TY  - CONF
AU  - Savić, Stefan
AU  - Stanković, Natalija
PY  - 2023
UR  - https://dais.sanu.ac.rs/123456789/15115
AB  - Staging Luigi Cherubini’s opera Medea is a venture that has rarely been taken
on even by major opera houses. The main reason is an extremely
demanding leading role, in terms of its vocal, physical, and psychological
aspects. Known for uniting these aspects in her portrayals of tragic opera
heroines, it is no surprise that Maria Callas was one of the few ideal
exponents of this role. To assess her performance of Medea, we had at our
disposal one studio recording, several live audio recordings, some short
video excerpts, and photos. However, no integral video of the opera
staging is commercially available. Deciding to use a lack of visual trace of
Callas’s performance to our advantage, we came to the core idea for this
paper. We propose a question: is the body aspect missing in the audio
performance or is it even more present? In order to answer this question
we explored the relationship between implicit gestures in music and their
correspondence with the corporeality of the voice, i.e. gestures in vocal
performance. The starting point of our methodological frame is Robert
Hatten’s theory of musical gesture and Arnie Cox’s exploration in the field
of the embodied experience of music perception. The embodiment of the
psychological-archetypal dimension of Medea’s character is analyzed on
two levels – that of musical gestures and that of performative gestures,
with an additional aim to observe how their synchronicity affects voice corporeality.
Missing the complete video leads the research further, posing the question: how does the experience of voice-corporeality change with
the visual aspect of the performance? Therefore, we chose Sondra
Radvanovsky’s body-engaging performance of Medea in the 2022
production of Metropolitan Opera. We submitted it to the same analytical
process, for the purpose of determining how the additional layer of body
gestures enhances or diminishes the effect of voice corporeality.
PB  - Lisboa : CESEM – Centre for the Study of the Sociology and Aesthetics of Music
C3  - 5th Transnational Opera Studies Conference (TOSC@ 2023), Lisboa 6-8 July 2023
T1  - How much body is there in the voice? The comparative analysis of Maria Callas’s and Sondra Radvanovsky’s portrayals of Luigi Cherubini’s Medea
SP  - 105
EP  - 107
UR  - https://hdl.handle.net/21.15107/rcub_dais_15115
ER  - 

@conference{
author = "Savić, Stefan and Stanković, Natalija",
year = "2023",
abstract = "Staging Luigi Cherubini’s opera Medea is a venture that has rarely been taken
on even by major opera houses. The main reason is an extremely
demanding leading role, in terms of its vocal, physical, and psychological
aspects. Known for uniting these aspects in her portrayals of tragic opera
heroines, it is no surprise that Maria Callas was one of the few ideal
exponents of this role. To assess her performance of Medea, we had at our
disposal one studio recording, several live audio recordings, some short
video excerpts, and photos. However, no integral video of the opera
staging is commercially available. Deciding to use a lack of visual trace of
Callas’s performance to our advantage, we came to the core idea for this
paper. We propose a question: is the body aspect missing in the audio
performance or is it even more present? In order to answer this question
we explored the relationship between implicit gestures in music and their
correspondence with the corporeality of the voice, i.e. gestures in vocal
performance. The starting point of our methodological frame is Robert
Hatten’s theory of musical gesture and Arnie Cox’s exploration in the field
of the embodied experience of music perception. The embodiment of the
psychological-archetypal dimension of Medea’s character is analyzed on
two levels – that of musical gestures and that of performative gestures,
with an additional aim to observe how their synchronicity affects voice corporeality.
Missing the complete video leads the research further, posing the question: how does the experience of voice-corporeality change with
the visual aspect of the performance? Therefore, we chose Sondra
Radvanovsky’s body-engaging performance of Medea in the 2022
production of Metropolitan Opera. We submitted it to the same analytical
process, for the purpose of determining how the additional layer of body
gestures enhances or diminishes the effect of voice corporeality.",
publisher = "Lisboa : CESEM – Centre for the Study of the Sociology and Aesthetics of Music",
journal = "5th Transnational Opera Studies Conference (TOSC@ 2023), Lisboa 6-8 July 2023",
title = "How much body is there in the voice? The comparative analysis of Maria Callas’s and Sondra Radvanovsky’s portrayals of Luigi Cherubini’s Medea",
pages = "105-107",
url = "https://hdl.handle.net/21.15107/rcub_dais_15115"
}

Savić, S.,& Stanković, N.. (2023). How much body is there in the voice? The comparative analysis of Maria Callas’s and Sondra Radvanovsky’s portrayals of Luigi Cherubini’s Medea. in 5th Transnational Opera Studies Conference (TOSC@ 2023), Lisboa 6-8 July 2023
Lisboa : CESEM – Centre for the Study of the Sociology and Aesthetics of Music., 105-107.
https://hdl.handle.net/21.15107/rcub_dais_15115

Savić S, Stanković N. How much body is there in the voice? The comparative analysis of Maria Callas’s and Sondra Radvanovsky’s portrayals of Luigi Cherubini’s Medea. in 5th Transnational Opera Studies Conference (TOSC@ 2023), Lisboa 6-8 July 2023. 2023;:105-107.
https://hdl.handle.net/21.15107/rcub_dais_15115 .

Savić, Stefan, Stanković, Natalija, "How much body is there in the voice? The comparative analysis of Maria Callas’s and Sondra Radvanovsky’s portrayals of Luigi Cherubini’s Medea" in 5th Transnational Opera Studies Conference (TOSC@ 2023), Lisboa 6-8 July 2023 (2023):105-107,
https://hdl.handle.net/21.15107/rcub_dais_15115 .