Ann was inaugurated into our Hall of Fame as our first global ambassador, representing her native Sweden. Ann has regularly been described as the “world’s best mezzo-soprano” and gave a sublimely mesmerising performance as she sang gratis at our launch, despite having been away from home for three weeks and suffering from an agonizing dislocated knee. That’s how much the Teatro San Cassiano project means to her. Here, then, are Ann's thoughts on the Teatro San Cassiano project: up close!

"Why on earth should we build a Baroque theatre in the 21st century?

There are still some old theatres left, we know what they looked like, and there are regular performances in some of them. Isn’t that enough?

Of course there are, but they are precious and few—though none from the 17th century—and very, very fragile; or, they have been used throughout history and been modernised for the needs of later, romantic operas; bigger, deeper, different materials, different acoustics. They can’t give us the full experience anymore.

I am convinced that nothing can teach us about history as effectively as history itself. To try to do something yourself, to experience the how’s and why’s gives us insights that we can never get when just reading about it.

As an example; when I was studying the material for my “Farinelli manuscript” CD, I came across a very strange passage, more than extremely difficult to sing, simply impossible even for a Farinelli, who had written down the music himself! But while struggling with how to make my voice sing it I realised what Farinelli must have meant with this strange notation and how it must be executed. I wouldn’t have had a clue if I hadn’t tried to sing it myself, it would just have been yet another difficult run among a hundred others.

No one has ever taught me during my studies, or on “normal” stages, the things that are very important on a Baroque stage. It was when standing on those stages myself that I have learnt what works and what does not: You should always move in little curves on stage, never in straight lines, it just looks wrong! When entering the stage make a small curve upstage, never walk too close to the sets, especially in the back. This sounds picky and unnecessary, but the false perspective will make a person standing in the back seem gigantic and walking close to the sets will make them shake like an earthquake.

Also; it’s perfectly fine to sing while wearing a corset - as long as you give your kidneys and liver a moment to crawl away and settle somewhere else… Or you will faint! Never raise your arms above your shoulders when wearing a historically-informed costume, it will stop you and the seams will rip! And never, ever try to die on the floor when wearing a farthingale…. It will flip your skirts over your face. Don’t ask how I know this!

These are only a few things, imagine how much we can learn from a place like San Cassiano!  Singers, musicians, dancers, directors, costume, set, light and pyrotechnics designers, all of us on and behind the stage could explore and try not only the “hows” but also the “whys”.

And in the end, because without the audience nothing we do has any meaning, we could invite you to step into this beautiful time-machine and let you experience a night at the opera as it once was meant to be with all details in place.

That’s why!"

Ann Hallenberg
Global Ambassador
Teatro San Cassiano

 

Note

All submissions within this series are given in the writer's chosen language and are not translated. This is to maintain the integrity of their statements, which are their own and without editorial interference or input from the Teatro San Cassiano. The idea of the series is to give you, the reader, an insight into the huge historic and cultural significance of the project and to see it from the multitude of professional perspectives that will need to come together as we approach the enormous task of seeking to reconstruct the Teatro San Cassiano of 1637.

 

Photo by Janie Airey