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Ah, dolente partita!

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 I decided I needed to learn more about Monteverdi’s madrigals, so I got a cheap Dover score (Books IV and V) and headed to YouTube.
 
I think YouTube is the future Choral Literature class (and I’m sure other’s have beat me to that realization).
 
A very creative rendering of Monteverdi’s “Ah dolente partita!” below:
 
 


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  1.  A couple summers ago, as part of the Lincoln Center Festival, this group performed the entire Fourth Book. The five singers and five actors were interspersed among the audience at tables just like the ones in the video. After about 30 minutes of people gathering, being shown to their tables, enjoying wine and cheese, etc. without any warning or typical pre-performance applause the singing began. There was absolutely no way to know that the other couple seated at your table or at the table next to yours was part of the performance until the singing began. The dramatic intensity in Monteverdi’s settings of these amazing texts was clearly felt by everyone in the room. As one madrigal lead to the next we were all drawn in. Loving, parting, reuniting, anger, hope, pain; all were present.
     
    In addition to the "theater" involved, the singing was exquisite. There was never a sound from a pitch pipe. It was clear that even people in the "audience" who didn’t have the benefit of having studied this amazing book were very much "in the moment" and felt the impact of this performance.
     
    Thanks, Philip, for posting this and reminding me of one of the most engaging performances I have witnessed.
     
    Best,
    Dean

  2. This would be part of the connection work that I propose could and should be done with such a piece (any and all pieces, really).
     
    Have the singers flesh out the following questions:
     
    1. To whom are you singing?
    2. What do you adore about them? Be specific.
    3. What’s going to happen if they leave you? Raise the stakes — it’s big.
    2. What just happened?
    3. How are you trying to affect them/what’s your ideal outcome once you’ve finished singing?
     
    After that, a number of things could be explored. Such as…
     
    A.
     
    1. Set the singers up in pairs, exactly like the video. Have 1/2 sing to the other half.
    2. Switch.
     
    B.
     
    Have them do it again, but this time all the people (half the group) stand in a line opposite their Others. The singers link arms with their Others, then try to pull them past a certain point on the floor. If they succeed, they get what they want. If not, they fail. Meanwhile, the Others are resisting in the opposite direction.
     
    Alternate version, the singers stand facing their Other’s back, and try to turn them around to face them as they sing. The Others resist.
     
    C.  
     
    After giving them 15 seconds to silently "Face the Director" (using their imagination to create their lover’s face onto yours) have them simultaneously speak the words they would say (1, 2, 3, speak!) to their Other were they faced with this imminent breakup. They could be in regular choral formation now, with you bearing the brunt of all their angst. As they speak, encourage them to use their whole bodies to get their point across to the Other / you.
     
    D.
     
    As they reach a crescendo, cut them off, then give them the downbeat. As they sing, have them draw the meaning of the song with their whole bodies (thanks Tim Caldwell for this).
     
    Lots more possibilities exist, but these are some things that will absolutely transform the experience for you, your singers, and their audiences.
     
    Thanks, Philip, for finding these gems which stretch the envelope and help us shift the paradigm.
     
    All my best,
     
    Tom
     
    Tom Carter
     
     
     
     

  3. You are so right about the educational value of youtube.   I’m reading The Cello Suites right now and interspersing reading with listening to all the greats play their versions of the Bach Cello Suites.
     
    I never cease to be astonished with what is available to us now, and am deeply indebted to the good people taking the time to put these treasures on youtube for us all to enjoy.

  4. Indeed, Philip.  I taught my spring semester Choral Literature class this past spring using YouTube and iTunes exclusively.  Choral music is ALIVE on the Web!
     

  5. On several levels, highly moving.  The singing is exquisite, almost to the point of pain; but the acting of those NOT singing is overwhelming in its very restraint.  This should be used in a broad variety of places – not only in music appreciation classes, but in acting classes as well.  Bravo to I Fagiolini!  Bravo, Philip!

  6.  Thanks for this! They also have a campy Vecchi L’Amfiparnaso on Chaconne DVD.  More shockingly Pagan were the Venues of Monteverdi’s patrons- see Banquet of the Senses-Rooley’s Consort of music on a Brilliant Classics DVD.
    SIR

  7. This is actually a scene from a feature film called The Full Monteverdi.  The ensemble is I Fagiolini.  You can read more about the movie here.  I don’t see it on Netflix, but you can buy the DVD here.  Thanks for finding the film and bringing it to us, Philip!

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