BOOK XIV

 

 

 

This art does not suffer mediocrity. Principles for a regeneration of the knowledge of song

(Nella Anfuso, 1999).

«Listen simply to "LA" Anfuso as one does in the face of a GREAT REVELATION», wrote the major French critic Xauier Lacavalerie on Nella Anfuso.

In this book the "Dernière héritière de l'Ancienne Ecole Italienne" (Jacques Chailley), documents totally and completely the aesthetic and technical features of Italian vocal style during the golden centuries from the Renaissance up until the beginning of the Romantic period.

At a time when there is vocal deafness, in which the industry, increasingly uncultivated, offers us on the one hand operatic shouters from the 19th century and the "mewings" of pre-19th century music on the other, it is refreshing to be able to go back to the source and retrieve the Canto in its deepest and highest meaning, the "expressive modulation of the human voice"

In the present state of decadence of an entire civilisation we want to remember in this volume the great art of the golden age of song from the 16th century to the beginning of the 19th.

Among all the arts the vocal art is the most fragile even though it is the most intense, and reflects, perhaps like no other, the very essence of a civilisation.

In this second half of the 20th century, in which Poetry is practically dead, what can happen to Song, which is so intimately connected to it? If to this we add the "vile interest" of which already at the end of the 18th century Giambattista Mancini spoke and the crass ignorance that also distorts the importance the importance of roles in today's operatic performances (directors, conductors, singers the latter simple puppets -in terms of their interpretation - in the hands of the first two) we get a complete picture of the present situation.

But the most serious fact is the total loss of awareness of that which is and has been Song, a loss that her caused use and abuse of a terminology in total contrast with the real and original meaning of it.

This general lack of understanding of good vocalism becomes a tragic phenomenon in the "fashion" for rediscovery of the pre-19th century repertoire. Through an irony of Destiny we participate in the appropriation of a Vocal Art which represents the "summa" of vocalism by real and proper impotent deceivers.

It is therefore time to really get to know what was the great Italian School of Song.

This publication is aimed at all those who, with honest intent and pure heart, desire to get to know a really complex art, and enjoy its immense treasures.

 

 

 

 

 

 

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