everything is anchored in one single person?
-Can I use the interpretation of opera characters to better understand my different roles as a musician - the baroque soprano and the new music singer?
- Am I two (or three, or fifty) different singers/musicians/roles depending on what genre or style I’m performing? What divides them? What ties them together? What factors determine how the voice will work, or not?
- What can I use from my knowledge of early music in my practice as a performer of contemporary music, and vice versa?