Cavalli’s Giasone (1649): Gender, Castrati, and the Public Opera of mid-century Venice
In the second class, we consider the shift from Monteverdi’s Mantuan court opera to Francesco Cavalli’s mid-century Venetian public stage and the ways in which the representation of gender and sexuality play out in new ways, intersecting with Venetian social norms and shaping musical parts, dramatic representation, and casting. Lamenting heroes like Orfeo are out, lamenting women take their places, and Giasone (Jason) – the erotically charged and irresponsible castrato moves to centre stage.
Contralto Vicki St. Pierre will perform examples and explore practical approaches to singing castrato roles in the 21st century. We will examine Giasone’s aria “Delizie, contenti” (Act 1, Sc. 2) (castrato) and Delfa’s aria “Voli il tempo” (Act 1, Sc. 7) (contralto). How did Venetians view gender and sexuality at mid-century? How did gender play out on stage? In addition to the vocal works, we will discuss and play the opening sinfonia and ritornello, considering the sectional form and changing meters of early Italian instrumental music.
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