Maria Rosaria Omaggio reads Dante, Petrarch and Boccaccio’s love poems accompanied by fourteenth-century music performed by the Ensemble Compendium Musicum
The Mystery of Love: Laura, Beatrice and Fiammetta Rocca Albornoz. Sunday, September 8th. at 17.00
“The Mystery of Love: Laura, Beatrice and Fiammetta”, starring Maria Rosaria Omaggio, is a show of medieval music – performed with faithful copies of instruments of the time – and poems/songs chosen and recited by Maria Rosaria Omaggio. The event, scheduled at the Rocca Albornoz on Sunday 8 September, is scheduled at 17.00.
“The Mystery of Love: Laura, Beatrice and Fiammetta” celebrates those poets and writers who taught us to love; above all, those fathers of Italian language who have established the fundamental references of human sensitivity: Petrarch, Alighieri and Boccaccio. Music and ancient love songs recovered from the medieval tradition and performed by the Ensemble Compendium Musicum to create the ideal atmosphere of a journey that will culminate in the verses dedicated by the three Master poets to perfect love, which is the one dedicated to the Madonna.
The instruments presented, faithful copies of fourteenth-century iconography, range from plucked strings, rubbed strings, wind instruments, percussions, to voice, the Instrument par excellence. The musical part is entrusted to the Ensemble Compendium Musicum – composed of Valeria Puletti (Voice, Harp and Vielle) and Daniele Bernardini (Bagpipes, Straight Flutes, Tabor-Pipe, Double Flute, Percussion) – who will provide, the artists explain, “the soundtrack to the deep and sacred voice of Maria Rosaria Omaggio proposing the most evocative pages of the 14th century manuscripts through an emotional journey with unusual sounds. The musical program will retrace poetic and literary events through a mixture of sacred, profane, contrapuntal and monodic pieces, offering a wide, majestic and sometimes irreverent, timbral cross-section.
Laura and Beatrice embody the conflict that can be internal to each soul: the conflict between Petrarch’s carnal passion and Dante’s divine love. Boccaccio gives voice directly to woman character: Fiammetta is no longer an “object of love” told by a male voice, but she is a talking subject, an abandoned and desperate lover who seeks compassion from other women. Boccaccio’s woman – from a remote and unreachable idol and object of worship, as she was in the courteous tradition – becomes either the object of a male desire that must legitimately be realized, or a subject of legitimate carnal desire.
