The singer embodies the composer and theorist Giulio Caccini, called Romano, in his explication of the solo voice revolutionary collection “Le nuove musiche” where the sung line is described and analyzed as the only possible compositional medium for the comprehension of the text in the dramaturgical music style.
The singer is supposed to give a live lesson, as Caccini did many times, especially to his daughter Francesca Caccini, singer and composer, in order to search for an innovative balance between the communication of the dramaturgical text, the expression of the affections and the possible vocal ornamentation the singer could add.
The work is intended as a live rendering of the intense activity of teacher and theorist of Giulio Romano, realized only with the textual and musical material written by him in 1601.
Caccini speaks about the “parlare intonato”, introducing a new possibility in his vocal search that seems to anticipate the musical expressionism.
“Having thus seen, as I say, that such music and musicians offered no pleasure beyond that which pleasant sounds could give – solely to the sense of hearing, since they could not move the mind without the words being understood – it occurred to me to introduce a kind of music in which one could almost speak in tones, employing in it (as I have said elsewhere) a certain noble negligence of song, sometimes passing through several dissonances” (extract from Le nuove musiche)