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FULL IAN BOSTRIDGE Musical Identities Lecture 3 Episodes Chicago IL 2021
Information on the Performance
- Work Title: IAN BOSTRIDGE Musical Identities Lecture
- Composer: N/A
- Libretto: N/A
- Venue & Opera Company: Fulton Recital Hall, Goodspeed Hall, UChicago Division of the Arts & Humanities
- Recorded: April 11, 17 & 24, 2021
- Type: Other
- Singers:
- Conductor:
- Orchestra:
- Stage Director:
- Costume Designer:
Information about the Recording
- Published by: UChicago Division of the Arts & Humanities
- Date Published: 2021
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: yessubs, ensubs
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Lecture 1: Identity in Performance
Sunday, April 11, 1:00-2:30 p.m. CDT
Classical music offers a fluid and complex perspective on identity. This lecture focuses on three vocal works from disparate eras, which explore and use identity in different ways: Monteverdi’s Renaissance work for narrator and instrumental ensemble, Il Combattimento di Tancredi e Clorinda (the battle between Tancred and Clorinda); Robert Schumann’s 1840 song cycle for voice and piano, Frauenliebe und Leben (A woman’s life and love); and Benjamin Britten’s 20th century “church opera” Curlew River, inspired by Japanese Noh theatre, in which a female protagonist is played by a male singer.
Lecture 2: Hidden Histories
Saturday, April 17, 1:00-2:30 p.m. CDT
The hidden history of colonialism in the classical music repertoire is rarely acknowledged in the concert hall. This lecture will explore it by taking as a case study Maurice Ravel’s Chansons Madécasses (Songs of Madagascar), a staple of the vocal repertoire, originally composed in the 1920s.
Lecture 3: Meditations on Death
Saturday, April 24, 1:00-2:30 p.m. CDT
This lecture examines identity’s ultimate dissolution—death—and explore some of the ways in which classical composers have confronted it, in private and public mode. The lecture focuses on three works by Benjamin Britten: the song cycle, The Holy Sonnets of John Donne (1945), written shortly after Britten’s return from Bergen-Belsen; The War Requiem (1962); and Britten’s last opera based on the novella by Thomas Mann, Death in Venice (1973).