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Garden with French doors at Gaudenzio's
Progetto ROS / Rossini Opera Stampa; a 'KAUS Urbino Project' related to the Rossini Opera Festival 2012.
When drawing my Sofia and Marianna; I could just see them play the "l'emigrette" as was in fashion of and on during their time, it might be an extra for counter-expression; and where in Greek history the toys of childhood became home-alter pieces when adulthood was reached this might well work as a hand prop.
The somehow playful and honestly moving Ah Donate il Caro Sposo with the solo english horn seems to propose a great yo-yo play for 'my' Marianna in the background. Somehow I might even consider a graphical design-play here with the greatest of yo-yo / diabolo figures.
more of Gaudenzio's garden I seem to imagine
I would imagine it something impossible to have singers actually move as the arabesque of the periode would prescribe, in fact anyone who's seen photographs of men and women (especially sportsmen of the era) knows how different the actual built of people differed from what we seem to see to day. The same applies of course to singing. Judging on what was seen to be 'historically correct' in the 19fifties and again in the 19eighties there must be something correct in the remark that somehow we would always make a selfportrait; and most importantly for an artist: we should somehow avoid that. This now in our time seems the most difficult thing there is in the world, as there seems to be nothing at all that is so incredibly important as the fixation on 'our inner self' and 'identity'. Probably not the best way to appreciate an artwork from a different age.
? with prison in sight ?
FILS PAR HASARD,
RUSE ET FOLIE,
PAR MM. CHAZET ET OURRY.
- Desroches, n´égociant; Chazelle;
Jacques Offenbach, in admiration for Rossini's work, revised text and music for Paris (December, 1857); he invited Rossini for the event. The comment was in Rossini's typical irony: "I gave you permission to do as you wanted, but certainly do not intend to become your accomplice."
At the time Honoré de Balzac, who loved Rossini's work, would have been 58, whilst he was only 14 when the première of Rossini's opera was on stage.
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