Ann ha inaugurato, come prima ambasciatrice mondiale, la nostra Hall of Fame rappresentando la Svezia, sua terra natia. Ann è stata regolarmente descritta come “la migliore mezzosoprano del mondo” e ha offerto una sublime interpretazione cantando gratis al nostro lancio, nonostante fosse lontana da casa da tre settimane e soffrisse di un dolore lancinante per una slogatura. A dimostrazione di quanto il progetto del Teatro San Cassiano significa per lei. Ecco allora le sue riflessioni sul progetto del Teatro San Cassiano: da vicino!

"Why on earth should we build a Baroque theatre in the 21st century?

There are still some old theatres left, we know what they looked like, and there are regular performances in some of them. Isn’t that enough?

Of course there are, but they are precious and few—though none from the 17th century—and very, very fragile; or, they have been used throughout history and been modernised for the needs of later, romantic operas; bigger, deeper, different materials, different acoustics. They can’t give us the full experience anymore.

I am convinced that nothing can teach us about history as effectively as history itself. To try to do something yourself, to experience the how’s and why’s gives us insights that we can never get when just reading about it.

As an example; when I was studying the material for my “Farinelli manuscript” CD, I came across a very strange passage, more than extremely difficult to sing, simply impossible even for a Farinelli, who had written down the music himself! But while struggling with how to make my voice sing it I realised what Farinelli must have meant with this strange notation and how it must be executed. I wouldn’t have had a clue if I hadn’t tried to sing it myself, it would just have been yet another difficult run among a hundred others.

No one has ever taught me during my studies, or on “normal” stages, the things that are very important on a Baroque stage. It was when standing on those stages myself that I have learnt what works and what does not: You should always move in little curves on stage, never in straight lines, it just looks wrong! When entering the stage make a small curve upstage, never walk too close to the sets, especially in the back. This sounds picky and unnecessary, but the false perspective will make a person standing in the back seem gigantic and walking close to the sets will make them shake like an earthquake.

Also; it’s perfectly fine to sing while wearing a corset - as long as you give your kidneys and liver a moment to crawl away and settle somewhere else… Or you will faint! Never raise your arms above your shoulders when wearing a historically-informed costume, it will stop you and the seams will rip! And never, ever try to die on the floor when wearing a farthingale…. It will flip your skirts over your face. Don’t ask how I know this!

These are only a few things, imagine how much we can learn from a place like San Cassiano!  Singers, musicians, dancers, directors, costume, set, light and pyrotechnics designers, all of us on and behind the stage could explore and try not only the “hows” but also the “whys”.

And in the end, because without the audience nothing we do has any meaning, we could invite you to step into this beautiful time-machine and let you experience a night at the opera as it once was meant to be with all details in place.

That’s why!"

Ann Hallenberg
Ambasciatrice mondiale
Teatro San Cassiano

 

Nota

Tutti i contributi di questa serie sono forniti nella lingua scelta dall’autore e non sono tradotti. Ciò per mantenere l’integrità delle dichiarazioni dei vari autori, che sono loro proprie e senza interferenze editoriali o suggerimenti da parte del Teatro San Cassiano. L’idea della serie è di dare a te, al lettore, una panoramica dell’enorme significato storico e culturale del progetto e di vederlo dalla miriade di prospettive professionali che dovranno unirsi mentre ci avviciniamo all’enorme compito di cercare di ricostruire il Teatro San Cassiano del 1637.

 

Foto di Janie Airey