2015/07/29 by Anne-Marie Sorrenti · 1 citation
Arts and Humanities · #Renaissance and Early Modern Studies #Renaissance Literature and Culture #Musicology and Musical Analysis #Poetry #Literature #Art #Construct (python library) #Philosophy #Hatred #Art history #Law #Computer science
paper · doi:10.1179/0075163415z.000000000103
openalex publication_date 2015/07/29 · openalex created_date 2016/06/24 · openalex updated_date 2026/07/29
Although the figure of the ‘diva’ is usually regarded as a nineteenth-century construct, Isabella Andreini (1562–1604), the revered actress, poet, and woman of letters who performed and wrote more than two centuries earlier, may claim the title of the first diva of the Italian stage and page. In this article I argue that a strong and, to date, unexplored, connection exists between Andreini’s lyric poetry and her stage work. The ‘mad-hotness’ for which Andreini became well known in her performances (especially her celebrated Pazzia di Isabella) permeates her madrigals as well. The lover in her madrigals, who may be a man, a woman or ambiguously gendered, feels hatred and madness, may have erotic fantasies, and is constantly burning with desire. Andreini’s poetic madrigals move beyond standard Petrarchan topoi such that the ethereal ‘Laura’ comes down to earth and corporal, sensual and erotic aspects of love and death are explored.