Abstract
In this interview with conductor, pianist, and harpsichordist Mark Tatlow, who was the principal artistic researcher within Performing Premodernity, he describes what he has learned from working within the Early Music and Historically Informed Performance movements since the 1980s, and especially from working at the Drottningholm Palace Theatre. The conversation revolves around the crucial importance of the communicative aspect of musical and operatic performance, and about close attention to the words of a libretto or a sung poem as a key to a singer’s vocal performance.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
