1/16/2024 0 Comments Margarita tutta la vita![]() The invisible thread of sight between lovers and their beloveds is a central theme in this programme. Treacherous and false nature of blind love. While the two characters wander sightless-Amaryllis because of the blindfold, Mirtillo because of his tormented love-Guarini's chorus bemoans the One, Amaryllis, isīlindfolded and accidentally ends up in the arms of the other, Mirtillo, who desires her, unbeknownst to her and the community. In the third act of the play, set in the idyllic pastoral world of Arcadia, two lovers play a game of “Blind Man's Bluff” (or Gioco della Cieca, as it is known in Italian). Thus comments the chorus in Guarini's play, “The Faithful Shepherd” (Il pastor fido) on two lovers' passionate but beleaguered love tale. “Blind love I do not trust to thee, that makes desires full of obscurity”. As Guarini wrote in his bittersweet ode to spring: “You, O Spring, do indeed return, but do not bring with you the happy days of my fortunate past”. Thus, Ferraraʼs golden age came to an abrupt end. But the Ferrareseʼs hopes in Margherita were in vain: Alfonso died heirless in 1597, the city was taken over by the Papal States soon after and what remained of the dʼEste family fled the city. It is not difficult to connect this image of Spring with Margherita, the Ferrareseʼs symbol of hope for a brighter future, a continuance of dʼEste rule. Of the year, mother of flowers and bringer of new love. Giovanni Battista Guariniʼs text “O Primavera” conveys a deep hope and longing for the renewal of spring: spring is described as youth His works in this programme include O Primavera and Cara la vita mia. The composer Giaches de Wert, Flemish by birth but an adoptive Mantuan, was known to have had close contact with the Concerto. Programme: tears and sighs are the central image both of Monteverdiʼs Dolci miei sospiri and Kapsbergerʼs Sʼio sospiro.īecause of Margherita di Gonzagaʼs birth-ties with Mantua, the Concerto delle Dame was closely associated with composers from the Mantuan court. As a counterpart to natural bodies of water are human tears, also a prominent feature in the chosen texts for this Thus, water is a parallel symbol in our programme: in an unusual arrangement of Girolamo Kapsbergerʼs Toccata arpeggiata, the sound of two plucked instruments creates a murmuring flux this is immediately followed by Torquato Tassoʼs ode to the exhilarating natural spectacle of dawn on the laguna set to music by Claudio Monteverdi in “Ecco mormorar lʼonde”. With whom the city fought constantly for domination of the region. Tonightʼs programme, which also creates a bridge between Ferrara and Venice, its powerful rival, This watery landscape was the inspiration for part of Other composers from Luzzaschiʼs entourage are also represented, including his Ferrarese-born student Girolamo Frescobaldi, whose diverse vocal output is represented by the wistful aria Voi partite mio sole for solo voice, and the lively three-voice setting Corilla, danzando sul prato.Īside from being a cultural landmark, Ferrara was an important trade centre: a crucial role in theĬityʼs flourishing was played by the Po Delta. His works for one, two and three sopranos, Tʼamo mia vita, Stral pungente dʼamore and Aura soave form the core of this programme. The composer most closely associated with the group was Luzzasco Luzzaschi. The Concerto, or the Dame di Ferrara, were famous for their virtuosic singing: their performances inspired composers across Italy to write for a similar ensemble. Margherita was an important musical patron, and had close ties with one of the most important ensembles in the Ferrarese court: the so-called Concerto delle Donne. The hopes of the cityʼs autonomy were put entirely on Alfonsoʼs third wife, Margherita di Gonzaga, who moved to Ferrara from Mantua to marry Alfonso in 1579, aged fifteen. Such as the Papal States, who were ready to take over the city should the lineage be interrupted. Ferrara was surrounded by powerful neighbours Producing a male heir to secure the dʼEste lineage. Despite this cultural blossoming, however, the Ferrarese dynasty was in danger of extinction: with two childless marriages behind him, Alfonso was in urgent need of The city was under the rule of Duke Alfonso II d'Este, notable patron of the arts: under his rule the Ferrarese court was a hub of musical excellence, attracting composers and musicians from afar. The inspiration for this programme is the musical life at the end of the 16th century at the Italian court of Ferrara. Canzoni and madrigals from the late 16th century in Ferrara
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