Hildegard (2001) by Marta Lambertini. Voices, silences, music and sexuality
The musical, sonic, and literary world constructed by Argentine composer Marta Lambertini (San Isidro, 1937; Buenos Aires, 2019) invites us to immerse ourselves in her work, particularly in her operas starring women: Alice, Hildegard, and Cinderella. In this text, I propose to delve into the complex...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Universidad Nacional del Litoral
2025
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| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14489 |
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| Sumario: | The musical, sonic, and literary world constructed by Argentine composer Marta Lambertini (San Isidro, 1937; Buenos Aires, 2019) invites us to immerse ourselves in her work, particularly in her operas starring women: Alice, Hildegard, and Cinderella. In this text, I propose to delve into the complex plot of voices, sounds, and silences unfolding in Hildegard (2001), the composer´s third opera, premiered in June 2002 at the Teatro Colon´s Experimental Center, after overcoming several obstacles due to the context of the political, social, and economic crisis in Argentina, and the circumstances of its production. I am insterested in offering a «kaleidoscopic» wiew of her work, based on the study of the multiple layers that comprise it: the prose, musical, and performance texts, to which are added the voices of the composer, librettist, musical director, stage director, and journalistic critics, with the aim of adding meanings in an interpretive reading from the perspective of feminist and gender studies. I question the feminist agency of the work, both in its narrative and in the stages of creation and production. Likewise, exploring the musical narrative, in terms of sound, gender, and sexuality, opens up new meaning to the construction of “the feminine” in contemporary opera. |
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