Staging 'Euridice'
Theatre, Sets, and Music in Late Renaissance Florence
Tim Carter, Francesca Fantappie
Euridice was one of several music-theatrical works commissioned to celebrate the wedding of Maria de' Medici and King Henri IV of France in Florence in October 1600. As the first 'opera' to survive complete, it has been viewed as a landmark work, but its libretto by Ottavio Rinuccini and music by Jacopo Peri and Giulio Caccini have tended to be studied in the abstract rather than as something to be performed in a specific time and place. Staging “Euridice” explores how newly-discovered documents can be used to precisely reconstruct every aspect of its original stage and sets in the room for which it was intended in the Palazzo Pitti. By also taking into account what the singers and instrumentalists did, what the audience saw and heard, and how things changed from creation through rehearsals to performance, this book brings new aspects of Euridice to light in startling ways.
- Focuses on opera as a performance art determined by the particular circumstances of a given time and place
- Demonstrates how a careful reading of historical documents brings to light issues not otherwise apparent when considering musical or other works of art
- Reveals how historical reconstruction of theatrical works can provide a fascinating alternative to modernising Regietheater productions
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Description
Theatre, Sets, and Music in Late Renaissance Florence
Tim Carter, Francesca Fantappie
Euridice was one of several music-theatrical works commissioned to celebrate the wedding of Maria de' Medici and King Henri IV of France in Florence in October 1600. As the first 'opera' to survive complete, it has been viewed as a landmark work, but its libretto by Ottavio Rinuccini and music by Jacopo Peri and Giulio Caccini have tended to be studied in the abstract rather than as something to be performed in a specific time and place. Staging “Euridice” explores how newly-discovered documents can be used to precisely reconstruct every aspect of its original stage and sets in the room for which it was intended in the Palazzo Pitti. By also taking into account what the singers and instrumentalists did, what the audience saw and heard, and how things changed from creation through rehearsals to performance, this book brings new aspects of Euridice to light in startling ways.
- Focuses on opera as a performance art determined by the particular circumstances of a given time and place
- Demonstrates how a careful reading of historical documents brings to light issues not otherwise apparent when considering musical or other works of art
- Reveals how historical reconstruction of theatrical works can provide a fascinating alternative to modernising Regietheater productions
