ANIMA e CORPO anni 1600 - 2000

Anima e Corpo can be experienced in many different ways.

  • At one level it can be a delightful multi-media show with songs, dances, instrumental pieces, a bit of drama, perhaps costume and scenery, an interesting use of space, all-round sound, and so on.
  • A social historian can be fascinated at the way traditional religious and moral values were presented like a renaissance Disneyland, in the counter-reformatory Catholic world at a time when inquisition was as firmly established as in any modern totalitarian regime: and in Rome, at the very power-centre.
  • A modern liberal thinker, perhaps someone who has studied more recent developments in psychological understanding, may be saddened to be faced again with a morality which peaches that pleasure is bad, that self-denial is to be valued, when otherwise he is occupied with the great task of showing how we function better is our basic needs are met.

And so on ...

But perhaps we can find a synthesis of all this for today's listener - and today's musician. Cavalieri's melodic and harmonic dialects are thoroughly charming variants of a language we recognise and fell comfortable wwith: the Italian poetry has a captivating music of its own, and we need not understand all the details, nor feel ourselves repressed by any obsolete formulations.

As it stands, the message of the author, Agostino Manni, is of course a conformist Renaissance Catholic one: but today we can take it in a universal way, letting 'god' stand for creative power, 'worldly life' stand for materialism, 'pleasure' for short-term gain; 'hell' can represent the pain we suffer from unresolved conflicts, 'heaven' can be our own personal idea of balance, health, long-term satisfaction: the Rappresentatione di Anima, et di Corpo can quite simply be the dialogue between rational and irrational, maleness and femaleness, yin and yang, things and ideas: and in their happy interaction we express the basic principle which unites our modern or new age with that earlier Renaissance - MUSICA HUMANA, the search for human harmony.

David Kettlewell

 

Anima e Corpo then and now
Staging a renaissance opera:
Alessandro Guidotti, 1600
Welcome to the world of
Musica affetuosa!
The 1996 Tartu production
Who did what
Interlocutori
Li stromenti
Why 'opera', not 'oratorio'?

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