Hell O’Dante

Hell o’ Dante è uno spettacolo di narrazione che affronta l’Inferno in 34 serate ognuna dedicata a un canto.

Attraverso una rigorosa ricerca e il commento di brani pop-rock suonati dal vivo, Saulo Lucci sviscera le terzine e i personaggi in esse racchiusi, la situazione storica e le pene tanto mirabilmente dipinte così come il pensiero dell’autore dando nuova vita a tutto ciò, per riconsegnare agli spettatori la bellezza di una commedia che merita più di ogni altra mai scritta l’attributo di Divina.”    —Cine Teatro Baretti, July 17, 2020

Dan Christian, All My Life’s A Circle… A Harry Chapin and Dante Alighieri Anthology (2006)

“Taking ideas and putting them into action is a specialty of Baltimore, Maryland, English teacher Dan Christian. In his quarter century of teaching at The Gilman School, Christian has successfully merged his two passions, the music of Harry Chapin and the teaching of Dante’s poem the Divine Comedy. The result is a thought-provoking and insightful spiral-bound book of student essays called All My Life’s A Circle…A Harry Chapin & Dante Alighieri Anthology.

Until this year, Christian’s in-class efforts had been informal, with references to Harry being made as ideas arose while teaching. Recalling a concept that emerged from a 1990 seminar for teachers of Dante’s work, this year Christian formally put ‘celestial cross-pollination’–the intersection of art and literature–into place. Christian notes, ‘I asked my students to answer the question: Why and in what ways could a character in Dante’s poem have benefited from or been enriched by listening to this particular song?'”    –Linda McCarty, Circle!, Summer 2006

Dan Christian was the 2017 winner of the Durling Prize of the Dante Society of America, which recognizes exceptional accomplishments by North American secondary school teachers who offer courses or units on Dante’s life and works. Read more about Dan’s teaching philosophy on his website https://danteiseverywhere.com/.

Lou’s Inferno – Guitar Hero III: Legends of Rock

“Lou’s Inferno is located in the Rock Underworld (revealed after you play through Story Mode) and is a very large room with Thick Izzy sitting on a throne behind the drummer. During a song, he will hit his hammer against the floor if your Rock Meter is in the green level as if rocking out to the music. To the left of the band (the right side of the stage from the crowd’s point of view) is a relatively small fire in a chimney. On the opposite side of the stage is a much larger fire. In front of the stage, a large crowd of people, possibly demons (in this case meaning people who have died and been sentenced to Hell, or, possibly, souls of people collected by Lou or Grim Ripper) has gathered to watch the show. All around the venue, there are red, horned women dancing. It’s basically the Guitar Hero version of Hell.”    —WikiHero, February 19, 2018

Learn more about Neversoft’s 2007 video game Guitar Hero III: Legends of Rock here.

Vita Vera Mixtape (2020) – Tedua

Italian rapper Tedua’s 2020 album Vita Vera Mixtape.

Contributed by Alex Basili (MA, Florida State University ’22)

Dante at the Innovation in Music Conference

“The annual Innovation In Music conference in London recently saw Audinate’s Dante help deliver a first of its kind performance, according to audio engineer Dr Paul Ferguson.

“The conference is an international music event that brings together researchers and professionals  shaping the future of the music industry. The event welcomes academics, artists, producers, engineers, music industry professionals, and manufacturers to come together and hear presentations and discussions on a wide range of topics. The most recent conference was held at the University of West London’s Ealing Campus and covered a number of topics including music production, performance and composition, studio technology innovation, and platforms for music sale, streaming and broadcast, to name a few.

[. . .]

“‘Unfortunately, the COVID-19 virus has brought a new perspective to performing, and for gigging musicians, this GPS clock capability potentially allows musicians to safely connect and collaborate over hundreds of miles,’ added Ferguson. ‘What happens when artists want to do their next album or collaborate with others? Until our work lives return to normal, this presents an excellent, next-best-thing-to-being-there option. And even after the ban is lifted, this will be an economical and efficient way to bring creativity together over great distances.'”    –Daniel Gumble, Installation, June 9, 2020

In this case, the reference is to DANTE, the AV networking protocol (Digital Audio Network Through Ethernet). The acronym and the image of the circles (as well as some of the marketing around Audinate’s Dante and related products) play on the name and fame of the poet.

L’Orfeo – Claudio Monteverdi

Italian composer Claudio Monteverdi’s 1607 opera L’Orfeo, the third act of which includes the words “Lasciate ogni speranza voi ch’entrate.”

La Divine Comédie – Henry Barraud

French composer Henry Barraud’s 1972 piece La Divine Comédie.

“Howling Furies” – Anthrax

“Howling Furies” from Anthrax’s 1984 album Fistful of Metal, which has the opening lines of “Abandon all hope for those who enter.”

“Canto I do Inferno” – Arrigo Barnabé

Canto I do Inferno from Arrigo Barnabé’s 1992 album Façanhaswhich includes the first 48 lines of the Inferno in Portuguese.

Ralph Ellison, Invisible Man (1952)

“So under the spell of the reefer I discovered a new analytical way of listening to music. The unheard sounds came through, and each melodic line existed of itself, stood out clearly from all the rest, said its piece, and waited patiently for the other voices to speak. That night I found myself hearing not only in time, but in space as well. I not only entered the music but descended, like Dante, into its depths. And beneath the swiftness of the hot tempo there was a slower tempo and a cave and I entered it and looked around and heard an old woman singing a spiritual as full of Weltschmerz as flamenco, and beneath that lay a still lower level on which I saw a beautiful girl the color of ivory pleading in a voice like my mother’s as she stood before a group of slaveowners who bid for her naked body, and below that I found a lower level and a more rapid tempo and I heard someone shout:

“‘Brothers and sisters, my text this morning is the “Blackness of Blackness.” ’”   –Ralph Ellison, Invisible Man (1952)

This extract is available to read at Penguin Books.