CANTARE ITALIANO TRAINING:

SIDEREAL DRAMATURGY OF THE ALPHAS

The ancient stared at the starry sky for they couldn't watch TV:

in fact, they looked at the sky in the same way they would have watched TV, and for the same reasons.

Mankind has always loved connecting the dots.

We can't help but, connecting the pixels of reality available to us - 24/7; we do that through imaginary lines, psychological narrations, and various other types of mental structures (many are of acoustic kind).

 

What we call constellations are not a given, but a human way to read and interpret the night sky by connecting its drops of light (stella is from the Latin stilla: drop) to get to see in those imaginary connections all sorts of things: characters, animals, cars, weapons;

 

myths - to learn from and keep up with - just like the Kardashians (I'm serious).

 

Even before the need to orient ourselves, grow food, forsee the future, Mankind used the sky to satisfy its primordial instinct for pure dramaturgy: our brains understand reality solely by picturing and dramatizing; by making up characters and assigning them roles, through a plot.

 

We sample reality and make it do whatever we want in our minds all the time.

We are dramaturgic beings at our core; Mankind needs Theater and Drama.

 

If we didn't need TV we wouldn't have invented it.

(And so similar to the night sky!)

Our electrified modernity has sacrificed the HD definition of the night sky in favour of other things and we haven't lost our Great Gig till extremely recently, if confronted with for how long we'd had it.

 

We never even really stopped to consider such loss properly - although it was quite huge and brought with itself crucial, irreversible changes.

 

(For example, we had to find other things to watch at night, in order to satisfy our primary need for dramaturgy.)

As we speak (that is, at 3am of August 18, 2024) above my italic head the summer triangle shines supreme - one of the most watched shows since ever and forever.

Think of it as a biopic: the intertwined stories of three alphas (the biggest, most brilliant stars) from three constellations, in which we traditionally see three majestic birds: namely Altair, alpha of the Eagle, Deneb, alpha of the Swan and the brightest Vega, alpha of the Lyra.

 

(Lyra being a dear word to the Italian vocabulary in its many acceptations: of former national currency, of instrument and as well of the most vocally virtuoso of birds - whose tail is shaped like the just mentioned instrument, and furthermore capable of unbelievable impression of all sorts of calls and noises: you may want to look it up on YouTube!)

 

Vega is a white-blue-ish star whose mass is only twice that of the Sun, but whose brightness outshines it by 37 times. To say it in Gamarrese: if confronted with Vega - which we may think of as the most classic tonic vowel on the longest beat, a well resounding A vowel - the Sun is nothing but one of those schwas into which you'll turn any atonic vowels lasting less than a quiver and finding themselves on the upbeats of fast tempi, mostly after dotted notes.

 

Such "sunny" vowels may look just as spelled as the alphas are, but the less you'll pronounce them, the more they will be heard (and you understood) - for the ear of the listener will be more clearly oriented in the word's dramaturgy.


Furthermore, the reverberation and the natural legato produced by the alphas will take care of making the connection between the dots - even backwards in time.

 

If you are not following what I'm saying, you haven't been studying with me and you should remedy that!

A month from now, my first ever Cantare Italiano training course will begin, in Italian and, separately, in English as well.

 

It will be held in the Fall-Winter-Spring seasons 2024-2025, in 15 sessions of 2 hours each, for groups of maximum 4 participants who will first learn by me and then will train each other under my supervision.

It will have a total cost €999 for each participant.

You're welcome to reply to this email if you are interested in joining it.

The last stanza, of each of the last triplets, of each cantica, in Dante's Commedia - is locked by one and the same chiave: stelle.

 

E quindi uscimmo a riveder le stelle (Inferno);

Puro e disposto a veder le stelle (Purgatorio);

Amor che move il sole e l'altre stelle (Paradiso).

 

 Being able to see the stars, to make them seen and to connect them easily

is a clear sign of good cantare italiano.

 

La Maestra

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