Like her crown, which according to the story shines in a constellation, L'Arianna as a work of art shimmers as a distant and mysterious object, and the loss of Monteverdi's score, apart from the famous lament, makes it one of the great ‘if onlys’ of the history of music. Artistic responses to L'Arianna range wide. In Gabrielle d'Annunzio's novel Il fuoco, Stellio Effrena and his group of aesthetes in fin de siècle Venice embrace Monteverdi, and Arianna's lament in particular, as a home-grown antidote to Wagner, elevating ‘Lasciatemi morire’ to the status of an Italian precursor of the ‘Liebestod’. Recently Alexander Goehr gave a new lease of life to Ottavio Rinuccini's libretto in his opera Arianna, first performed in September 1995, and, as if not to desecrate a hallowed object, he included in the opera a recording of the opening of Monteverdi's surviving fragment sung by Kathleen Ferrier.
Email your librarian or administrator to recommend adding this journal to your organisation's collection.
* Views captured on Cambridge Core between September 2016 - 24th May 2017. This data will be updated every 24 hours.