Bruno Forment – författare

The role of mythology in Ancien Régime operaThroughout the Ancien Régime, mythology played a vital role in opera, defining such epoch-making works as Claudio Monteverdi's La favola d'Orfeo (1607) and Christoph Gluck's Iphigénie en Tauride (1779). The operatic presence of the Greco-Roman gods and heroes was anything but unambiguous or unproblematic, however. (Dis)embodying Myths in Ancien Régime Opera highlights myth's chameleonic life in the Italian dramma per musica and French tragédie en musique of the seventeenth and eighteenth centuries.Written by eminent scholars in the fields of music, literature, theatre, and cultural studies, the six essays in this book address important questions. Through what ideological lenses did the Ancien Régime perceive an ancient legacy that was fundamentally pagan and fictitious, as opposed to Christian and rationalistic? What dramaturgies did librettists and composers devise to adapt mythical topics to altering philosophical and esthetic doctrines? Were the ancients' precepts obeyed or precisely overridden by the age of ‘classicism'? And how could myths be made to fit changing modes of spectatorship?Enlightening and wide-ranging on an essentially multidisciplinary development in European culture, (Dis)embodying Myths in Ancien Régime Opera will appeal to all music, literature, and art lovers seeking to deepen their knowledge of an increasingly popular repertoire. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

Despite eye-opening discoveries, exhibitions, and performances, many valuable artefacts and documents of the performing arts continue to linger in oblivion. How do these sources affect our understanding and appreciation of the theatrical past? Which challenges and opportunities arise from their reuse in modern contexts, museal and non-museal? Theatrical Heritage addresses these and related issues from a broad perspective. In accessible essays written by theatre and music scholars, performers, directors, conservators, and administrators from Europe and the USA, new methods are advanced to reactivate the theatrical past. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

The challenges and limits for musicians dealing with texts.To perform a musical score implies the transformation of a symbolically coded text into vibrant sound. In Performing by the Book? a carefully selected cadre of artist-researchers dissects this delicate act in critical ways. Offering first-hand insights into the notational, structural and interpretative challenges faced by musicians in dealing with texts of all kinds, the chapters traverse the spectrum between the Middle Ages and the age of Stockhausen. In a harmonious blend of scholarly allure and individual artistry, free from academic obfuscation, the contributors keep a keen eye on the limits of interpretation, both in terms of the interpretative process itself and of the balance between textual faithfulness and artistic autonomy. This comprehensive volume is an indispensable guide for everyone interested in the relationship between musical performance and texts.Contributing authors: Niels Berentsen (Haute école de musique de Genève-Neuchâtel (HES-SO) / conductor of Diskantores), Björn Schmelzer (artistic director of Graindelavoix / independent researcher), Jonathan Ayerst (freelance organist and improviser), Elizabeth Dobbin (Le Jardin Secret / Haute école de musique de Genève (HES-SO)), Camilla Köhnken (freelance pianist-researcher / Bern Academy of the Arts), George Kennaway (cellist, conductor, teacher, publisher and musicologist / University of Leeds), Kate Bennett Wadsworth (cellist / Guildhall School of Music and Drama), Nir Cohen-Shalit (conductor and independent researcher), Xiangning Lin (pianist / Yong Siew Toh Conservatory of Music, National University of Singapore), Clare Lesser (independent performer, musicologist and composer).Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).