La Dolce Morte: A Sound World between Creation and Being

Chloe Yoon
April 7, 2016

A singer wearing white clothing and a turban performs in front of a chamber orchestra while surrounded by European sculpture
Anthony Roth Costanzo and the International Contemporary Ensemble perform Suzanne Farrin's La Dolce Morte in the Vélez Blanco Patio, April 1, 2016. All photos by Stephanie Berger

«In 1532, the famed Italian sculptor, painter, architect, and poet Michelangelo met the young and exceptionally beautiful Roman nobleman Tommaso de' Cavalieri. The nobleman soon became the subject of Michelangelo's intense poetry, which expressed a physical as well as a spiritual love and devotion, with the artist describing Cavalieri, who was 34 years his junior, as "light of our century, paragon of all the world."»

Michelangelo's poetry forms the libretto for Suzanne Farrin's heartbreakingly beautiful work La Dolce Morte, a MetLiveArts commission that premiered at The Met on April 1. In Farrin's program notes, the composer said her desire was to "create the sound world between creation and being." To her, the poetry seemed to be in process, much like Michelangelo's Prisoners statues at the Accademia di Belle Arti in Florence—unfinished statues depicted in "different states of emergence," as Farrin wrote.

"I see in your beautiful face, my lord, what I could not say in this life; the soul, still dressed in flesh, has ascended many times to God." —Michelangelo

Last Friday, The Met's Vélez Blanco Patio was overflowing with the spirit of Michelangelo during an afternoon dress rehearsal of La Dolce Morte. Michelangelo's love poetry resonated beautifully in the exquisite space as countertenor Anthony Roth Costanzo's voice floated high above one of the world's most celebrated new-music groups, the International Contemporary Ensemble (ICE).

Close-up of a singer expressing great emotion while accompanied in the back by a harp player

The powerful lighting effects created a captivating atmosphere, transforming the space with different moods. Beautiful sculptures from the Baroque and Renaissance surrounded the performers, making it appear as if the musicians were playing alongside Orpheus and Siren. The digital projections of Farrin's translations of Michelangelo's texts not only maximized the visual effects of the performance, but also fully immersed the audience in Michelangelo's intense emotions. The constant dialogue among the performers, the space, the sculptures, the projections, and the lights truly delivered an extraordinary, mesmerizing, and inspiring performance experience.

"Like dry wood, in a hot fire, let me burn, if I do not love you from my heart, and may I lose my soul, if it feels for any other." —Michelangelo

Costanzo's performance was strong and passionate, and his pure voice was a delicate expression of Michelangelo's love. The touching duet between the countertenor and bassoonist Rebekah Heller was the highlight of the performance for me, with both musicians performing as if they were one soul, bringing the audience along with them.

In recent surveys, audiences have described the MetLiveArts programming as new, fresh, inspiring, creative, and avant-garde, showcasing exceptional artistic excellence. I would say La Dolce Morte was a perfect visualization of the MetLiveArts mission—performance that is organic to The Met's many gallery spaces. I know my experience with this powerful performance will resonate in my mind for a long time to come.

A singer wearing white clothing and a turban performs alongside a bassoonist wearing all black

Chloe Yoon

Chloe Yoon is a MetLiveArts intern.