L'Egisto
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> Professional debut experience
Presentation
The first opera to be performed France, in 1646, L’Egisto by Marco Marazzoli and Virgilio Mazzocchi is also considered to be the very first opera buffa. Taking its inspiration from the Decameron by Boccacio, and initially entitled Chi soffre speri (or “May he who suffers take hope”), for the first time in opera history it brings into play characters from the Commedia dell’Arte and figures out of contemporary Italian life: hence no heros here, and no gods.
Written by Giulio Rospigliosi, future cardinal and eventually Pope, the libretto presents a complex plot revolving around a ruined but proud nobleman in love with a rich widow; by turns symbolic, moral, burlesque or chevaleresque, it affords acquaintance with some twenty highly colorful characters hailing from various social strata and evincing diverse vocal characteristics.
This project will attempt to reconstitute an unpublished work in which opera singers and actors gifted with “popular” voices perform together –an extremely rare occurrence– each in his or her role type, all on behalf of a sole musical language, as yet largely experimental in this first part of the 17th century.
Theoretical instruction
Presentation of the historical and musical context: the originality of the Roman School, the first steps of opera, the development of a novel musical language, the evolution of opera subjects, the importance of the Church and its representatives vis-a-vis this new genre, the posterity of the new opera buffa genre, the importing of Italian music into France.
Practical instruction
› training in Italianate recitativo, the transition from recitar cantando from the first years of the 17th century to recitativo secco closer to speaking, techniques of transition from one form of vocal expression to another, and working on rubato and rhythmic libertry.
› musical and vocal characterisation of the characters in keeping with their rank and role type (masters, valets, shepherds, nymphs, children, philosophers).
› work on 17th-century Italian ornamentation, improvisation, dialogue with the thoroughbass instruments (harpsichord, organ, theorbo, harp)
› composition of an original, expressive theatrical form inspired by the techniques of French Baroque theatre and by Italian commedia.
› practice in clarity of narration (language, meaning, symbols, gesture…), in portrayal of character (social level, functions, feelings, expression…), masked characters (set characters of the commedia, nymphs…) and finally in the synergy among actor/singers, dancer/trapeze artist, commedia actor/dancer, singers/magicians…
› training in Italian Renaissance dance.
› hands-on professional experience (concerts and production).
Method
› individual classes (with conductor, stage director, rehearsal coaches, choreographer).
› group classes: rehearsals and musical or staged improvisations.
Faculty
Jérôme Correas, orchestra conductor and vocal coach
Jean-Denis Monory, staging
Françoise Denieau, choreography
Barbara Nestola, scientific advisor and Italian coach
Lorenzo Charoy, stage direction assistant
Gilles Poirier, assistant choreography
Patrick Pezin, coach for Commedia dell’arte
NN, Neapolitan coach
NN, Bergamasco coach
NN, vocal/role coach
NN, theorbo
NN, bass violin
Calendar
Auditions
Wednesday 22 and Sunday 23 February 2010 for singers only
Wednesday 26 through 28 March 2010
see programme here
Sessions
Monday 19 July through Sunday 25 July 2010 for singers only
Saturday 2 through Thursday 14 April 2011 for singers
Tuesday 5 through thursday 14 April 2011 for dancers
Monday 11 through Wednesday 20 July 2011
for a total of 30 days of instruction for singers and 20 days for dancers
Public presentation
Fenêtre sur cour[s] on Thursday 14 April 2010 and Wednesday 20 July 2011
Professional debut experience
Stage production and performance tour in 2011/2012.
Participants’ status
For the period from 19 July 2010 through 20 July 2011, the participants are under contract as trainees.
For the productions in 2011/2012, participants benefit from professional contracts on a CDD basis (fixed duration contract).
Places available for
› 14 singers :
6 sopranos
1 mezzo
1 actor-singer / popular singer (low female voice)
1 tenor
1 alto (male)
2 actor-singers/popular singers (high male voice)
1 basse
1 baritone
› 4 dancers
Fee information
!
The cost-sharing fee is made up of a compulsory registration fee, a compulsory membership in the Association des amis de Royaumont, tuition, and boarding expenses.
This session is not covered by an AFDAS agreement.
Financial aid for tuition
› for salaried employes (full or part time): via their employers’ continuing education programs.
› for the unemployed: instructions available from the local ANPE and/or ASSEDIC offices.
› for RMI beneficiaries: via authorities in each département (Conseil général) – contact the appropriate services for further information.
If you are eligible for such financial assistance, a total amount of 150 € remains at your expense.
Scholarships
Every year the Association des amis de Royaumont grants scholarships to artists under 29 years of age who do not yet have a regular professional activity. This grant is made by a commission on the basis of a portfolio (resume, photo, letter
of motivation).
If you are eligible for this scholarship from the Association des amis de Royaumont, a total amount of 150 € remains at your expense.
For participants who are not in a position to qualify for any other financial aid, the Foundation grants scholarship stipends on request and based on a portfolio.
If you are eligible for such financial assistance, a total amount of 750 € remains at your expense.