Di madre l’amor

Di madre l’amor 18th century motherhood, childhood and the artistic collaboration of G. F. Handel and singer Margherita Durastanti In her in-depth and impressive study of the operas of George Frideric Handel, Silke Leopold dedicates his mothers on stage a whole sub chapter and analyses his only aria in which a mother expresses feelings of […]

Read more "Di madre l’amor"

Konzept zum Film „Amalie“

© Anita Sikora Die wie folgt vorgestellte Handlung basiert auf Tatsachen (Zeiten und Orte), enthält aber natürlich überwiegend fiktionale Elemente, die aber plausibel erscheinen. Amalie Eberlin, Tochter des Komponisten Daniel Eberlin, war Hofdame/Kammerjungfer der Anna Maria von Sachsen-Weißenfels, und es ist wahrscheinlich, aber (noch) nicht erwiesen, dass sie diese Rolle schon um die Zeit um […]

Read more "Konzept zum Film „Amalie“"

Jephtha’s daughter…

She entered my life about 10 years ago, by stepping out of the first play by a women that made it on stage: in Aphra Behn’s play “The Rover” (1677) the heroine Helena, a young lady from Naples, disguised as a gypsy, has a very witty discussion with the English seafarer, Willmore, the Rover. When […]

Read more "Jephtha’s daughter…"

Aphra Behn

Aphra Behn (1640?-1689) was a 17th-century writer who challenged expectations of women at the time by writing plays, poetry and novels for profit.  Her most famous texts include The Rover, Oroonoko, and The Fair Jilt.   Some of her writing was notorious for its sexual themes, but she also got into trouble for writing about politics, a…

Read more "Aphra Behn"

Inexplicable Dumb-Shows & Noise? Languages of Emotion in Early Opera

Originally posted on Andrew Lawrence-King:
These representations in music, a spectacle truly of princes and moreover most pleasing to all, as that in which is united every noble delight, such as the invention and disposition of the tale; sententiousness, style, sweetness of rhyme; art of music, concertos of voices and instruments, exquisiteness of song; grace of dance…

Read more "Inexplicable Dumb-Shows & Noise? Languages of Emotion in Early Opera"