Auswahl der wissenschaftlichen Literatur zum Thema „Theater of Marcellus (Rome, Italy)“

AbstractThis study draws on the unpublished correspondence between Michelangelo Buonarroti the Younger, a Florentine poet and grandnephew of the artist, and the Barberini family, in an attempt to examine the wider concepts of cultural clientelism and brokerage networks in the early modern process of cultural dissemination (in the areas of literature, music, theater, painting, architecture, and science) in Florence and Rome. Reconsidering the definition and role of a Seicento cultural broker added to the traditional model of patron and client, it analyzes Michelangelo the Younger’s activity as broker, patron-broker, and broker-client in connection with such significant figures as Maffeo Barberini (the future Urban VIII), Galileo, and the painter Lodovico Cigoli, exploring the ways in which these roles supported his personal commitment to promote his family’s social status and revealing the fluidity of roles in the patronage system. By obtaining Barberini patronage for his theatrical works and public recognition of the mythology of his illustrious forebear, Buonarroti’s cultural brokerage supported these dynastic ambitions. Spanning nearly half a century, this archival documentation casts new light on a little-known, but significant, area of Italian social relations and suggests directions for further research on other Seicento cultural brokers and new definitions for a broader concept of cultural brokerage in early modern Italy.

The study is devoted to the first publicly accessible opera house Teatro San Cassiano (Venice, 1637), the establishment of which became a cardinal factor in the transformation of opera from aristocratic court entertainment to creative industry. The author considers the issues related to the history of the theater’s construction and the actions of its owners, the Venetian nobles, the Tron brothers, aimed at turning opera into a profitable business. The article reveals possible prototypes and reasons for the constructive solutions in the theater, in particular the boxes and the U-shaped audience hall. The author gives the parametric characteristics of the components of the Teatro San Cassiano building — the stage, the audience hall, and the boxes. It is noted that the tiered Theatro San Cassiano became a prototype for other theatres not only in Venice, but also in other cities of Italy and Europe. Thus, among the Venetian theaters of the 17th century, the public theaters, such as SS Giovanni e Paolo (1638), Novissimo (1640), San Moise (1640), and San Giovanni Crisostomo (1678), were inspired by San Cassiano; outside Venice there were Teatro Falcone (Genoa, 1652) and Teatro Tordinona (Rome, 1671). The article emphasizes market competition that was one of the key factors in the dynamic spread of opera and the formation of opera infrastructure in Europe. After the establishment of San Cassiano, the development of opera acquired a clearly defined vector: from elitist entertainment to creative industry.

In spring of 1924 Viacheslav Ivanov was invited to Moscow to participate in the June celebrations of the 125th anniversary of Aleksandr Pushkin’s birth. The months he spent in the capital reflect an unusually active social schedule. As his address book of the summer of 1924 indicates, he met with a wide range of people: composers and performers (Reinhold Glière, Mikhail Gnesin, Aleksandr Grechaninov, Aleksandr Goldenweiser, Nikolai Miaskovsky, Nikolai Medtner, Leonid Sabaneev), poets and prose writers (Valery Briusov, Iurgis Baltrushaitis, Andrei Globa, Vasily Kazin, Vladimir Lidin, Isaiah Lezhnev, Vladimir Nilender, Ivan Novikov, Sergei Poliakov, Ivan Rukavishnikov, Sergei Shervinsky, Anastasia Tsvetaeva), theater directors (Vsevolod Meyerhold, Aleksandr Tairov), literary scholars (Mikhail Gershenzon, Leonid Grossman, Viktor Zhirmunsky, Boris Eichenbaum), artists (Anatoly Arapov, Nikolai Ulianov, Nikolai Vysheslavtsev, Konstantin Yuon), priests and theologians (Sergei Sidorov, Pavel Florensky), art historians and museum curators (Count Valentin Zubov, Nikolai Mashkovtsev, Boris Ternovets, Abram Efros) and others. Many of these people were in one way or another connected to the activity of the State Academy for the Study of the Arts (GAKhN). It was in fact for GAKhN that Ivanov gave a series of well-received lectures. After receiving his passport to travel to Italy on 4 July 1924, Ivanov decided to postpone his departure for an entire month. It would seem that this delay was connected to the need to draw up a project for the creation in Rome of a Soviet State Institute for History, Archeology and Art History. The project was supported by Petr Kogan, the president of GAKhN, and by Anatoly Lunacharsky, the head of the People’s Commissariat of Enlightenment. The Institute was envisioned as an organization that would serve both researchers and students, following the models of the corresponding academies in Rome — the French Academy, the French School of Archeology, the German Archeological Institute, etc. As Ivanov formulated it in the first plan that he gave to Lunacharsky on 24 August 1924: “The absence of Russia in the arena where cultured peoples are jointly and competitively pursuing scholarly work and cooperating in advanced scholarly colloquy is a kind of voluntary exclusion from contemporary civilization and an indirect affirmation of false rumors about the decline of our culture.”

Introduction. In the music of the late twentieth century the realization of the creative potential of performers is rarely limited with the framework of direction which was chosen in the beginning of career. The field of the academic music may be too narrow for the artist, but this does not mean a definitive departure from this area. The life and performances of Italian singer, actress and composer Daisy Lumini (1936–1993) could be considered as one of the examples of the twentieth century “variability” of the artist’s way. She developed from a graduate of the Conservatory to a pop star and a cabaret singer, from a medieval folklore performer to an interpreter of contemporary academic music. Daisy Lumini’s unique performing experience led her to collaborate with Italian composers of the late twentieth century. Theoretical background. The extraordinary personality of Daisy Lumini received a certain resonance in the European press. High historical value is the biographical essay “Daisy e la musica. Una grande e tragica storia” (2019) by Chiara Ferrari, based on the memories of Beppe Chierici. Daisy Lumini and her works are mentioned in digest “The Singer-Songwriter in Europe: Paradigms, Politics and Place” (2016) and in Jacopo Tomatis’s “Storia culturale della canzone italiana” (2019). The purpose of this paper is to reveal the specifics of the interaction of the composer and performer in the post-avant-garde music based on the creative collaboration of Daisy Lumini and Italian composers of the late twentieth century (Franco Mannino, Luciano Berio, Salvatore Sciarrino). This study requires the use of analytical, style and performing methods of scientific research. Results of the research. Daisy Lumini’s singing style has implicated using a lot of types of intonational practices which is usually associated with the mass twentieth century culture (including pop songs, folk music, cabaret aesthetic etc.). Nevertheless, she had started her musician career with getting education (as a composer and pianist) in totally academic environment in Luigi Cherubini Conservatory (Florence, Italy). Being a daughter of the Florentine painter Vasco Lumini, Daisy Lumini had would be able to continue a calm and comfortable existence in Florence. However, after she had been graduated from the Conservatory in late 1950s she decided to change her life vector, moved to Rome, started her activity as a cantautrice (female singer-songwriter) and produced her first singles. During this period, Lumini found success in collaboration with lyric writer Aldo Alberini and well-known Italian singers Mina Mazzini and Claudio Villa. Along with traditional vocal techniques, Lumini used the whistling technique, due to which she got the nickname “l’usignolo di Firenze” (“the Florentine nightingale”) and was invited by Ennio Morricone to whistle in the soundtrack of Lina Wertmüller’s “I Basilischi” (“The Lizards”, 1963). In 1960s a work in Gianni Bongiovanni’s Derby Club Cabaret (Milan) and a collaboration with the RCA (Radio Corporation of America) turned into the fields of Lumini’s creative activity. The acquaintanceship with Beppe Chierici, an actor, who would become her husband, lead to a new “folklore” stage of Lumini’s career. As a result of careful research of Italian folk music founded on the materials of Conservatory Santa Cecilia Library (Rome), the singer together with Beppe Chierici had produced several musical performances in the aesthetics of poor theater based on the Tuscan and Piedmontese songs of the XV–XIX centuries, as well as the Songs of Minstrels album based on the texts of the XII–XIV centuries. There was DaisyLumini’s gradual return to the environment of academic music in 1970s. Singer’s friendly communication with conductor Gianluigi Gelmetti, composers Franco Mannino, Domenico Guaccero and others, who represented Santa Cecilia Conservatory, has resulted in a number of creative collaborations. In 1973, even being immersed in ethnographic research, Daisy Lumini performed as mezzo-soprano in Franco Mannino’s “Il diavolo in giardino”. Another milestone in Daisy Lumini’s work became 1982, when director Roberto Scaparro invited the singer to participate in the Italian premiere of Luciano Berio’s “La vera storia”. In the opera, which is a creative reinterpretation of Verdi’s “Troubadour”, Daisy Lumini played the role of one of the cantastorie – singing storytellers or narrators describing and commenting events of the plot. Daisy Lumini achieved a real success as a performer of the post-avant-garde music in the 1980s, in collaboration with Salvatore Sciarrino. Daisy Lumini has premiered a great number of his chamber works, such as “Efebo con Radio”, “Canto degli specchi”, “Vanitas”, “Lohengrin” and some others. Conclusions. Although Daisy Lumini is an individual case, the phenomena and strategies discussed here may turn out to be symptomatic for contemporary music practice. Performers may rarely allow themselves to remain within the same intonational practice in the contemporary music art. It is especially important if it comes to the first performing of the post-avant-garde music that requires a certain congeniality of the performer and the author. The interaction of the composer and the performer is often a factor affecting the creation of a musical work at all stages, from the appearance of an idea for a premiere performance. The musician with a rich life experience and wide range of performing techniques may be considered as the co-author of the score.