Students at the Institute for Early Music and Performance Practice at the University of the Arts Bremen are approaching Claudio Monteverdi's work “Il Ballo delle Ingrate” under the musical direction of the accomplished specialist Elam Rotem from a completely different perspective than is customary today: Instead of director's theater, historical gestures are used under the direction of Nils Niemann to refocus attention entirely on Monteverdi's expressive music. Carla Linné is responsible for the reconstruction of historical choreographies.
Singers and instrumentalists from the Institute for Early Music and Performance Practice at the University of the Arts Bremen
Musical direction: Elam Rotem
Historical gestures: Nils Niemann
Choreography: Carla Linné
Concept: Prof. Mechthild Karkow, Prof. Dr. Christoph Prendl
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Claudio Monteverdi: Il ballo delle ingrate
On May 28, 1608, a magnificent royal wedding took place in Mantua: Francesco Gonzaga and Margaret of Savoy sealed their marriage with elaborate dance and theater performances accompanied by music, including a work from the newly invented genre of opera: Claudio Monteverdi's “L'Arianna,” whose music has been almost completely lost today. To entertain the illustrious wedding party, Monteverdi composed another piece with dance interludes based on a libretto by Ottavio Rinuccini, which—like his famous “L'Orfeo”—is set in the underworld. This combination of language, music, and movement, which was completely new for the 17th century, can be attributed to Monteverdi's ingenious inventiveness and has lost none of its fascinating effect even after more than 400 years.
Important information
Tickets only available at the box office for €10 (reduced €5)