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E' possibile e doveroso un percorso tecnico vocale per un coro: un iter di studio in progressione per il gruppo coro.
SAPERI UMANISTICI NELLA CONTEMPORANEITÀ
Il corallo e la sua lavorazione nella percezione dei parlanti di Torre del Greco2018 •
2023 •
Nello studio del corale semplice (cioè prevalentemente omoritmico e con poche fioriture) si deve distinguere tra ciò che è elemento strutturale e ciò che non lo è all'interno della melodia data. Per questo motivo, la melodia assegnata va pensata come un "cantus firmus" e su ogni grado melodico vanno sondate tutte le possibilità di armonizzazione, usando nel linguaggio tonale sostanzialmente triadi, settime coi loro rivolti e dominanti secondarie. Nel caso dello “Stile bachiano”, si possono ravvisare alcune linee di tendenza nella figurazione, soprattutto grazie all’analisi di numerosi corali nell’armonizzazione di J.S. Bach.
2007 •
The chorus is a distinctive feature of Greek Drama that lost importance and almost disappeared in the modern history of European theatre. Therefore it is now a notorious problem for playwrights and directors. Most of them avoid it or suffer it when adapting an ancient text or bringing it on stage. Some of them prefer to cut or to reduce choral parts. But the chorus, and the emotion of a multitude, can also be a great resource for a reprise of Greek Drama. Some recent productions can be cited as good examples. One of them in particular, the Persians performed at the Grutli Theatre (Geneva) in 2006, is worth a deep analysis for its huge chorus of 170 citizens: it was originally meant to recreate mass participation in Festivals and in the democratic institutions of ancient Athens, and it finally turns out to be an outstanding experience both for the chorus members and the audience.
2005 •
Genesis RIVISTA DELLA SOCIETÀ ITALIANA DELLE STORICHE, XIX/2
Introduzione. Traiettorie della vocalità2020 •
XVI Congresso Nazionale di Chimica dell‘Ambiente e dei Beni Culturali
Il corallo nell'arte decorativa siciliana: nuove acquisizioni scientifiche sulla tecnica esecutivaVoce, Vocalità e Violoncello “cantabile” in Nicola Porpora Riflessioni sulle “Six sonatas for two violoncellos and two violins with a thorough bass for the harpsichord” Parte del discorso in occasione della presentazione del nuovo CD di Adriano Maria Fazio per Brilliant Classics (Numero di catalogo: 95408) Nicola Porpora – Giovanni Battista Costanzi: “6 Cello Sonatas” Milano, Società del Giardino, 14-11-2016
Il lavatoio, di Sophie Daull, trad. di Cristina Vezzaro, Edizioni Voland
Vezzaro_Come trovare una voce in un romanzo corale2021 •
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