Their site features artwork by Matteo Berton (see the related post on Dante Today here).
“Miserere—In vulgar Latin, it is the first word of Psalm 50: ‘Miserere mei, Deus, secundum magnam misericordiam tuam,’ used in the Catholic liturgy in funeral services, in the rites of Lent and the Holy Week, and generally in the orations of penitence. The penitential psalm is sung in the Comedy by the rows of the dead, in the second terrace of Ante-Purgatory, and the chant, is recited in alternate verses (‘singing the “Miserere” verse by verse’ [Purgatorio, Canto V, 24]), is interrupted by an exclamation of astonishment when the souls realize from his shadow that Dante is alive. In a rather different context, however, the expression ‘Miserere mei’ is cried out by Dante at the appearance of Virgil’s shadow in the forest (Inferno, Canto I, 65).”
Retrieved from The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists by Simon Njami.
For more on the Cameroonian artist Pascale Marthine Tayou, see Wikipedia.
“I see the world we are living in as both Hell and Purgatory. Our only hope in this life of ours, all that we have left is to try our best to be admitted to heaven someday. The Day After is an installation in which, after walking a long way through a dense and dark forest, one reaches that space where everything seems to be suspended, where one can feel this particular tension that we experience before embarking on a journey of which we don’t really know the name. The place is organized in a materialized circle and inhabited by iron characters which are ready to take off. The circle, in fact a spiral, symbolizes the energy of human beings, who find themselves in a new configuration, and they feel disoriented and experience a feeling of unreality.”
Read more about Senegalese sculptor Ndary Lô, see Wikipedia.fr.
“In Frontier With Church, the artist makes direct reference to the procession encountered by Dante and Matilda at the summit of Mount Purgatory, interpreted in the temporal contexts of proselytism, migration, and trade, on their way to paradise. With Matilda—who clearly prepares Dante for his meeting with Beatrice—Dante witnesses a procession which forms an allegory within the allegory, somewhat like Shakespeare’s play with a play, in which the characters are walking symbols rather than real people. Alexander’s tableau is thus intended to represent the earthly paradise, a borderline space between earth and divine sanctuary: a frontier with attendants, messengers, custodians, and cargo. The tension revolves around human figures rendered with extreme realis, concurring in the creation of the moment before Dante’s meeting with the woman who (allegorically) symbolizes the path to God. All the creatures of the tableau are life-sized and share the real space occupied by the Viewer/s. They have a spectral presence within that space which silently enacts a living history.”
For more on the South African artist, see Wikipedia.
“Bad Dante Bad English Bad Opera is a new version of Dante’s classic Purgatory from The Divine Comedy. The strict verse form from the original Italian version has been maintained, but the text has been rewritten into anti-academic “street language” English.
“From a stripped-down stage, four singers/actors and three string players present the first nine cantos of Purgatory: Antepurgatorio. Here, in transit between hell and paradise, Dante meets the souls who are waiting to atone for their sins. Human emotions such as imperfection, justice, confusion, and tolerance are explored in a smart, refreshing, and humorous way.
“The chamber opera Bad Dante Bad English Bad Opera is created by Spreafico Eckly, the Bergen-based production company of writer and theatre director Andrea Spreafico, and composer and artist Matteo Fargion.” [. . .] —Bergen International Festival (retrieved March 26, 2022)
The opera will have its world premiere at the Bergen International Festival on June 7-8, 2022. Learn more about the opera and watch a trailer here.