Wit, Repression and Release: The Emotionality of the Seventeenth-Century Cantata
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This essay builds on Roger Freitas’s previous work on the mid-seventeenth-century genre of the cantata by closely reading two of Marc’Antonio Pasqualini’s cantatas in conjunction with their performance contexts, focusing upon the Italian conversazione. Pasqualini, as a contemporaneously famous castrato with powerful patrons, affords access into seventeenth-century ideas about gender and sexuality as well as the power dynamics integral to the conversazione. Where Freitas proposes readings of the genre attuned to musico-poetic “wittiness,” this essay proposes three potential frames through which one can read cantatas: as displays of virtu, reflections of the emotionally-controlled court environment, and as prologue to sexual activity. Due to the diversity of their performance contexts, this essay argues that cantatas needed to be easily adaptable in how they expressed or facilitated the expression of emotion.
Abstract
This essay builds on Roger Freitas’s previous work on the mid-seventeenth-century genre of the cantata by closely reading two of Marc’Antonio Pasqualini’s cantatas in conjunction with their performance contexts, focusing upon the Italian conversazione. Pasqualini, as a contemporaneously famous castrato with powerful patrons, affords access into seventeenth-century ideas about gender and sexuality as well as the power dynamics integral to the conversazione. Where Freitas proposes readings of the genre attuned to musico-poetic “wittiness,” this essay proposes three potential frames through which one can read cantatas: as displays of virtu, reflections of the emotionally-controlled court environment, and as prologue to sexual activity. Due to the diversity of their performance contexts, this essay argues that cantatas needed to be easily adaptable in how they expressed or facilitated the expression of emotion.
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