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内容由Monteverdi Choir & Orchestras and Monteverdi Choir提供。所有播客内容(包括剧集、图形和播客描述)均由 Monteverdi Choir & Orchestras and Monteverdi Choir 或其播客平台合作伙伴直接上传和提供。如果您认为有人在未经您许可的情况下使用您的受版权保护的作品,您可以按照此处概述的流程进行操作https://zh.player.fm/legal
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5. The anatomy of melancholy - Monteverdi and his constellation

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Manage episode 304778457 series 2995421
内容由Monteverdi Choir & Orchestras and Monteverdi Choir提供。所有播客内容(包括剧集、图形和播客描述)均由 Monteverdi Choir & Orchestras and Monteverdi Choir 或其播客平台合作伙伴直接上传和提供。如果您认为有人在未经您许可的情况下使用您的受版权保护的作品,您可以按照此处概述的流程进行操作https://zh.player.fm/legal

The young star chosen and coached by Monteverdi to sing the title role in his second opera, Arianna, died of smallpox just days before the scheduled première in 1608. Her replacement, an experienced singing actress, held strong views on the character of the abandoned heroine, Ariadne. This podcast explores how women suddenly step forward as creative participants and instigators in this brave new world of the senses. Monteverdi showed a particular empathy with his female protagonists and performers. Actress Dame Janet Suzman finds a resonant truthfulness in Shakespeare’s Cleopatra, and we hear how the painter Artemisia Gentileschi dealt with her real-life experience of rape and processed it in her creative work. A window of opportunity opened for women artists and musicians in this period, allowing a temporary escape from paternalistic dominance, before closing again by mid-century.

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Artwork
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Manage episode 304778457 series 2995421
内容由Monteverdi Choir & Orchestras and Monteverdi Choir提供。所有播客内容(包括剧集、图形和播客描述)均由 Monteverdi Choir & Orchestras and Monteverdi Choir 或其播客平台合作伙伴直接上传和提供。如果您认为有人在未经您许可的情况下使用您的受版权保护的作品,您可以按照此处概述的流程进行操作https://zh.player.fm/legal

The young star chosen and coached by Monteverdi to sing the title role in his second opera, Arianna, died of smallpox just days before the scheduled première in 1608. Her replacement, an experienced singing actress, held strong views on the character of the abandoned heroine, Ariadne. This podcast explores how women suddenly step forward as creative participants and instigators in this brave new world of the senses. Monteverdi showed a particular empathy with his female protagonists and performers. Actress Dame Janet Suzman finds a resonant truthfulness in Shakespeare’s Cleopatra, and we hear how the painter Artemisia Gentileschi dealt with her real-life experience of rape and processed it in her creative work. A window of opportunity opened for women artists and musicians in this period, allowing a temporary escape from paternalistic dominance, before closing again by mid-century.

  continue reading

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