Name: Monteverdi's madrigals as proto-opera exercises
Start: 2022-06-05T00:00:00.000Z
End: 2022-06-05T00:00:00.000Z
Location: Gran Teatre del Liceu

Organization

Conductor

Rinaldo Alessandrini

Gran Teatre del Liceu

Monteverdi's madrigals as proto-opera exercises

Barcelona

Spain

Foyer

Public

Madrigals

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Singer

Soprano

Bass

Baritone

Tenor

Bass-baritone

Mezzo-soprano

Countertenor

Alto

Child vocalist

Continuo

Silent

Spoken

Monteverdi's madrigals as proto-opera exercises: Madrigali Monteverdi

In this evolution from the polyphonic style to a more modern and harmoniously compromised grammar, the fifth book represents a turning point in Monteverdi. Thus, in the sixth we find a great heterogeneity of forms: from having unequivocal features we move on to a great diversity of forms. The madrigals are the perfect medium for expressing human passions and the starting point from which the composer will investigate to lead to the creation of the opera. 

Written in five voices, it was published in 1614 and is divided into two parts: each begins with a lament (the Lament of Arianna and La Sestina). L'Orfeo's theatrical experience imposed a transition from genre to greater individuality in the treatment of voices. 

Alessandrini, who has won over the audience in his Monteverdian performances at the Teatro alla Scala in Milan or at the Paris Opera, lands at the Liceu to be the master of ceremonies for these enigmatic madrigal books.

English

Monteverdi's madrigals as proto-opera exercises by Monteverdi, Alkaen (2022/2022), Musiikinjohto Rinaldo Alessandrini, Gran Teatre del Liceu, Barcelona, Spain

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