Sara Elisabeth Holmertz

The Otherness of Self



The otherness of the self: References



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Adorno, Theodor W: Bürgerliche oper. Gesammelte Werke, Rolf Tiedemann, ed. in collaboration with Gretel Adorno, Susan Buck-Morss, and Klaus Schultz (Suhrkamp: Frankfurt am Main, 1986; Directmedia: Berlin, 2003), Vol. 16, pp. 24ff.


Ahvenniemi, Rebecka: ”Composition of Vocal Music. Against Primacy of Content,” University of Helsinki Department of Philosophy, History, Culture and Art Studies, 2019 (not yet published)


Artaud, Antonin: Theatre and its Double (Grove press 1958)


Barad, Karen On Touching – The Inhuman that Therefore I Am. (v1.1). 2012


Barker, Alan and Huesca, Maria: Composing for voice. Exploring voice, language and music. second edition. (Routledge) 2016.


Belgrano, Elisabeth:‘Lasciatemi morire’ o faró ‘La Finta Pazza’: Embodying Vocal Nothingness on Stage in Italian and French 17th century Operatic Laments and Mad Scenes.  (ArtMonitor, doct diss no 25. 2011)  


Benedek, Mathias: Creativity and personality in classical, jazz and folk musicians. (Personality and Individual Differences. 2014 Jun; 63(100): 117–121.)


Bernardi, Guillaume. Trisha Brown’s L’Orfeo: Postmodern Meets Baroque

The Opera Quarterly, Volume 24, Number 3-4, Summer-Autumn 2008, pp. 286-292


Boer,  Johannes ”La Tragedia di Claudio M 


Brook, Peter: The empty space (Penguin modern classics 1990)


Calcagno, Mauro: Signifying nothing. (The Journal of Musicology, Vol. 20, No. 4 pp. 461-497, 2003)


Calcagno, Mauro: From Madrigal to Opera - Monteverdi’s staging of the self (University of California press 2012)


Camp, Gregory Louis: Monteverdi on the Modern Stage (The Queen’s College, Oxford DPhil Submission Hilary Term 2012) 

Camp, Gregory Louis, Monteverdi. Past and Present. (Early Music, November 2011 pp.636-638)

Cavarero, Adriana: For more than one voice - Toward a philosophy of Vocal Expression (Stanford University press 2005)


Chapman, Janice L.: Singing and teaching singing: a holistic approach to classical voice. 3 edt. (Plural Publishing 2017)


Checkhov, Michael: To the actor. On the technique of Acting. 1953.  (Martino Publishing 2014)


Colorni, Evelina: Singer’s Italian: A Manual of Diction and Phonetics. Schirmer 1996.


de Freston, Tom/Millwood Hargrave, Kiran: Orpheus and Euriydice - a graphic-poetic exploration (Bloomsbury Publishing 2017)


Dahlsveen, Mimesis Heidi. Fortellerboken - deg selv og andre fortalt. (Mimesis Heidi Dahlsveen 2019)


Dolar, Mladen: A voice and nothing more (Massachusetts institute of technology 2006)


Donnington, Robert Baroque Music: Style and Performance. A Handbook (W.W. Norton & Company, New York - London, 1982)

Donnington, Robert: The Interpretation of Early Music, (Faber and Faber, London-Boston, 1989, 1963)    


Dunn, Leslie: Embodied voices. Representing female vocality in western culture. (Cambridge University Press 1994)


Eco, Umberto. On Ugliness (MacLehose press, 2011)


Eken, Susanna, The human voice, (The royal Danish academy of music 2014)


Elle, Øystein CAPTO MUSICAE – Creating sonic and musical theatre in a contemporary artistic context. The National Norwegian Artistic Research Fellowship Program 2017



Elliot, Martha: Singing in style - a guide to vocal performance practices. (Yale university press 2006) 


Estill, Jo: Estill Voice training Level one - figures for voice control (Think Voice series 2005)


Estill, Jo: Estill Voice training Level two - figure combinations for six voice qualities (Think Voice series 2005)


Ferris, Lesley: Crossing the stage (Routledge 1993)


Fischer-Lichte, Erika: The transformative power of performance. A new aesthetics. (Routledge 2008)


Gallagher, Shaun: The Oxford Handbook of the Self (Oxford University Press 2013)


Gioia, Ted: Healing songs. (Duke University Press 2006)


Glixon, Beth L: Private Lives of Public Women: Prima Donnas in the Mid-Seventeenth-century Venice. (Music & Letters, vol. 76, no. 4 (nov 1995) pp.509-531)


Grotowski, Jerzy. Towards a poor theatre. (Odin teatrets forlag 1968)


Harnoncourt, Nikolaus. The Musical Dialogue. Thought on Monteverdi, Bach and Mozart. Amadeus Press 1989.


Haynes, Bruce: The end of early music. A period performer’s history of music for the twenty-first century. (Oxford university press 2007)


Henke, Robert: Performance and Literature in the commedia dell’Arte (Cambridge university press, 2002)


Holmertz, Elisabeth: Essay on different recordings of Orfeo (title missing). (Göteborgs Universitet 1996) 


Hughes, Rolf: Exposition. (The Exposition of Artistic Research: Publishing Art in Academia. 2014) pp. 52-66


Johnstone, Keith: Impro - improvisation and the theatre (Bloomsbury publishing 1981)         


Jung, Carl: The undiscovered self (Routledge Classics 2002)                   


Kayes, Gillyanne: How does genre shape the vocal behaviour of female singers? Empirical studies professional female singing in Western Lyric and Contemporary Commercial Music genres ( PhD Thesis)                     


Kerr, Rosalind: The Rise of the Diva (University of Toronto Press 2015)                                                   


Lachenmann, Helmut: The ’Beautiful’ in Music Today. Tempo, New Series, No 135 (Dec 1980) pp 20-24.


Lawrence-King, Andrew: 

Lawrence-King, Andrew:


MacNeil, Anne: Music and Women of the Commedia dell’Arte in the late sixteenth century (Oxford University Press 2003)


Manen, Max van: Phenomenology of Practice (Left Coast Press 2014)


Mani, Charulatha: Hybridising Karnatik Music and Early Opera: A Journey Through Voice, Word, and Gesture. Queensland Conservatorium Arts, Education and Law Griffith University. 2019


McClary, Susan: Contructions of Gender in Monteverdi’s Music (Cambridge Opera Journal, Vol. 1, No. 3 (Nov., 1989), pp. 203-223)


McClary, Susan: Desire and pleasure in seventeenth-century music (University of California Press 2012)


McClary, Susan: Feminie endings. Music, gender, & sexuality. Regents of the University of Minnesota press. 2002 (1991)


Monks, Aoife: The Actor in Costume (Palgrave Macmillan 2010)


Morken Andersen, Merete: Skriveboka (Aschehoug forlag 2008)


Nowitz, Nowitz ‘Monsters I Love: On Multivocal Arts‘, Stockholm University of the Arts, 3 (2019)


Oreglia, Giacomo: The Commedia dell’Arte (Methuen&co 1968)


Pace, Steven: Writing the self into research: Using grounded theory analytic strategies in autoethnography. TEX Special Issue: Creativity: Cognitive, Social and Cultural Perspectives 

 eds. Nigel McLoughlin & Donna Lee Brien, April 2012

Penton, Misha: 


Pikes, Noha: Dark Voices - the genesis of Roy Hart (Spring Journal books 2004)


Pirotta, Nino: Commedia dell’Arte and Opera. (The Musical quarterly, vol 41, no.3 (July 1955) pp.305-324)


Pirandello, Luigi: One, None and a Hundred-thousand a Novel (Martino fine books 2017)


Potter, John: Vocal authority (Cambridge university press 1998)


Potter, John/Neil Sorrell: A history of singing (Cambridge University Press; Reprint edition, 2014)


Reinholdtsen, Trond: 


Rilke, Rainer Maria: Sonnets to Orpheus. Translation Daniel JosephPolikoff. (Angelico Press, 2015)


Ringer, Mark: Opera’s first Master - the musical dramas of Claudio Monteverdi (Amadeus press 2006)


Rosand, Ellen: Opera in the 17th-century Venice. The creation of a genre. (The regents of the University California 1991)


Russano, Barbara Hanning: The Ending of L’Orfeo: Father, Son, and Rinuccini. Journal of seventeenth century music. Volume 9 (2003) No. 1

Sammler, Daniela: Musical Genre - dependent behavioral and EEG signatures of action planning. A comparison between classical and jazz pianists. (Neurolmage december 2017)


Savage, Roger/Sansone, Matteo: Il Corago and the staging of early opera: four chapters from an anonymous treatise circa 1630. (Early Music, November 1989 pp.495-510)



Serre, Michel: The five senses - A philosophy of mingled bodies. Continuum international publishing group. 2008


Smith, W Stephen. The Naked Voice. A Wholistic Approach to Singing. (Oxford University Press 2007)


Steven, Denis: The letters of Claudio Monteverdi (Faber and Faber Limited, 1980)


Strömberg, Mikael: Charlotte Engelkes, allkonstnär extraordinaire. P2 dokumentär, Sveriges Radio. 10/3 2013. 


Taruskin, Richard: Music in the seventeenth and eighteenth centuries, Chapter 1 ”Opera from Monteverdi to Monteverdi” (The Oxford history of western music 2010)


Tervaniemi, Mari: Musicians - Same or Different? (The Neurosciences and Music iii Disorders and Plasticity 2009 pp 151-156)


Tessing Schneider, Magnus: Seeing the empress again (Cambridge Opera Journal / Volume 24 / Issue 03/ pp 249-291, 2012)


Tessing Schneider, Magnus, The Poet and the Nun: Role Doubling and Petrarchan Allegory in Gli amori d’Apollo e di Dafne. (Performing Premodernity Online – Volume 1. 2015) 


Thomaidis, Konstantinos: Theatre & Voice (Palgrave 2017)


Toft, Robert: With passionate voice Re-creative singing in sixteenth century England and Italy (Oxford University Press 2014)


Wilson, Nick The Art of Re-enchantment: Making Early Music in the Modern Age, (Oxford University Press,2013)


Upton, Elizabeth: Concepts of Authenticity in Early Music and Popular Music Communities (Ethomusicology Review, vol 17 2012)


Vadén, Suoranta & Hannula, Mika. Artistic Research - Narrative, Power and the Public. (Peter Lang 2014)

Vadén, Tere & Hannula, Mika  Artistic Research - Theories, Methods and Practises. (Academy of Fine Am, Helsinki, Finland and University of Gothenburg I ArrMonitor, Gothenburg, Sweden 2005)

Vuust, Peter: The sound of Music: Differentiating musicians using a fast, musical multi-feature mismatch negativity paradigm ( Neuropsychologia March 2012)


Wilbourne, Emily: Seventeenth-Century Opera and the Sound of Commedia dell’arte (The University of Chicago Press, 2016)


Wilson, Nick: The Art of Re-enchantment: Making Early Music in the Modern Age (Oxford University Press, 2013) 


Wiklund, Örjan: Fortellerens teaterkunst. En håndbok i fortellernens teater. (Spillerom, Oslo 1994)


Wikshåland, Ståle. Monteverdi’s voices: the construction of Subjectivity. (The opera quarterly vol. 24, NO. 3-4. pp. 223-245. October, 2009.


Wolfsohn, Alfred: Orpheus or The way to a Mask (Abraxas Publishing 2012)


Wroe, Ann: Euridice: Orpheus and Euriydice - a graphic-poetic exploration (Bloomsbury Publishing 2017) pp.187-202


Zahavi, Dan: Self & Other - exploring subjectivity, empathy and shame (Oxford University press, 2014)





Bauckholt, Carola: Emil. Türmchen Verlag, 2003. THUERMCHEN 255-2


Bauckholt, Carola: Die Alte. Türmchen Verlag, 2001. THUERMCHEN 231-6


Buene, Eivind: Secular psalms. Edition Wilhelm Hansen Copenhagen, 2019.


Lachenmann, Helmut: Got Lost. Breitkopf and Haertel, 2008. BR.EB-9007


Monteverdi, Claudio: L’Orfeo Edition Eulenburg No.8025 2004


Monteverdi, Claudio: L’Incoronazione di Poppea, 1642. Score Modern print (Novello&Co.Ltd) 1989)

Monteverdi, Claudio: L’Orfeo favola in Musica, facsimile edition.  Venice, Ricciardo Amadino 1609


Monteverdi, Claudio: L’Orfeo. Universal Edition. 1930.


Wallin, Rolf, ”…though what made it has gone”. Chester Music Ltd, 1987





Concerto Italiano.Alessandrini, Rinaldo.  Naive, 2007


Pinchgut Opera/Orchestra of the Antipodes. ABC Classics, 2005


Orchestra of La Scala Milan. Ferruccio Calusio. La Voce del Padrone DB 5370-5381. (cd Walhall Eternity Series WLCD 0060, 1939)


Ensemble Elyma, Garrido, Gabriel. K617 - k617066. 1996.


Le Concert d’Astres, Haïm, Emmanuelle. VIRGIN VERITAS 7243 5 45642 2 2. 2005


Vienna Concentus Musicus, Munich Capella Antiqua, Nikolaus Harnoncourt, 1968 (Teldec Das Alte Werk, 1992)


Chiaroscuoro, London Baroque. Nigel Rogers+Charles Medlam. EMI classics, 1984


Ottorino Respighi. Orchestra da Camera Lucchese/Herbert Handt (Claves CD 50-9419)


Concert den Nations. Savall, Jordi . Alia Vox 9911, 2015.


Chor der Staatlichen Hochschule für Musik, Hamburg & August Wenzinger & Orchester der Sommerlichen Musiktage Hitzacker 1955 Archiv Produktion (2007)


Claudio Monteverdi: Orfeo (Hindemith's Reconstruction), 1954.  Music & Arts (2010)


Orpheus: Carl Orff/Claudio Monteverdi. Münchener Runfunkorchester/Ulf Schirmer. CPO 2011.



Other recordings mentioned:


Holmertz, Elisabeth/Bock, Fredrik. Lovesongs re-spelled. (LAWO 2010)


Holmertz, Elisabeth/Bock, Fredrik. Sounds, sweet Airs and the art of Longing. (LAWO 2013)


Pessi, Giovanna/Wallumrød Susanna. If grief could wait. (ECM 2011)




Stagings, L’Orfeo:


Audi, Pierre/Stubbs, Stephen. Tragicomedia and Concerto Paladino. NPS Television and De Nederlanser Opera 1997 (Opus Arte 2005) DVD


Brown, Trisha/ Jacobs, René. Concerto Vocale/Collegium Vocal Gent. Theatre Royal de la Monnaie 1998. DVD


Koski, Barrie/ Jacobs, René. Vocalconsort Berlin, Orchestra "Il Concerto Vocale", Akademie fur Alte Musik. 2007.


Ponnelle, Jean-Pierre/ Harnoncourt, Nikoalus. Ensemble: Zurich Opera House Monteverdi Ensemble. 1978. DVD.


La Capella Ceial de Catalunya/Concert des Nations. Savall,Jordi

Dal Gran Teatre del Liceu di Barcellona. Recorded by Opus Arte 2002. DVD


Performances with re-arranged music:

Kats-Chernin/Elena (musical adaption)


Komische Oper Berlin 2012. DVD


Hans Ek (musical adaption and conductor)

Steen,Kristofer, Wermland Opera 2015

(Video on command)



Other relevant stagings mentioned and used in the reflection: 

I is another - Rimbaud in Africa. Theatre of Cruelty, Lars Øyno

Lament, Theatre of Cruelty, Lars Øyno.

(Videos on command)


L’Incoronazione di Poppea. Claudio Monteverdi. 

Nikolaus Harnoncourt/Jean-Pierre Ponnelle.

Opernhaus Zürich. 1978. DVD.


Le Bourgeois gentilhomme, Comédie-ballet de Molière & Lully / Dumestre, Le Poème Harmonique, Lazar. 2007. Alpha DVD