Gli amori (Italian Edition)

Amori Difficili by Calvino
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Overview This module focuses on a number of Italian contemporary short stories. More specifically, this module discusses the literary treatment of love, and the love story, in the short stories of some of the most important Italian writers of the second half of the 20th century and early 21st century.

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However, as all attempts proved hopeless he finally began pursuing her, and when she reached the banks of the river Peneus she turned herself into a bay-tree. Three stages in time. Three artistic forms in movement, testifying to mutations in the history of man and the arts and the impulse to create something new.

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This mythological epic traverses the centuries, firing the imagination of generations. In Florence, the composer Giacoppo Peri and librettist Ottavio Rinuccini are inspired by the legend of Daphne and create the very first opera unfortunately lost. Eurydice marks the birth of the genre in With his first libretto, Busenello makes a veiled reference to the very first opera by making Daphne the subject once again, while strongly asserting his independence as far as the myth is concerned, as well as his modernity as a writer. Like his Baroque contemporaries, Busenello translates this upheaval with a liking for artifice, ambiguity and irony and reacts to it philosophically with epicureanism blended with scepticism.

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In order to develop viewpoints on the relationship of power and seduction between the sexes, he interweaves the impossible love affair between Apollo and Daphne with other problematic relationships: the divine one between Tithonus and Aurora and the human one between Cephalus and Procris. Rejecting the conventions of unity, he increases the amount of action taking place simultaneously and changes of place and focuses on just one or two characters — just like in the movies!

Toto Cotugno Gli Amori subtitulos español-italiano

The result is a pastoral opera full of spirit featuring choruses and ballets where the composer demonstrates his mastery already in the variety of tone, expressiveness of the recitative and beauty of the lamento — qualities which lead him to dominate the operatic scene in Venice for some thirty years.

The musical director — a Baroque specialist — and the director — whose focus is on experimental theatre — each feel the same need: to encourage what resonates in this ancient work today to be heard by looking for ways to perform it that are in tune with our era.