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Scenic Conceptions in the Seventeenth Century and Today

Explore the evolution of scenic designs in the 17th century and their relevance in modern stagings of Baroque operas.

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Scenic Conceptions in the Seventeenth Century and Today

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  1. Calisto: Scenic Conceptions in the Seventeenth Century and Today Jonathan Glixon University of Kentucky Gresham College, London September 22, 2008

  2. Torelli: Courtyard sets from Bellerofonte and Venere gelosa

  3. Tessin: drawing showing decreasing size of flats

  4. Krumlov Theatre (1766): Garden Scene

  5. Krumlov Theatre (1766): Hall Scene

  6. Teatro SS. Giovanni e Paolo, detail of plan (1691-93)

  7. Teatro SS. Giovanni e Paolo, detail of plan (1691-93)

  8. Torelli, Set for Bellerofonte, Act I, Scene 1

  9. Torelli, Set for Bellerofonte, Act III, Scene 8

  10. Krumlov Theatre (1766): Sets and slots in stage

  11. Fano Theatre (18th century): Cross-section with flats and trolleys

  12. Krumlov Theatre: Trolleys on tracks

  13. Krumlov Theatre: Scene-changing mechanism

  14. LIBRETTO The Grotto of Eternity Arid Wilderness Forest The Peak of Mount Liceo The Plain of Erimanto The Fountains of Ladone The Empyrean Scenery for Calisto

  15. LIBRETTO The Grotto of Eternity Arid Wilderness Forest The Peak of Mount Liceo The Plain of Erimanto The Fountains of Ladone The Empyrean ACCOUNT BOOK the grotto of eternity the arid wilderness with the fountain, the peaks of Mt. Liceo, the plain of Erimanto the fountains of Ladone Scenery for Calisto

  16. LIBRETTO The Grotto of Eternity Arid Wilderness Forest The Peak of Mount Liceo The Plain of Erimanto The Fountains of Ladone The Empyrean ACCOUNT BOOK the grotto of eternity, with a backdrop the arid wilderness with the fountain, with backdrop the peaks of Mt. Liceo, with backdrop the plain of Erimanto the fountains of Ladone with open backdrop Scenery for Calisto

  17. LIBRETTO The Grotto of Eternity Arid Wilderness Forest The Peak of Mount Liceo The Plain of Erimanto The Fountains of Ladone The Empyrean ACCOUNT BOOK the grotto of eternity, with a backdrop the arid wilderness with the fountain, with backdrop the peaks of Mt. Liceo, with backdrop the plain of Erimanto without backdrop the fountains of Ladone with open backdrop Scenery for Calisto

  18. LIBRETTO The Grotto of Eternity Arid Wilderness Forest The Peak of Mount Liceo The Plain of Erimanto The Fountains of Ladone The Empyrean ACCOUNT BOOK the grotto of eternity, with a backdrop the arid wilderness with the fountain, with backdrop, andwithout backdrop the peaks of Mt. Liceo, with backdropand without backdrop the plain of Erimanto without backdrop the fountains of Ladone with open backdrop Scenery for Calisto

  19. LIBRETTO The Grotto of Eternity Arid Wilderness Forest The Peak of Mount Liceo The Plain of Erimanto The Fountains of Ladone The Empyrean ACCOUNT BOOK the grotto of eternity, with a backdrop the arid wilderness with the fountain, with backdrop, and without backdrop the peaks of Mt. Liceo, with backdrop and without backdrop the plain of Erimanto without backdrop the fountains of Ladone with open backdrop The Empyrean, of clouds above and below Scenery for Calisto

  20. Apotheosis from Germanico sul Reno (1676)

  21. The “meraviglioso” was a central concept in Baroque poetry and theatre

  22. «opere musicali con meravigliose mutationi di scena, comparse maestose e ricchissime, machine e voli mirabilis; vedendosi per ordinario risplendenti cieli, citadi, mari, reggie, palazzi, boscaglie, foreste ed altre vaghe e dilettevoli apparenze»¹ • (“Musical works with marvellous changes of scene, majestic and sumptuous vehicles, wonderful machines and flights; splendid skies, towns, seas, kingdoms, palaces, woods, forests and various other delightful apparitions presented as everyday sights”).[1] • [1]Francesco Sansovino, Venetia Città Nobilissima et Singolare, Venice 1663, p. 397.

  23. do modern stagings of Seicento operas and of baroque operas in general still retain that dimension of the “meraviglioso”?

  24. Example 1 • Busenello-Cavalli’s Didone • Venice, La Fenice theatre • September 2006 • The production was conducted by Fabio Biondi and staged by the Design Department of Venice University [IUAV].

  25. Design for Juno in Didone Venice, La Fenice Theatre, 13 September 2005

  26. Sketches for the character of Dido in Didone Venice, La Fenice Theatre, 13 September 2005

  27. Didone, Act 1, scene 3 Venice, La Fenice Theatre, 13 September 2005

  28. Didone, Act 2, scene 9

  29. Didone, Act 2, scene 9 Didone, Act 3, scene 7 The gods have informed Enea that he must leave Dido

  30. static images vs. images in motion • painting vs. cinema • Slow vs. fast

  31. Example 2 • Gli amori di Apollo e Dafne • Fano, Teatro della Fortuna • Festival barocco 1998 • Director: Pier Luigi Pizzi • Conductor: Alessandro de Marchi

  32. Gli amori di Apollo e Dafne

  33. The transformation of Daphne into a bay tree Fano, La Fortuna Theatre, 1998

  34. Gianlorenzo Bernini • Apollo e Dafne Fano, La Fortuna Theatre, 1998

  35. Example 3 • Calisto by Giovanni Faustini and Francesco Cavalli • Brussels, Theatre La Monnaie • 1996 • Director: Herbert Wernicke • Conductor: René Jacobs

  36. Example 4 • La favola d’Orfeo by Claudio Monteverdi • Kent Opera • 1976 • Director: Jonathan Miller

  37. From Jonathan Miller, Subsequent performances. 1986

  38. From Jonathan Miller, Subsequent performances. 1986

  39. From Jonathan Miller, Subsequent performances. 1986

  40. From Jonathan Miller, Subsequent performances. 1986

  41. Barcelona, Liceu, Deflo/Savall

  42. Example 4 • Giulio Cesare by Handel • Bologna, Comunale Theatre • 2003 • Director: Luca Ronconi • Conductor: Rinaldo Alessandrini

  43. Elizabeth Taylor at the opera

  44. Centrality of the words versus pantomime acting

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