{"id":69418,"date":"2018-12-10T14:20:19","date_gmt":"2018-12-10T13:20:19","guid":{"rendered":"https:\/\/www.cini.it\/?post_type=cini_events&p=69418"},"modified":"2025-01-28T12:57:09","modified_gmt":"2025-01-28T11:57:09","slug":"early-music-seminars-opera-and-slavery-in-the-french-caribbean-1760-90","status":"publish","type":"cini_events","link":"https:\/\/www.cini.it\/en\/eventi\/early-music-seminars-opera-and-slavery-in-the-french-caribbean-1760-90\/","title":{"rendered":"Early-Music Seminars 2019 | Opera and Slavery in the French Caribbean (1760-90)"},"content":{"rendered":"

Closely related to the previous meeting held in November 2018<\/a>, this seminar is addressed to solo\u00a0singers of all registers of voices, especially haut-contres (high tenors) and sopranos with very agile\u00a0coloratura. The scholarship holders will be guided by expert teachers and assisted by specialists of\u00a0the French late Baroque and style galant repertoire. Directed by Pedro Memelsdorff, this second\u00a0date with early music will be dedicated to the operatic repertoires of the French Caribbean colony of\u00a0Saint-Domingue, and especially the career of the first coloured singer to play lead roles in French\u00a0opera, the daughter of a freed slave whose stage name was Minette. After her theatrical debut in\u00a0February 1781, Minette played lead roles in over forty productions (operas, melodramas and French\u00a0comedies), thus establishing a sort of legend, but also arousing considerable social controversy,\u00a0recorded by the local periodicals of the time. Among the repertoires performed by Minette are\u00a0libretto settings (or their paraphrases) by writers such as Voltaire and Rousseau, whose theme was\u00a0racial differences and slavery, and therefore inevitably also emancipation. This detail gives the topic\u00a0a special sociological interest. The highly acclaimed coloured singer was never remunerated for her\u00a0performances due to her origins as a slave. She defied traditionalist criticism, however, and excited\u00a0the mixed elite of her audiences who saw in her the desired but feared symbol of racial\u00a0hybridisation.
\nFurthermore, singing and acting in comedies such as L’amant statue<\/em> by Nicolas\u00a0Dalayrac or Jean Martini L’amoureux de quinze<\/em> ans and, especially, Jean-Jacques Rousseau\u2019s\u00a0Pygmalion, gave voice to an interracial dialogue that was to greatly impress 18th-century \u201cHaitian\u201d\u00a0audiences.<\/p>\n

 <\/p>\n

The seminar will end with a public concert at the Squero Auditorium on 22 February 2019 at 6.00\u00a0pm<\/strong>.
\nThe programme includes arias and opera scenes by composers such as Adolphe Blaise, Johann Paul\u00a0Aegidius Martini, Egidio Duni and Nicolas Dalayrac. The featured works are not revivals of the\u00a0versions performed in their Parisian premi\u00e8res from 1770 to 1780, but the\u00a0 versions sung in the\u00a0theatres of Port-au-Prince, in the French-Caribbean colony of Saint-Domingue, by Elisabeth\u00a0Ferrand, better known as Minette, the first coloured soloist in the history of opera. Her dazzling (but\u00a0subsequently overlooked) career from 1781 to 1789,\u00a0 revolutionized traditions and marked the\u00a0history of theatre and music in America and Europe.<\/p>\n

 <\/p>\n

Contest Winners:<\/strong>
\nJavier Coronado, haute-contre
\nMaya Kherani, soprano
\nMaria Lueiro, soprano
\nLila Powell Khazoum, soprano
\nH\u00e9ctor dos Santos, bass
\nBelen Vaquero, mezzo-soprano
\nBenjamin Gaspon, traverso<\/p>\n

 <\/p>\n

Coadiuvants:<\/strong>
\nIgnacio Ramal & Guadalupe del Moral, violin
\nAlaia Ferr\u00e1n, viola
\nNeven Lesage e Lucile Tessier, oboe
\nAlejandro P\u00e9rez, bassoon
\nHyngun Cho, cello
\nPablo Kornfeld, harpsichord<\/p>\n

 <\/p>\n

Teachers:<\/strong>
\nVivica Genaux, mezzo-soprano
\nPedro Memelsdorff, director
\nLisandro Abadie, assistant<\/p>\n","protected":false},"author":1,"featured_media":80616,"template":"","meta":{"_acf_changed":false,"footnotes":""},"cini_tax_event_categories":[1467,1465],"cini_tax_institutes":[29],"cini_tax_event_locations":[1464],"class_list":["post-69418","cini_events","type-cini_events","status-publish","has-post-thumbnail","hentry","cini_tax_event_categories-convegni-e-seminari","cini_tax_event_categories-meetings","cini_tax_institutes-early-music","cini_tax_event_locations-island-of-san-giorgio-maggiore"],"acf":[],"yoast_head":"\nEarly-Music Seminars 2019 | Opera and Slavery in the French Caribbean (1760-90) - Fondazione Giorgio Cini<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.cini.it\/en\/eventi\/early-music-seminars-opera-and-slavery-in-the-french-caribbean-1760-90\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Early-Music Seminars 2019 | Opera and Slavery in the French Caribbean (1760-90) - Fondazione Giorgio Cini\" \/>\n<meta property=\"og:description\" content=\"Closely related to the previous meeting held in November 2018, this seminar is addressed to solo\u00a0singers of all registers of voices, especially haut-contres (high tenors) and sopranos with very agile\u00a0coloratura. 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