That sublime “Recitar Cantando”
Dino Villatico – La Repubblica – 18.11.2018
[…] And so it is that Accademia d’Arcadia and Anagoor have the idea to represent the short circuit between violence and memory of the violence in a performance in which the visual depiction of violence and the musical expression of pain are mirrored one into another, through the projection of scenes on a screen that evokes most of all brutality, and that through musical interpretation give back the mood of the sound, the symbolic culture of the moment that transfigures singing and pain into poetry.
These are sublime pages […] We owe to Alessandra Rossi Lürig the fascinating choice of the musical pieces. The soprano Silvia Frigato understands perfectly the sense of Recitar Cantando. Not only due to her extremely clear diction, but mostly for the musical acting, indeed, and for her singing recitation, that is to say a singing that becomes in itself acting. The Accademia d’Arcadia supports her with the right balance, and the plucked instruments on their part compete with the voice in melodic flexibility. And then there are the instrumental pieces, one more beautiful than the other, and the dances.
In a few words, it is a performance hard to forget, for the lucid vision, and the sense of awareness with which it has been imagined, constructed and made. The very numerous public that rushed to the performance in Rome and the Pelanda del Macro, and at Testaccio for the Romaeuropa Festival has rightly decreed a true triumph for all of the interpreters.
EKPHRASIS AT THE THEATER
By Silvia De Min – Predella journal of visual arts, n°33, 2013 – www.predella.it
A shaking of moods, of crystalline emotions of Baroque flavor: on one side there is music played live on period instruments and masterfully sing by the smooth voice of soprano Silvia Frigato; on the other side the video projections of Anagoor, an artistic group of Castelfranco Veneto who mixes art forms in a poetical manner – video, music, performance – creating delicate and cultured dramaturgy that elongates the time of memory. […] The association of coloristic movement and music is not new as a theoretical concept, and reveals to be as interesting as ever in the actual realization of Et manchi pietà. […]
THE INDIANA JONESES OF RESEARCH MAKE THE IMAGES BECOME SOUND
By Luca Pavanel – Il Giornale – 24.03.2013
Early Music and video-art. At the confines of research, it can happen to chance upon the Indian Joneses of musicology, professors and musicians who go hunting through Arcadia for composers fallen into oblivion, and into the avant-garde group Anagoor, […] involved in contemporary languages. «It is not a movie with a soundtrack, and neither a concert with images. It is a video-work in which music and screen are connected», explains film director Simone Derai.
ET MANCHI PIETÀ
By Lorenzo Parolin – Il Giornale di Vicenza – 19.07.2013
[…] A reflection on Baroque and modernity: the implicit or exhibited sense of death, or the temporariness of reference points and the precariousness of existence, are themes that connect the crisis of the Seventeenth century to that of our days. Anagoor revaluates the Baroque period, form a simple period of decadence to a useful model to explain other transition eras as well, by ideally bringing the German thinker Walter Benjamin of stage. Some pivotal concepts from the essay on “German Baroque Drama” with which the philosopher opened as early as in the 1920s a new interpretation of the 1600s, took shape in “Et manchi pietà” unveiling the modernity of Artemisia and of her world.
ARTEMISIA, TALENT AND COURAGE
By Luigi Fertonani – Bresciaoggi.it – 17.11.2013
A story that finds unimaginable connections with the contemporary world «darkened» by episodes of violence against women. Artemisia Gentileschi was raped but had the courage – almost incredible in those times – to denounce the violence and to face a trial. A suffering that became an inspiring Muse, in spite of all. […] The amorous letter for voce sola «Se i languidi miei sguardi» exalts the extraordinary vocal qualities of Silvia Frigato. Of great emotional impact the interpretation of «Hor ch’è tempo di dormire» by Tarquinio Merula and of «Lagrime mie». Silvia Frigato has an extremely accurately pitched voice, […] that makes the sung text perfectly understandable […]
Accademia d’Arcadia under the direction of Alessandra Rossi Lürig offered the public a most remarkable performance on instruments of great complexity […]
ET MANCHI PIETÀ
By Alessandro Cammarano – operaclick.com – 18.07.2013
The project is fascinating, involves emotions and rationality, makes both the music and the paintings immediately accessible. Everything becomes a narration of life and of the concept that Artemisia has of painting, of her conflictual relationship with her master and father and with other men, and of her thirsth for independence.
The music of the time is in its turn among the most experimental ever composed: […] performed with wonderful lightness by Silvia Frigato, soprano with a perfect voice for Baroque repertoire and a sensible performer of phrasing, and by the Accademia d’arcadia directed by Alessandra Rossi Lürig.
An intelligent evening, with many young people and children, with much food for thought, and in which technology mingles with art, the ancient world marries the contemporary one and makes it immediately comprehensible. The young performers of Anagoor and of Academia d’Arcadia demonstrated that music and painting are not “museum items” but living, vital things in a process of development even though centuries old, with acute intelligence and absolute .