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Lagrime di San Pietro by Orlando di Lasso in Peter Sellar’s Staging: Transformations of Meaning in the Face of Secularization and the Hegemony of the Sense of Sight
Abstract
The article explores the staging of Lagrime di San Pietro by Orlando di Lasso, directed by Peter Sellars, in the context of secularization and the dominance of visual culture in contemporary performance. Sellars’s adaptation of Lagrime with the Los Angeles Master Chorale highlights the work’s spiritual depth, using visual storytelling to enhance its impact. The study examines how Sellars’s production interacts with Renaissance theories on the primacy of sight and Emmanuel Levinas’s ethical philosophy concerning the face. It argues that Sellars’s interpretation aligns with the meditative aspects of Lasso’s composition, reinforcing the expressive power of the singers’ faces and bodily movements, suggesting that Sellars’s approach offers a form of cultural translation that preserves yet transforms the original intent of Lagrime. Through an analysis of staging techniques, textual references, and musical interpretation, the article demonstrates how Sellars’s adaptation engages with historical frameworks while making Renaissance polyphony accessible to contemporary audiences.
Keywords:
Peter Sellars, Orlando di Lasso, cultural translation, Renaissance polyphony, staging of sacred musicDetails
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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.