Performative Research: A Performance-led Study of Lamento d'Arianna with Historically Informed Rhetorical Gesture

Abstract

This study is concerned with what is to be gained by performers and scholars if the dramatic charge of Lamento d'Arianna by O. Rinuccini and C. Monteverdi was re-created with historically informed rhetorical gesture—an element of the representative theatrical style practised at the time of the lament's premiere. The research contributes in a unique way to historically informed performance practice as well as to the literature on Lamento d'Arianna using multiple methods of performative research informed by historical source materials and work with musicians who specialize in baroque music, an expert in rhetorical gesture and the author as the production dramaturg. Video footage, images, excerpts from the final score with gesture notation and this article offer an insight into the aesthetics and practice of early recitative artistry through reflexive writing that places the performance within relevant musicological discourses and scrutinizes auditory and visual elements of delivery.

Acknowledgements

The author wishes to gratefully acknowledge the creative contribution of the artists; gesture director Helga M. Hill OAM; costume designer Shane Dunn and crew; the reviewers and editors for their feedback; and Nicholas Routley for his comments and for making his research materials available.

Notes

¹ Diana Taylor, The Archive and the Repertoire: Performing Cultural Memory in the Americas (Durham, N.C.: Duke University Press, 2003), 1.

²Ibid., 1–2.

³ Mary Cyr, Performing Baroque Music (Farnham: Ashgate, 1992), 24.

⁴ Julia Liebscher, ‘Schauspieler-Sängerdarsteller. Zur unterschiedlichen Aufführungssituation im Sprechtheater- und Musiktheater, dargestellt am Beispiel der paralinguistischen Zeichen’, in Musiktheater als Herausforderung: interdisziplinäre Facetten von Theater- und Musikwissenschaft, ed. Hans-Peter Bayerdörfer (Tübingen: Niemeyer, 1999), 55–70.

⁵ Wolf Werner, ‘Intermediality Revisited: Reflections on Word and Music Relations in the Context of a General Typology of Intermediality’, in Essays in Honor of Steven Paul Scher on Cultural Identity and the Musical Stage (New York: Rodopi, 2002), 21–2 and 28–9.

⁶ Claus Clüver, ‘Inter textus/Inter artes/Inter media’, in Komparatistik: Jahrbuch der Deutschen Gesellschaft für Allgemeine und Vergleichende Literaturwissenschaft, ed. Monika Schmitz-Emans and Uwe Lindemann (Heidelberg: Synchron, 2001), 25.

⁷ Nicholas Cook, Beyond the Score: Music as Performance (Oxford: Oxford University Press, 2014), 1.

⁸ George J. Buelow, ‘Affects, Theory of the’, in Grove Music Online, ed. L. Macy (Accessed 1 March 2013), < http://www.oxfordmusiconline.com/subscriber/article/grove/music/00253>.

⁹ Erika Fischer-Lichte, ‘Transforming Spectators into “Viri Perculsi”: Baroque Theatre as Machinery for Producing Affects’, in Performativity and Performance in Baroque Rome, ed. Peter Gillgren and Mårten Snickare (Burlington, VT: Ashgate, 2012), 94.

¹⁰ Erika Fischer-Lichte, The Transformative Power of Performance: A New Aesthetics (London: Routledge, 2008), 89.

¹¹ Patrice Pavis, Analyzing Performance: Theatre, Dance, Film (Ann Arbor: University of Michigan Press, 2003), 67–9.

¹² See reproduced excerpt of Adone (V 11.88) and the English translation in Paolo Fabbri, Monteverdi (Cambridge: Cambridge University Press, 2007), 83.

¹³ This publication may have been authored by other writers as a compilation of different accounts that were compiled during the rehearsals. See Anne MacNeil, ‘Weeping at the Water's Edge’, Early Music 27 (1999), 408.

¹⁴ Federico Follino, Compendio delle sontuose feste fatte l'anno MDCCVIII nella città di Mantova, per le reali nozze del serenissimo prencipe D. Francesco Gonzaga con la serenissima infante Margherita di Savoy (Mantua: Aurelio e Ludovico Osanna, 1608), 29–30. English translation by Giancarlo Chiro and Simone Marino.

¹⁵ Olga Termini, ‘The Role of Diction and Gesture in Italian Baroque Opera’, Performance Practice Review 6/2 (1993), 156.

¹⁶ Anon., ‘From the Choragus, or, Some Observations for Staging Dramatic Works Well’, in Source Readings in Music History, ed. Margaret Murata, vol. 4 (New York: Norton, 1998), 125.

¹⁷ Joseph R. Roach, The Player's Passion: Studies in the Science of Acting (Cranbury, N.J.: Associated University Press, 1985), 32.

¹⁸Ibid., 30.

¹⁹ See articles 27 and 52 in René Descartes, The Passions of the Soul, 1649, trans. Stephen H. Voss, (Indianapolis, Ind.: Hackett Publishing, 1989), 34–5 and 51.

²⁰ Roach, The Player's Passion, 25.

²¹ Claudio Monteverdi, ‘Preface to Madrigali guerrieri, et amorosi’, in Source Readings in Music History, ed. Margaret Murata, rev. ed., vol. 4 (London: Norton, 1998), 667.

²² Anne MacNeil, ‘The Nature of Commitment: Vincenzo Gonzaga's Patronage Strategies in the Wake of the Fall of Ferrara’, Renaissance Studies 16 (2002), 403.

²³ The lament has been disseminated separately as follows: as a five-voice madrigal published in the Sixth Book of Madrigals (Venice, 1614); as a separate solo piece, secular monody Lamento d'Arianna (Venice, 1623 and Orvieto, 1623); and as sacred religious contrafacta in Latin Pianto della Madonna: Iam moriar mi fili, published in Selva Morale e Spirituale (Venice, 1640), and in Italian Lamento della Madalena. See list of works in Tim Carter and Geoffrey Chew, ‘Monteverdi, Claudio’, in Grove Music Online, ed. L. Macy, (Accessed 10 March 2013), < http://www.oxfordmusiconline.com/subscriber/article/grove/music/44352pg10>.

²⁴ Taylor, The Archive and the Repertoire, 3; and Freddie Rockem, ‘(Definition) Performatics 1.1’, Performance Research 13/4 (2008) (Accessed 12 March 2013), < http://www2.tau.ac.il/InternetFiles/Segel/Art/UserFiles/file/Rokem-Performatics%201_1.pdf>.

²⁵ Brad Haseman, ‘A Manifesto for Performative Research’, Media International Australia, Incorporating Culture & Policy 118 (2006), 98–106; and Brad Haseman, ‘Rupture and Recognition: Identifying the Performative Research Paradigm’, in Practice as Research: Approaches to Creative Arts Enquiry, ed. Estelle Barrett and Barbara Bolt (London: I.B. Tauris, 2010).

²⁶ My performances of Lamento d'Arianna with gestures were a result of my training with gesture expert Helga M. Hill OAM. These included The Art of Gesture, Chapel off Chapel, Melbourne, 8 October 2000 and Revival of Goethe Poems set by J. Fr. Reichardt, Armadale Uniting Church, Melbourne, 25 November 2000.

²⁷A.Scarlatti's Dramatic Serenatas, musical director Marie-Louise Catsalis, Newcastle Festival, sponsored by the University of Newcastle, August 2003.

²⁸ Helga M. Hill received the Medal of the Order of Australia for service in the performing arts in 2010.

²⁹ The crew credits include Andrew Shanks (director of photography), Phillip Rene van Hout (sound) and Alex Plisco (lighting).

³⁰ Amongst others, Richard Wistreich (ed.), Monteverdi (Farnham, UK: Ashgate, 2011); Mark Ringer, Opera's First Master: The Musical Dramas of Claudio Monteverdi (Pompton Plains, N.J.: Amadeus Press 2006); Tim Carter, Monteverdi's Musical Theatre (New Haven, Conn.: Yale University Press, 2002); Jean-Philippe Guyé, ‘Claudio Monteverdi: Le Lamento d'Arianna—Aspects contextuels, biographiques, documentaires et expressifs’, Analyse musicale 44 (2002), 3–30; Leofranc Holford-Strevens, ‘“Her Eyes Became Two Spouts”: Classical Antecedents of Renaissance Laments’, Early Music 27 (1999), 379–93; Tim Carter, ‘Intriguing Laments: “Sigismondo d'India”, Claudio Monteverdi, and “Dido alla parmigiana” (1628)’, Journal of the American Musicological Society 41/1 (1996), 32–69; Paolo Fabbri, Monteverdi, trans. Tim Carter (Cambridge: Cambridge University Press, 1994); Heinrich Poos, ‘Monteverdi-Studien. I: Zum experimentellen Kontrapunkt Arianna-Monodie; II: Fragmente zu Theorie und Praxis des monodischen Generalbasses’, in Musik-Konzepte 83–84 (1994): Claudio Monteverdi: Vom Madrigal Zur Monodie (Munich: Text + Kritik, 1994), 103–66; Eric Thomas Chafe, Monteverdi's Tonal Language (New York: Schirmer Books, 1992); Gary Tomlinson, Monteverdi and the End of Renaissance (Berkeley, Calif.: University of California Press, 1990); and Gary Tomlinson, ‘Madrigal, Monody, and Monteverdi's ‘via naturale alla immitatione”, Journal of the American Musicological Society 34 (1981), 60–108.

³¹ Bonnie S. Gordon, Monteverdi's Unruly Women: The Power of Song in Early Modern Italy (Cambridge: Cambridge University Press, 2004); Bonnie S. Gordon, ‘Singing the Female Body: Monteverdi, Subjectivity, Sensuality’ (PhD thesis, University of Pennsylvania, 1998); Suzanne G. Cusick, ‘Re-voicing Arianna (and Laments): Two Women Respond’, Early Music 27 (1999), 436–49; and Suzanne G. Cusick, ‘“There Was not One Lady who Failed to Shed a Tear”: Arianna's Lament and the Construction of Modern Womanhood’, Early Music 22 (1994), 21–41.

³² Haseman, ‘Rupture and Recognition’, 153.

³³ David Fenton, ‘Unstable Acts: The Poetics of Postdaramatic Theatre and Intermediality’ (PhD thesis, Queensland University of Technology, Brisbane, 2007).

³⁴ Haseman, ‘Rupture and Recognition’, 151–5.

³⁵ See (Accessed 19 August 2014) < https://www.youtube.com/watch?v = 6VR58XtCcXk> and a question-and-answer session with artists and crew (Accessed 20 July 2014) < https://www.youtube.com/watch?v = 2QdEQJi8IXQ>.

³⁶ Haseman, ‘Rupture and Recognition’, 151.

³⁷ Nella Anfuso and Annibale Gianuario, Claudio Monteverdi: Lamento d'Adrianna. Studio e interpretazione (Florence: Otos, 1969); Alena Nemcova, ‘Monteverdiho Lamento d'Arianna a jeho interpretace’, Sborník Janáčkovy Akademie Múzických Umění 6 (1972), 125–45; and Sonja Mihelcic, ‘Similarities in the Use of Dramatic Recitative Style in the Music of Claudio Monteverdi and Giuseppe Verdi, with Some Performance-Practice Issues’ (PhD thesis, University of North Texas, 2001).

³⁸ Amongst others, Allan Maddox, ‘The Performance of Affect in recitativo semplice’, Music Performance Research 5 (2012), 49–58; and Brooke A. Bryant, ‘The Seventeenth-century Singer's Body: An Instrument of Action’ (PhD thesis, City University of New York, 2009).

³⁹ See Robert Toft, Tune Thy Musicke to Thy Hart: The Art of Eloquent Singing in England 1597–1622 (Toronto: University of Toronto Press, 1993); Jeanne E. Fischer, ‘Reclaiming the Vocal High Ground: Performing Baroque Repertoire in a Modern World’ (PhD thesis, University of Maryland, College Park, 2005); and Colette A. Henshaw, ‘Gesture and Affect in the Performance of English Baroque Vocal Music with Specific Reference to English Baroque Mad Songs’, A Handbook for Studies in 18th-century English Music 11 (2000), 70–87.

⁴⁰ Tim Carter, ‘Lamenting Ariadne?’, Early Music 27/3 (1999), 402.

⁴¹ Emily Wilbourne, ‘La Florinda: The Performance of Virginia Ramponi Andreini’ (PhD thesis, New York University, 2008), 243.

⁴² Peter E. Weiss, ‘Forgotten Reality, Remembered Fiction: Production Values and Court Opera, 1598–1608’ (PhD thesis, University of Toronto, 1999), 369–406.

⁴³ A recent rendition of the lament in the one-woman-show Era la note, directed by Juliette Deschamps and performed by Anna Caterina Antonacci at the Grand Théâtre de Luxemburg on 31 January 2006, illustrates a blend of a historically informed music performance in baroque-inspired costume with contemporary staging and a modern style of acting. See ‘“Lasciatemi morire” Lamento d'Arianna di C. Monteverdi—Amsterdam, 2007’, Muziekgebouw Concert Hall, 20 or 21 June 2007 (Accessed 10 March 2013), < http://www.youtube.com/watch?v = LARI9cIub1k>.

⁴⁴ Kate Brown, ‘Representations’, in Proceedings of the International Congress on Performing Practice in Monteverdi's Music: The Historic-philological Background: Goldsmith's College, University of London, 13–14 December 1993, Instituta et Monumenta, ed. Raffaelo Monterosso, vol. 13 (Cremona: Fondazione Claudio Monteverdi, 1995), 271.

⁴⁵ Jennifer Parker-Starbuck and Roberta Mock, ‘Research the Body in/as Performance’, in Research Methods in Theatre and Performance, ed. Baz Kershaw and Helen Nicholson (New York: Columbia University Press, 2011), 214 and 222.

⁴⁶ Amongst others, Quintilian, The Orator's Education, ed. Donald Andrews (Cambridge, Mass.: Harvard University Press, 2001); John Bulwer, Chirologia or the Natural Language of the Hand (London Printed by T. H. and sold by Fran. Tyton: 1806 [1644]); Michel Le Faucheur, The Art of Speaking in Public, The Second Edition Corrected. With an Introduction Relating to the Famous Mr. Henly's Present Oratory, Printed for N.Cox, and Sold by him and the Booksellers in London, Oxford and Cambridge (London, 1727); Franciscus Lang, Dissertatio de actione scenica (Munich: Riedlin, 1727); Johann Jacob Engel, Ideen zu einer Mimik (Berlin, 1785); Johannes Jelgerhuis, ‘Theoretische lessen over de gesticulae en mimiek gegeven 1827]’, in Classicistic Acting. Two Centuries of a Performance Tradition at the Amsterdam Schouwburg (Lanham: University Press of America, 1984); Gilbert Austin, Chironomia, or, a Treatise on Rhetorical Delivery (London: T. Cadell and W. Davies, 1806); and Dene Barnett and Jeanette Massy-Westropp, The Art of Gesture: The Practices and Principles of 18th Century Acting (Heidelberg: Carl Winter, 1987).

⁴⁷ The first three stages have been used by Robert Toft, Tune Thy Musicke to Thy Hart: The Art of Eloquent Singing in England 1597–1622 (Toronto: University of Toronto Press, 1993), 112, who follows Bulwer, Chirologia; and Daniela Kaleva, ‘Translating Text into Motion: Performance Analysis for Singers and Directors’, in Music Research: New Directions for a New Century, ed. Michael Ewans, Rosalind M. Halton and John A. Phillips (Amersham: Cambridge Scholars Press), 64–74.

⁴⁸ Claudio Monteverdi, Lamento d'Arianna, ed. Nicholas Routley (Sydney: Saraband Music, 1999).

⁴⁹ Discussed in Nicholas Routley, Arianna Thrice Betrayed (Armidale: University of New England, 1998), 13; and Bojan Bujić, ‘Rinuccini the Craftsman: A View of His “L'Arianna”’, Early Music History 18 (1999), 112–13.

⁵⁰ Austin, Chironomia, 357–72 and 520–49.

⁵¹Ibid., 368.

⁵² Singers and musicians working with rhetorical gestures rarely know how to notate and read the gestures initially, although they quickly become acquainted with the names of the different gestural positions and movements, and their corresponding notation.

⁵³ Pavis delineates two types of actors’ scores: the preparatory score and the final score. The former comprises the structures evolving throughout the rehearsal process, whereas the latter is the ‘finished’ product that is presented to an audience in performance at a particular point in time. In this sense, the final score approaches the concept of performance text, see Pavis, Analyzing Performance, 97.

⁵⁴ Haseman, ‘Rupture and Recognition’, 154.

⁵⁵ Following the actual live performance as it occurred, see Pavis, Analyzing Performance, 97.

⁵⁶ English translation by Linda Barwick printed in Monteverdi, Lamento d'Arianna, ii–iii.

⁵⁷ Anon., ‘From The Choragus’, 126.

⁵⁸ Monteverdi, ‘Preface to Madrigali guerrieri, et amorosi’, 665–7.

⁵⁹ Cusick, ‘There Was not One Lady who Failed to Shed a Tear’, 32.

⁶⁰ Fischer-Lichte,The Transformative Power of Performance, 89.

⁶¹ See Judith Butler, ‘Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory’, Theatre Journal 40/4 (1988), 520.

⁶² See the libretto in Follino, Compendio, 30–65. The libretto was printed in several other publications. It is not subdivided into scenes and the lament scene is referred to in the literature as Scene 6 or Scene 7. See Table 1 in Bojan Bujić, ‘Rinuccini the Craftsman: A View of His ‘L'Arianna”, Early Music History 18 (1999), 117.

⁶³ Bujić, ‘Rinuccini the Craftsman’, 81–3.

⁶⁴ Tomlinson, ‘Pastoral and Musical Magic in the Birth of the Opera’, in Thomas Bauman and Marita Petzoldt McClymonds (eds.), Opera and the Enlightenment (Cambridge: Cambridge University Press), 7–19.

⁶⁵ Bujić, ‘Rinuccini the Craftsman’, 83.

⁶⁶Ibid., 103.

⁶⁷ According to Follino, Compendio, 34–61. References to Arianna by other characters in the libretto include: Teseo—mia cara sposa (my dear bride), regina (queen), 34; fortunata regina (fortunate queen), 38; and donna reale (regal, royal or real woman), 44; Consigliero (Teseo's councillor)—femmina fuggitiva (female fugitive), 43; by chorus—dolce sposa gentil (sweet gentle bride), 30; misera donzella (poor maiden), la nobil donna (the noble lady) and bella donna (beautiful lady), 46; infelice donzella (unhappy maiden), 53; misera giovinetta (unhappy young girl) and fortunata belezza (fortunate beauty), 62; Dorilla (Arianna's servant)—figlia (daughter), 46; sventurata belezza (unfortunate beauty) and reggia figlia (regal daughter), 75; and donna real (regal lady), 75; Nunzio primo (First Messenger)—gentil donzella (gentle girl), 48; la nobil donna (the noble lady), 54; and by Nunzio secondo (Second Messenger)—la bella donna (beautiful lady), 61.

⁶⁸ MacNeil points out that Rinuccini's libretto and Follino's account both express Aristotelian and rhetorical ideals. MacNeil, ‘Weeping at the Water's Edge’, 408.

⁶⁹ Follino, Compendio, 30.

⁷⁰ Barnett and Massy-Westropp, The Art of Gesture, 137.

⁷¹Ibid., 11.

⁷² Anon., ‘From The Choragus’, 125.

⁷³ Barnett and Massy-Westropp, The Art of Gesture, 327.

⁷⁴ For instance, Domenico Fetti's Bacco e Arianna a Nasso [1611–13], Mantua, Banca Agricola Mantovano discussed in Wilbourne, ‘La Florinda’, 265. More recent iconographic research includes Paula Besutti, ‘The 1620s: The Rebirth of Arianna’, Studi musicali 4/2 (2013), 259–82.

⁷⁵ Giovan Battista Andreini wrote for his wife the five-act tragedy La Florinda, which contains a lament. See Giovan B. Andreini, La Divina visione, in soggetto del Beato Carlo Borromeo, cardinale di Santa Prassede & arcivescovo di Milano (Florence: Volcmar Timan, 1604).

⁷⁶ See Emily Wilbourne, ‘Lo Schiavetto (1612): Travestied Sound, Ethnic Performance, and the Eloquence of the Body’, Journal of the American Musicological Society 63 (2010), 1–43; Emily Wilbourne, ‘La Florinda’; and Anne MacNeil, Music and Women of the Commedia dell’ Arte (Oxford: Oxford University Press, 2003), 4.

⁷⁷ Dionisio Minaggio, Feather Book (1618) (Accessed 13 March 2013), < http://digital.library.mcgill.ca/featherbook/>.

⁷⁸ John Rudlin, Commedia dell'arte: An Actor's Handbook (New York: Routledge, 1994), 106–9; and Pierre L. Duchartre, The Italian Comedy: The Improvisation, Scenarios, Lives, Attributes, Portraits, and Masks of the Illustrious Characters of the Commedia Dell'arte, transl. Randolph T. Weaver (New York: Dover, 1928), 262–6.

⁷⁹ See the plates in M.A. Katritzky, The Art of Commedia: A Study in the Commedia dell'Arte 1560–1620 with Special Reference to the Visual Records (Amsterdam: Rodopi, 2006); and Barbara Purrucker, ‘Das Bühnenkostüm des Barock’, in Gestik und Affekt in der Musik des 17. und 18. Jahrhunderts, Michaelsteiner Konferenzberichte (2345) Festschrift for Günter Fleischhauer, ed. Bert Siegmund (Blankenburg: Kultur- und Forschungsstätte Michaelstein—Institut für Aufführungspraxis der Musik des 18. Jahrhunderts, 2003), 65–84.

⁸⁰ See Shane Dunn's discussion of his approach to the design in the recording of the question-and-answer session starting at 28 min 16 sec, (Accessed 20 July 2014) < http://www.youtube.com/watch?v = 2QdEQJi8IXQ>.

⁸¹ Duchartre, The Italian Comedy, 262–73.

⁸² Barnett and Massy-Westropp, The Art of Gesture, 33–5.

⁸³ See in explanation and plate G in Bulwer, Chirologia, 167 and 187.

⁸⁴ Mauro Calcagno, From Madrigal to Opera (Berkeley, CA: University of California Press, 2012), 43. Deixis is a term ‘used in linguistic theory to subsume those features of language which refer directly to the personal, temporal or locational characteristics of the situation within which an utterance takes place, whose meaning is thus relative to that situation; e.g. now/then, here/there, I/you, this/that are deictics’. See David Crystal, Dictionary of Linguistics and Phonetics (Hoboken, N.J.: Wiley, 2008), 133.

⁸⁵ Antonio Fava, The Comic Mask in the Commedia dell'Arte: Actor Training, Improvisation, and the Poetics of Survival (Evanston, Ill.: Northwestern University Press, 2007).

⁸⁶ Calcagno, From Madrigal to Opera, 92.

⁸⁷ Carter, ‘Lamenting Ariadne?’, 401.

⁸⁸ Fava, The Comic Mask in the Commedia dell'Arte.

⁸⁹ Carter, ‘Lamenting Ariadne?’, 402.

⁹⁰ Ståle Wikshåland, ‘Monteverdi's Voices: The Construction of Subjectivity’, The Opera Quarterly 24 (2008), 233.

⁹¹ Austin, Chironomia, 484.

⁹² Barnett and Massy-Westropp, The Art of Gesture, 36–8.

⁹³ Bulwer writes: ‘Both hands clasped and wrung together, is an Action convenient to manifest griefe and sorrow.’ See his explanation and plate Y in Bulwer, Chirologia, 55 and 65.

⁹⁴ Austin, Chironomia, 376–8; and Barnett and Massy-Westropp, The Art of Gesture, 75.

⁹⁵ Speech and gestures are strongly united in adults, while gestures also play a role in interactions amongst humans. See Martin Clayton, Rebecca Sager and Udo Will, ‘In Time with the Music: The Concept of Entrainment and its Significance for Ethnomusicology’, European Meetings in Ethnomusicology 11 (2005), 11–12.

⁹⁶ This important observation about ornamentation is in agreement with primary and secondary sources suggesting that ornamentation is to be avoided altogether in the performance of stile rappresentativo. See Anna Maria Vacchelli, ‘Monteverdi as a Primary Source for the Performance of His Own Music’, in Proceedings of the International Congress on Performing Practice in Monteverdi's Music, 45.

⁹⁷ Barnett and Massy-Westropp, The Art of Gesture, 146.

⁹⁸ Claudio and Giulio Cesare Monteverdi, ‘Explanation of the Letter Printed in the Fifth Book of Madrigals’, in Source Readings in Music History, ed. Margaret Murata, rev. ed., vol. 4 (London: Norton, 1998), 538.

⁹⁹ See Raffaello Monterosso, ‘Tempo and Dynamics in Monteverdi's Secular Polyphony’, in Proceedings of the International Congress on Performing Practice in Monteverdi's Music, 9.

¹⁰⁰ Yonatan Malin, Songs in Motion: Rhythm and Meter in the German Lied (Oxford: Oxford University Press, 2010), 65.

¹⁰¹ Nicholas Temperley, ‘Recitative’, in The Oxford Companion to Music: Oxford Music Online, ed. Alison Latham (Accessed 8 March 2013), < http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e5531>.

¹⁰² Andrew Lawrence-King, ‘Text, Rhythm, Action’ (Accessed 26 March 2013), < http://media.wix.com/ugd//a41fa4_fadd83cfdd01f0ccaa49e622ced4bd2f.pdf>.

¹⁰³ Anon., ‘From The Choragus’, 123.

¹⁰⁴Ibid., 123–4.

¹⁰⁵ Letter to Alessandro Striggio, 9 January 1620, in The Letters of Claudio Monteverdi, trans. Denis Stevens (Cambridge: Cambridge University Press, 1980), 160.

¹⁰⁶ Austin, Chironomia, 133.

¹⁰⁷ Barnett and Massy-Westropp, The Art of Gesture, 36.

¹⁰⁸ Roach, The Player's Passion, 64; and Descartes, The Passions of the Soul, 34-5 and 51.

¹⁰⁹ Barnett and Massy-Westropp, The Art of Gesture, 321–4.

¹¹⁰ English translation by Arianna Dagnino.

¹¹¹ Jelgerhuis, ‘Theoretische lessen over de gesticulae en mimiek gegeven [1827]’, 368.

¹¹² Barnett and Massy-Westropp, The Art of Gesture, 38–44.

¹¹³ For a detailed analysis of the music, see Cusick, ‘There Was Not One Lady Who Failed to Shed a Tear’, 26.

¹¹⁴ Pavis, Analyzing Performance, 67–9.

¹¹⁵ See excerpt from Chapter 13 in Anon., ‘From The Choragus’, 122.

¹¹⁶ Follino, Compendio, 30.

¹¹⁷ Denise Stevens, ‘Claudio Monteverdi: Acoustics, Tempo, Interpretation’, in Proceedings of the International Congress on Performing Practice in Monteverdi's Music, 9–22.

¹¹⁸ Anon., ‘From The Choragus’, 122.

¹¹⁹ Nick Wilson, The Art of Re-Enchantment: Making Early Music in the Modern Age (Oxford: Oxford University Press, 2013), 211.

¹²⁰ Haseman, ‘Rupture and Recognition’, 151–5.

¹²¹ Bujić, ‘Rinuccini the Craftsman’, 117; and Routley, Arianna Thrice Betrayed, 16–17.

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Daniela Kaleva

Daniela Kaleva is a Lecturer of Music at the University of South Australia. Her research focuses on composition and performance techniques that represent the emotions in vocal genres, opera and incidental music using interdisciplinary approaches and creative practice research. Another of her research subjects is the output of music publisher Louise Hanson-Dyer. Kaleva is an Associate Investigator with the Australian Research Council Centre of Excellence for the History of Emotions and Associate Member of the Hawke Research Institute. Email: [email protected]