English
Lieven Baert began his career in 1981 in Ghent, Belgium, and has studied with Elizabeth Aldrich, Ingrid Brainard, Angene Feves, Andrea Francalanci, Francine Lancelot, Prof. Taubert, Barbara Sparti, Jane Gingell, Francine Lancelot, Béatrice Massin and Marie Geneviève Massé. In 1985 he founded Chierlycke Danseryen, a company specializing in 16th century court dances. In 1987 he specialized in 15th century French/Burgundian court dance and gained success with his program "The art of dancing in the 15th century" which toured early music festivals in Utrecht, Glasgow, Krakau, Darmstadt and Berlin. The same year he collaborated with the Belgian ballet world in creating a new historical dance company Danza Antiqua. His Institute of Historical Dance was founded in 1992 to create a field for research and performance practice of historical dance. In 2000 he organized the first International Colloquium on Early Dance in collaboration with the University of Ghent and under the auspices of the Unesco. He was guest professor at the University of Stockholm and teaches every year at the Alicia Alonso Institute University Carlos III in Madrid. He choreographed for the Classical National Theatre in Madrid and worked for the Spanish Cultural Government. Since 2000 he has been stage director for the Brussels Operetta Theatre.
German
Lieven Baert gründete 1992 das „Institut für historischen Tanz, Musik und Theater“ in Gent, mit dem Ziel, historische Tanzformen aus dem 15. – 19. Jahrhundert wissenschaftlich zu erforschen und zu katalogisieren.
Er unterrichtet in ganz Europa und war Choreograph für die Landshuter Hochzeit 2001 und 2005.
Lieven Baert
GLORIA GIORDANO – RESUME
She has a degree in Pedagogy and graduated from the National Academy of Dance in Rome, where she has taught Dance Theory from 1986 to 2004.
Furthered her study of Renaissance and Baroque Dance in France and America abroad with, among others, Christine Bayle, Angene Feves, Francine Lancelot, Barbara Sparti, Ana Yepes. She performs regularly with Italian and foreign companies active in this field, and has participated in numerous festivals in Italy and abroad. Her present activities and professional interests include research, interpretation of original manuals of the period, and choreographic reconstruction, staged productions of historical music and dance. She has created choreography for operas, collaborating with, among others, the directors Stefano Vizioli, Vera Bertinetti and Domenico De Martino.
Participates in international conferences, publishes essays in specialized journals including “La danza italiana”, “Chorégraphie”, “Dance Chronicle”, “Dance Research”, in collected works and edit headings for Dizionario Biografico degli Italiani Treccani. She has been invited to host theoretic-practice conferences on the dance of the XVI-XVIII century at various Music Conservatories, in Italy and abroad (among others: Roma, Frosinone, La Spezia, Lipsia, Mosca). Teaches historical dance at dance schools and musical associations, since 2001 directs the Laboratory of historical dance in Rome Corti in Festa, and since 2003 teaches French dance of the seventeenth and eighteenth century to the International Early Music Course in Urbino.
In 2005 edited the publication in facsimile of the manuscript Balletti of Gaetano Grossatesta (Venice, 1726), for Libreria Musicale Italiana (L.I.M.).
www.gloriagiordano.it
CURRICULUM DI GLORIA GIORDANO
Laureata in Pedagogia si è diplomata presso l’Accademia Nazionale di Danza, dove è docente di Teoria della danza dal 1986 al 2004.
Si è perfezionata nello studio della danza rinascimentale e barocca in Francia e in America con maestri di fama internazionale, tra i quali: Christine Bayle, Angene Feves, Francine Lancelot, Barbara Sparti, Ana Yepes. Co-fondatrice, nel 1985, della “Compagnia di Danza La Follia” (dir. F. Sparapani, Firenze) con la quale ha collaborato per dieci anni, nel corso della sua attività è stata invitata a danzare nelle compagnie italiane e straniere attive nel settore, esibendosi in numerosi festival in Italia e all’estero. Si dedica alla ricerca, all’interpretazione dei manuali dell’epoca e alla ricostruzione coreografica, realizzando spettacoli di musica e danza antica, in collaborazione con affermati solisti e ensembles specializzati nel repertorio rinascimentale e barocco.
Ha firmato coreografie per il teatro d’opera, collaborando tra gli altri con i registi Vera Bertinetti, Domenico De Martino e Stefano Vizioli. Ha curato le coreografie per la prima esecuzione di opere mai rappresentate in Italia quali The Devil and Daniel Webster di Douglas Moore e Casanova's homecoming di Dominick Argento con la regia di Stefano Vizioli. Ha composto coreografie per balli e spettacoli operistici di epoca pre-barocca e barocca, tra cui: Chi soffre speri (C. Mazzocchi, V. Marazzoli), Il Ballo delle Ingrate (C. Monteverdi), Acis e Galathea e Terpsichore (G.F. Händel), Dido and Aeneas (H. Purcell).
Partecipa a convegni internazionali, pubblica saggi in opere collettive e su riviste specializzate fra cui “La danza italiana”, “Chorégraphie”, “Dance Chronicle”, “Dance Research”, e cura voci per il Dizionario Biografico degli Italiani Treccani.
È stata invitata a tenere conferenze teorico-pratiche presso Università e Conservatori di Musica in Italia e all’estero (tra gli altri: Roma, Frosinone, La Spezia, Lipsia, Mosca). Docente di danza antica presso scuole di danza e associazioni musicali, dal 2001 dirige il Laboratorio di danza antica Corti in Festa di Roma e dal 2003 insegna Danza Francese del XVII e XVIII secolo al Corso Internazionale di Musica Antica di Urbino.
Nel 2005 ha curato la pubblicazione in facsimile con cd rom, del manoscritto dei Balletti di Gaetano Grossatesta (Venezia, 1726) per la casa editrice Libreria Musicale Italiana (L.I.M.).
www.gloriagiordano.it
This year we will offer new opportunities for all musicians, both amateurs and professionals. First of all we recommend the Choir course held by Alessandro Quarta, aimed at staging an outstanding program planned at the end of the course including concertato psalms and motets by Händel, Scarlatti, Bencini and other wonderful unknown works.
Thanks to the introduction of two chamber music main courses, each lasting five days and held by Stefano Demicheli and Enrico Gatti, we intend to enhance one of the most valuable aspects that animate the courses in Urbino: playing together. This will be a unique opportunity, in which groups already formed will be welcome, to give life to an artistic experience of the highest level.
This year too the course offers the best teachers available in the in the world of the ‘historically informed performance practice’. Among the novelties this year we point out the singing courses with three special guests: Sara Mingardo, Lia Serafini and Claudine Ansermet, the harpsichord masterclass with Rinaldo Alessandrini, the masterclass recorder with Michael Form and the return of Alfredo Bernardini to the direction of the baroque orchestra.
The course offer will be enriched by a series of lectures held by Enrico Gatti devoted to Diminution and ornamentation in the 17th and 18th Cent. and to the “Pronuntia" of the Violin and string instruments in the 17th and 18th Cent., wich will be free for all participants.
Quattrocento
Dances from the 14th century, e.g. Domenico di Piacenza