Next Summer in Rome: the Early Music & Dance Workshop “L’Humor Bizzarro”

Humor Bizzarro 2018 Early Music Early Dance

International Early Music & Dance Workshop
17th Edition – Rome July28th – August 5th, 2018

Courses, concerts and seminars managed by
Il Teatro della Memoria (artistic direction: Claudia Celi and Andrea Toschi)

The teachers of L’Humor Bizzarro 2018:

16th-17th Century Dances between Italy and Spain: Claudia Celi
17th-18th Century Dances and Contredanses between France and Spain: Ilaria Sainato
19th Century Social Dances: Paolo Di Segni
Baroque Oboe: Angela Paletta
Recorder: Marco Rosa Salva
Renaissance & Baroque Singing: Rosanna Rossoni
Renaissance & Baroque Trombone: Ercole Nisini
Renaissance Lute, Theorbo and Baroque Guitar: Francesco Tomasi
Cembalo Accompaniment: Paolo Tagliapietra

Rhethorical Gesture Seminar: Ilaria Sainato
Qi Gong Seminar: Angela Paletta

Ensemble Music and Dance Accompaniment Practice

The teachers’ CV are available on this page.

Location: Scuola Popolare di Musica di Testaccio – Rome – Italy.

Regulations, costs and registration form for L’Humor Bizzarro 2018 available on this page.
Programs (in Italian) are at this link.

Info: tel. & fax +39-06-33267447 – mob. +39-328-3645555; e-mail: info@teatrodellamemoria.org
or contact us by filling the form below:

Privacy statement: we will keep your data reserved in accordance with European regulations; we promise we won’t give them to anybody else. The full text of the GDPR statement is at this link.

Humor Bizzarro 2017 – Ilaria Sainato: “Cupid’s Garden – Le Jardin de Cupidon” – Dances and Contredanses in England and France between the 17th & 18th century and Rhetorical Gesture Seminar

Course program and teacher’s curriculum

Ilaria 2“Cupid’s Garden – Le Jardin de Cupidon” – Dances and Contredanses in England and France between the 17th & 18th century
The course is aimed towards dancers, musicians and whoever wishes to approach or to further the knowledge of baroque dance technique.  The theoretical and practical classes feature warm-up, study of basic choreutic technique and of choreographies, mainly reconstructed from the Beauchamp–Feuillet notation; part of the classes will be devoted to questions pertaining sources, dance notation and treatises, choreographic repertory, giving a particular attention to the connection and integration between music and dance, with reference to problems of performance of dance music. During the course, the choreographic  and
musical correspondences, borrowings and  influences between England and France will be investigated through the study of choreographies by André Lorrin, Mr. Isaac and John Essex. The choregraphic numbers will be chosen by the teacher according to the level and the needs of the participants.

Rhetorical Gesture Seminar
The seminar is aimed towards singers, dancers, actors, musicians and whoever is interested in the repertory of musical theatre of the 17th and 18th centuries. It offers to the students a further tool for performing such repertory through an in depth examination of the typical features of baroque theatre, of rhetorical gesture and of themes such as the stage proxemics, the roles and typical characters, the theory of affections.

Ilaria Sainato graduated in Musicology at the Università degli studi di Pavia-Cremona, with a dissertation in Phylology about Italian dance of the Quattrocento. She has studied Renaissance and Baroque dance with Veronique Daniels, Barbara Sparti, Deda Cristina Colonna, Ana Yepes. She teaches Renaissance dancing at Scuola di Musica Antica di Venezia and gives courses and theoretical-practical seminars at schools, institutions and associations in Italy and abroad. She organizes shows about dance of the 15th to 17th Century in collaboration with several ensembles and companies; in particular with La Girometta she deals with the reconstruction of Italian dance repertory of the Quattrocento and Cinquecento from the original treatise sources taking in to account their musical concordances. She has extended her research to problems in reconstructing 17th and 18th Century theatrical performance with music, in particular regarding staging and gesture, collaborating to several stage productions such as  Don Giovanni by W. A. Mozart, Il Ballo delle Ingrate by C. Monteverdi, La Fida Ninfa by A. Vivaldi, Atalanta Fugiens by M. Maier, Flavio Cuniberto by G. D. Partenio; she has also directed this latter. She has been assistant direcctor for: Mulier Fortis by J. B. Staut, The Fairy Queen by E. Purcell and Così fan tutte by W. A. Mozart (directed by Deda Cristina Colonna), Madama Butterfly and Turandot by G. Puccini (directed by Hiroki Ihara), Rigoletto by G. Verdi (directed by Ivan Stefanutti), Sonnambula by V.Bellini (directed by Stefano Vizioli). She collaborates with As.Li.Co. – Teatro Sociale di Como as Stage Manager.

Full info about the workshop costs and the registration form are available at this link.

At Trastevere the final performance of “L’Humor Bizzarro 2016”

On Saturday 6 August the historical Teatro Belli will host students and teachers of the 15th international Summer workshop organized by Il Teatro della Memoria

Trastevere_-_teatro_Belli
With the return of students that are already in the first stages of their artistic career and the presence of new enthusiasts –both professionals and amateurs – from several European and Asian countries, Il Teatro della Memoria celebrates the 15th edition of the International Summer Workshop L’Humor Bizzarro – Intarsi di musica e danza antica.

On Saturday 6 August, following an established practice, students and teachers will interact in the final performance, the result of a week of intense activity developed at Scuola Popolare di Musica di Testaccio under the guidance of internationally active artists. For the dance: Claudia Celi (Le bellezze d’Olimpia – Italian Dances of the 16th-17th centuries), Ilaria Sainato (La bonne amitié – European Dances of the 17th-18th centuries and Rhetoric Gesture Seminar) and Paolo Di Segni (The Regency Ball  ̶  Social dances of the Early 19th century); for the music: Rosanna Rossoni (Renaissance and baroque Singing), Marco Rosa Salva (Recorderr), Angela Paletta (Baroque Oboe barocco and Qi Gong Seminario), Paolo Tagliapietra (Cembalo Accompaniment) and Francesco Tomasi (Renaissance Lute, Theorbo and Baroque Guitar). The performance will also feature guest artists who in the past have collaborated with Il Teatro della Memoria with a particular attention to the relationship between music and dance.

On the occasion Claudia Celi e Andrea Toschi – who co-direct Il Teatro della Memoria – wish to thank all those who during the years and in various roles have contributed to the making of the several editions of L’Humor bizzarro.

Teatro Belli – p.za Sant’Apollonia 11 – Roma (Italy)
6 August 2016 – 6.30PM – free entrance
It’s necessary to book at the number (+39)  320-0557319 before 6 August at 12.00AM
e-mail:
info@teatrodellamemoria.org

Teatro Belli – located in the historical area of Trastevere under the Gianicolo – is, among those that are presently active, one of the oldest Roman theatres, known also for having hosted a speech to Roman voters by Giuseppe Garibaldi. For a brief history of this space it’s possible to read a page on their website.

click on the picture to download the workshop poster

Humor Bizzarro 2015: Ilaria Sainato – “Les Plaisirs et les Jeux”, 17-18th Century European Dances

Course program and teacher’s curriculum

The course is aimed towards dancers, musicians and whoever wishes to approach or to further the knowledge of baroque dance technique.  The theoretical and practical classes feature warm-up, study of basic choreutic technique and of choreographies, mainly reconstructed from the Beauchamp–Feuillet notation; part of the classes will be devoted to questions pertaining sources, dance notation and treatises, choreographic repertory. During the study of choreographies, particular attention will be given to the connection and integration between music and dance, with reference to problems of performance of dance music. The choregraphies, that will be chosen by the teacher according to the level and the needs of the participants, will be taken from the treatises by A. Lorrin, J. Playford, R.-A. Feuillet, J. Essex, M. Gaudrau, Landrin.

Ilaria Sainato graduated in Musicology at the Università degli studi di Pavia-Cremona, with a dissertation in Phylology about Italian dance of the Quattrocento. She has studied Renaissance and Baroque dance with Veronique Daniels, Barbara Sparti, Deda Cristina Colonna, Ana Yepes. She teaches Renaissance dancing at Scuola di Musica Antica di Venezia and gives courses and theoretical-practical seminars at schools, institutions and associations in Italy and abroad. She organizes shows about dance of the 15th to 17th Century in collaboration with several ensembles and companies; in particular with La Girometta she deals with the reconstruction of Italian dance repertory of the Quattrocento and Cinquecento from the original treatise sources taking in to account their musical concordances. She has extended her research to problems in reconstructing 17th and 18th Century theatrical performance with music, in particular regarding staging and gesture, collaborating to several stage productions such as  Don Giovanni by W. A. Mozart, Il Ballo delle Ingrate by C. Monteverdi, La Fida Ninfa by A. Vivaldi, Atalanta Fugiens by M. Maier, Flavio Cuniberto by G. D. Partenio; she has also directed this latter. She has been assistant direcctor for: Mulier Fortis by J. B. Staut, The Fairy Queen by E. Purcell and Così fan tutte by W. A. Mozart (directed by Deda Cristina Colonna), Madama Butterfly and Turandot by G. Puccini (directed by Hiroki Ihara), Rigoletto by G. Verdi (directed by Ivan Stefanutti), Sonnambula by V.Bellini (directed by Stefano Vizioli). She collaborates with As.Li.Co. – Teatro Sociale di Como as Stage Manager.

Full info about the workshop costs and registration form are available at this link.

The teachers of the 2014 edition: Ilaria Sainato, European Dances of the 17th and 18th Century

Les jours amusants, dances de bal et de ballet
The course is aimed towards dancers, musicians and whoever  wishes to approach or to further the knowledge of baroque dance technique.  The theoretical and practical classes feature warm-up, study of basic choreutic technique and of choreographies, mainly reconstructed from the Beauchamp–Feuillet notation; part of the classes will be devoted to questions pertaining sources, dance notation and treatises, choreographic repertory. During the study of choreograpies, particular attention will be given to the connection and integration between music and dance, with reference to problems of performance of dance music. The choregraphies, that will be chosen by the teacher according to the level and the needs of the participants, will be taken from the treatises by  J. Playford, R.–A. Feuillet, J. Essex, M. Gaudrau.

Ilaria Sainato graduated in Musicology at the Università degli studi di Pavia-Cremona, with a dissertation in Phylology about Italian dance of the Quattrocento. She has studied Renaissance and Baroque dance with Veronique Daniels, Barbara Sparti, Deda Cristina Colonna, Ana Yepes. She teaches Renaissance dancing at Scuola di Musica Antica di Venezia and gives courses and theoretical-practical seminars at schools, institutions and associations in Italy and abroad. She organizes shows about dance of the 15th to 17th Century in collaboration with several ensembles and companies; in particular with La Girometta she deals with the reconstruction of Italian dance repertory of the Quattrocento and Cinquecento from the original treatise sources taking in to account their musical concordances. She has extended her research to problems in reconstructing 17th and 18th Century theatrical performance with music, in particular regarding staging and gesture, collaborating to several stage productions such as  Don Giovanni by W. A. Mozart, Il Ballo delle Ingrate by C. Monteverdi, La Fida Ninfa by A. Vivaldi, Atalanta Fugiens by M. Maier, Flavio Cuniberto by G. D. Partenio; she has also directed this latter. She has been assistant direcctor for: Mulier Fortis by J. B. Staut, The Fairy Queen by E. Purcell and Così fan tutte by W. A. Mozart (directed by Deda Cristina Colonna), Madama Butterfly and Turandot by G. Puccini (directed by Hiroki Ihara), Rigoletto by G. Verdi (directed by Ivan Stefanutti), Sonnambula by V.Bellini (directed by Stefano Vizioli). She collaborates with As.Li.Co. – Teatro Sociale di Como as Stage Manager.

Full info about the workshop costs and registration form are available at this link.

Early Music & Dance Summer Workshop “L’Humor Bizzarro” – Courses and teachers of the 2014 edition

Courses, concerts and workshops
Organized by: Il Teatro della Memoria
13th edition – Rome (Italy) July 27th – August 3rd, 2014
Location: Scuola Popolare di Musica di Testaccio

16th Century Italian Dances: Claudia Celi
17th and 18th Century European Dances: Ilaria Sainato
19th Century Social Dances: Paolo Di Segni
Baroque Oboe: Angela Paletta
Percussion: Federico Occhiodoro
Recorder: Marco Rosa Salva
Renaissance Lute and Baroque Guitar: Federico Marincola
Renaissance and Baroque Singing: Rosanna Rossoni
Sackbut and Baroque Trombone: Mauro Morini
Harpsichord accompaniment: Paolo Tagliapietra

Ensemble Music workshop
Qi Gong Seminar

All the info about registration and rates are available at this link. Programs in Italian are here. Feel free to contact us for any question you have. Special rates for our students are available at several restaurants, hotels and Bed&Breakfast. E-mail us for a list.

Contact info

via Gradoli, 56 – 00189 Roma – Italy
e-mail:
info@teatrodellamemoria.org
phone/fax : (+39) 06 3326 7447
mobile:

  • up to July 26 (+39) 328 364 5555
  • July 27-August 3: (+39) 320 055 7319

On Saturday August 3 the final concert of the Early Music and Dance Workshop

At the Testaccio Ex-Slaughterhouse the students of “L’Humor Bizzarro” will present the results of an intense study week

bamboo_2

Big Bamboo, the huge work by U.S. artists  Mike and Doug Starn, has welcomed teachers and students taking part in the 12th edition of  L’Humor Bizzarro, dedicated to the memory of Nora Frontali Toschi, deceased on last June 9, a founding member and steady supporter of the Associazione il Teatro della Memoria.

bamboo

After starting on July 28, the courses have unfolded at an intence pace under the guide of internationally active artists: Angela Bucci (Renaissance and Baroque singing), Ninad Massimo Carrano (Percussion), Claudia Celi (Danze nel Giardino d’Amore – Court dances between 15th and 16th Century), Paolo Di Segni (Tout le monde en place – Social Dances of the 19th Century), Federico Marincola (Ensemble Music Workshop), Mauro Morini (Sackbut and Baroque Trombone) Angela Paletta (Baroque Oboe), Marco Rosa Salva (Recorder), Ilaria Sainato (Recueil de Dances et Contredances – European 17th and 18th Century dances), Antonella Moles and Paolo Tagliapietra (Cembalo accompanists).

On the evening of Saturday August 3 agosto the work carried out in the singing, instrument and dance classes will be presented in spectacular form. Following a consolidated practice, during the performance students and teachers will interact side by side. The events will be hosted by the Sala della Mangiatoia (Testaccio Ex-Slaughterhouse – p.za Giustiniani 4/a). Two shows have been scheduled, the first at 7.00PM and the second at 8.45PM, both at free entrance with advance booking. It’s possible to book by phoning to the mobile number +39-320-0557319 before 4.00PM of the performance day.

Location: Sala della Mangiatoia – Ex-Mattatoio – p.za Giustiniani 4/a – Roma (Italy)
First show 7.00PM – Second show 8.45PM
Free entrance – Advance booking by phoning to the mobile number +39-320-0557319 before 4.00PM
e-mail: info@teatrodellamemoria.org

The teachers of the 2013 edition: Ilaria Sainato, European Dances of the 17th and 18th Century

Recueil de Dance et Contredances
The course is aimed towards dancers, musicians and whoever  wishes to approach or to further the knowledge of baroque dance technique. 
 The theoretical and practical classes feature warm-up, study of basic choreutic technique and of choreographies, mainly reconstructed from the Beauchamp–Feuillet notation; part of the classes will be devoted to questions pertaining sources, dance notation and treatises, choreographic repertory. During the study of choreograpies, particular attention will be given to the connection and integration between music and dance, with reference to problems of performance of dance music. The choregraphies, that will be chosen by the teacher according to the level and the needs of the participants, will be taker from the treatises by  J. Playford, R.–A. Feuillet, J. Essex, M. Gaudrau.

ILARIA SAINATO graduated in Musicology at Università degli studi di Pavia-Cremona, with a dissertation in Phylology about Italian dance of the Quattrocento. She has studied Renaissance and Baroque dance with Veronique Daniels, Barbara Sparti, Deda Cristina Colonna, Ana Yepes. She teaches Renaissance dancing at Scuola di Musica Antica di Venezia and gives courses and theoretical-practical seminars at schools, institutions and associations in Italy and abroad. She organizes shows about dance of the 15th to 17th Century in collaboration with several ensembles and companies; in particular with La Girometta she deals with the reconstruction of Italian dance repertory of the Quattrocento and Cinquecento from the original treatise sources taking in to account their musical concordances. She has extended her research to problems in reconstructing 17th and 18th Century theatrical performance with music, in particular regarding staging and gesture, collaborating to several stage productions such as  Don Giovanni by W. A. Mozart, Il Ballo delle Ingrate by C. Monteverdi, La Fida Ninfa by A. Vivaldi, Atalanta Fugiens by M. Maier, Flavio Cuniberto by G. D. Partenio; she has also directed this latter. She has been assistant direcctor for: Mulier Fortis by J. B. Staut, The Fairy Queen by E. Purcell and Così fan tutte by W. A. Mozart (directed byDeda Cristina Colonna), Madama Butterfly and Turandot by G. Puccini (directed by Hiroki Ihara), Rigoletto by G. Verdi (directed by Ivan Stefanutti), Sonnambula by V.Bellini (directed by Stefano Vizioli). She collaborates with As.Li.Co. – Teatro Sociale di Como as Stage Manager.

Full info about the workshop costs and registration form are available at this link.

The teachers of the 2012 edition: Ilaria Sainato, 18th Century European Countrydances

The course is open to students of any level and is coordinated with the activities of the instrumental music and ensemble music courses  in view of the realization of the students’ concert. The theoretical and practical classes feature warm-up, study of basic choreutic technique and of choreographies, as well as a part devoted to questions regarding sources, notation and dance treatises, choreographic repertory, connection and integration between music and dance with reference to problems of performance of dance music. During the course, choreographies by  John Essex, Landrin, De la Cuisse and Gennaro Magri will be studied.

ILARIA SAINATO graduated in Musicology at Università degli studi di Pavia-Cremona, with a dissertation in Phylology about Italian dance of the Quattrocento. She has studied Renaissance and Baroque dance with Veronique Daniels, Barbara Sparti, Deda Cristina Colonna, Ana Yepes. She teaches Renaissance dancing at Scuola di Musica Antica di Venezia and gives courses and theoretical-practical seminars at schools, institutions and associations in Italy and abroad. She organizes shows about dance of the 15th to 17th Century in collaboration with several ensembles and companies; in particular with La Girometta she deals with the reconstruction of Italian dance repertory of the Quattrocento and Cinquecento from the original treatise sources taking in to account their musical concordances. She has extended her research to problems in reconstructing 17th and 18th Century theatrical performance with music, in particular regarding staging and gesture, collaborating to several stage productions such as  Don Giovanni by W. A. Mozart, Il Ballo delle Ingrate by C. Monteverdi, La Fida Ninfa by A. Vivaldi, Atalanta Fugiens by M. Maier, Flavio Cuniberto by G. D. Partenio; she has also directed this latter. She has been assistant direcctor for: Mulier Fortis by J. B. Staut, The Fairy Queen by E. Purcell and Così fan tutte by W. A. Mozart (directed byDeda Cristina Colonna), Madama Butterfly and Turandot by G. Puccini (directed by Hiroki Ihara), Rigoletto by G. Verdi (directed by Ivan Stefanutti), Sonnambula by V.Bellini (directed by Stefano Vizioli). She collaborates with As.Li.Co. – Teatro Sociale di Como as Stage Manager.

Info on the workshop costs and registration is available at this link.