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Helena Tulve - Visiones


Year / Length:2022, 90’, World premiere
Text by:Helena Tulve, after fragments of sacred representation found by Giulio Cattin in Santa Maria della Fava, and the gospel of Mary Magdalene
Nyckelharpa:Marco Ambrosini, Angela Ambrosini
Kannel:Anna-Liisa Eller
Tiorba:Alvise Zanella
Dulciana:Maestro Michele Fattori
Vox Clamantis (transetto):Soprani Anna Mazurtšak (Maria Magdalena), Mari-Liis Urb (Maria), Anete Peäske (solo); altos Susanna Paabumets (Maria Salome), Saale Kreen (angel), Miina Pärn (angel), Kadri Hunt (solo); tenors Sander Pehk (evangelist), Mikk Dede, Sakarias Jaan Leppik, Meelis Kesperi; baritone Taniel Kirikal (Jesus). Lower Aare Külama, Ott Kask (Peter)
Conductor:Jaan-Eik Tulve
Coro della Cappella Marciana (cantorie):Sopranos Maria Chiara Ardolino, Caterina Chiarcos, Maria Clara Maiztegui, Elena Modena, Maria Cristina Rinaldi, Zoya Tukhmanova. Altos Maria Baldo, Lucia Gemmani, Monica Serretti, Annalisa Susanetti; tenors Enrico Imbalzano, Tommaso Maggiolo, Riccardo Martin, Francesco Triccò, Gian Luca Zoccatelli; basses Giovanni Bertoldi, Thomas Mazzucchi, Luca Scapin, Marcin Wyszkowski
Organ:Alvise Mason
Conductor:Marco Gemmani
Ensemble barocco del Conservatorio "Benedetto Marcello" di Venezia (navate):Sopranos Marianna Acito, Martina Candida, Anastasia Fedorenko, Yiru Liu, Yangchun Ou, Caterina Schenal; altos Talita Cotta, Aldar Dashiev, Anna Dobrucka, Costanza Giannino, Liu Rungdong, Shiho Yamaura; baroque violins, Daniel Jankovics and Sebastian Franz; viola da bravo, Elena da Pieve; viole da gamba, Marcello Alemanno, Alberto Casarin, Carlo Santi. Horns, Marco Cucchi, Davide Saturno
Conductor:Francesco Erle
Direction:Marius Peterson
Production:La Biennale di Venezia
In collaboration with:Basilica e Procuratoria di San Marco
Commission:La Biennale di Venezia

 

Description

The French philosopher and theologian Henri Corbin writes about the ways of perceiving the world: “Between the universe that can be apprehended by pure intellectual perception, [...] and the universe perceptible to the senses, there is an intermediate word, the world of the Idea-Images, of archetypal figures, subtle substances, of ‘immaterial matter’. The organ of this universe is the active Imagination; it is the place of theophanic visions, the scene on which visionary events and symbolic stories appear in their true reality – mundus imaginalis.” In this world of violence and aggression, more then ever I feel the need to honour and give space to the imaginal, not the imaginary “utopian”, but the true area of the soul. Sacred representations are a layer in the topography of these interworlds. The space of the church – full of symbols and images – is a model of our own inner sacred space we cannot really understand, but rather perceive like Jesus being in the womb of the Virgin Mary.

The existing liturgical music found in the manuscript of the Santa Maria della Fava together with the texts of the sacred representations and the fragments of the Gospel of Mary from “Papyrus Berolinensis” are like an ancient runway we can follow. It is supporting us in our quest more then we realise. These representations and texts are not historic artefacts separate from us, they are a part of us – if we dare to open our mundus imaginalis and give space to our own visions.


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