TITLE

TO SEE IF ONLY ONCE

PUB. DATE
April 2008
SOURCE
Vertigo (09687904);Spring2008, Vol. 3 Issue 8, p34
SOURCE TYPE
Periodical
DOC. TYPE
Article
ABSTRACT
This article describes the Quay Brothers' art installation "Eurydice - She, So Beloved...," a work that was commissioned to mark the 400th anniversary of Claudio Monteverdi's "Orfeo." The Quays used the opera as a reference to develop their response through the character of Eurydice. The three-part installation includes a film ballet that connects to an optical box through an anamorphic painting. The optical box was used to manifest the Bachelor Boxes or the arcane mechanical devices that frequent their films. In terms of narrative, "She. So Beloved..." links visually with "The Street of Crocodiles" and "Anamorphosis."
ACCESSION #
28682044

 

Related Articles

  • Possente spirto: On taming the power of music. Carter, Tim // Early Music;Nov93, Vol. 21 Issue 4, p517 

    Discusses the development of Claudio Monteverdi's musical style. Reactions to Monteverdi's opera `Orfeo,' performed in 1607; Changing tastes in music during the mid-1610s; Monteverdi's aria-influenced style during the 1620s and 1630s.

  • Proportional notations in Monteverdi's `Orfeo'. Bowers, Roger // Music & Letters;May95, Vol. 76 Issue 2, p149 

    Presents an analysis of the musical notation for Claudio Monteverdi's `Orfeo,' first presented in 1607 and published in score by Amadino of Venice in 1609. Significance of the use of blackened notation; Introduction of `sesquialtera' diminution; Limitations inherent in mensural notation;...

  • Possente spirto: On taming the power of music. Carter, Tim // Early Music;Nov93, Vol. 21 Issue 4, p517 

    Discusses the development of Claudio Monteverdi's musical style. Reactions to Monteverdi's opera `Orfeo,' performed in 1607; Changing tastes in music during the mid-1610s; Monteverdi's aria-influenced style during the 1620s and 1630s.

  • Proportional notations in Monteverdi's `Orfeo'. Bowers, Roger // Music & Letters;May95, Vol. 76 Issue 2, p149 

    Presents an analysis of the musical notation for Claudio Monteverdi's `Orfeo,' first presented in 1607 and published in score by Amadino of Venice in 1609. Significance of the use of blackened notation; Introduction of `sesquialtera' diminution; Limitations inherent in mensural notation;...

  • Recordings. Pines, Roger // Opera Quarterly;Autumn96, Vol. 13 Issue 1, p113 

    Reviews recordings of Claudio Monteverdi's opera `L'Orfeo,' performed by various orchestras and conductors.

  • Orpheus Redivivus. Sargeant, Winthrop // New Yorker;10/8/1960, Vol. 36 Issue 34, p99 

    The article reviews the production of Claudio Monteverdi's "Orfeo," by the New York City Opera at the City Center, New York City.

  • L'armonia sonora: Continuo orchestration in Monteverdi's Orfeo. Stubbs, Stephen // Early Music;Feb94, Vol. 22 Issue 1, p86 

    Offers a musicological analysis of `Orfeo,' by Claudio Monteverdi. Guide to the selection and use of musical instruments for bass continuo; Survey of literature; Evidence and aspects of performance.

  • MONTEVERDI'S MODERNITY. Youngren, William H. // Atlantic (02769077);Apr87, Vol. 259 Issue 4, p82 

    Focuses on Claudio Monteverdi's opera 'L'Orfeo, favola in musica.' Appeal of Orfeo and Monteverdi for composers; Acts of the opera.

  • `There was not one lady who failed to shed a tear'. Cusick, Suzanne G. // Early Music;Feb94, Vol. 22 Issue 1, p21 

    Presents an analysis of the composition `Lamento d'Arianna,' by Claudio Monteverdi. Place in music history; Women and marriage in 16th century Venice; Identity of Arianna and her literary origin; Musicological analysis.

Share

Read the Article

Courtesy of VIRGINIA BEACH PUBLIC LIBRARY AND SYSTEM

Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics