Urbino Musica Antica 2022

Letizia Dradi

/// Historical dances (basic level)

Period: 21th - 25th July

The dance at the time of Federico da Montefeltro duke of Urbino in the sixth centenary of his birth. Hints of 16th century dance.

Basic – basic/intermediate level

Letizia Dradi


In the Renaissance, dance played an important role in the education of young people and an indispensable competence in courtly life. Guglielmo Hebreo da Pesaro, a pupil of Domenico da Piacenza, was on several occasions at the court of Urbino carrying out the activity of dance teacher, theorist, composer and choreographer
The study of the choreographies described in the dance treatises of these fifteenth-century masters, with hints also of the subsequent sixteenth-century technique, will be the subject of the course, with the aim of reviving the movements and postures of the time, respecting a historical reconstruction – coherent philosophy, however highlighting how much this ancient technique resonates in the present of our gestures and our bodies.
Precisely because dance is a language that allows us to investigate spaces of experience not only bodily but also emotional and cognitive, the study of the choreographies of the masters of the fifteenth century will also lead us to identify with the women and men of this splendid historical period right in the city where as well as Guglielmo lived some extraordinary artists such as Piero della Francesca and Raffaello Sanzio.
Marchesana, Cupido, Rostiboli Gioioso, Belreguardo, here are some of the titles of the dances that we will reconstruct, without taking away the possibility of agreeing with the students also dances on request.
The course is aimed at beginners of all ages and abilities, both with an ancient dance base and other movement techniques.

Afternoon course

“A hundred years of Minuet: from André Lorin (1680) to Gennaro Magri (1779)”
The Elegant Phoenix, as the scholar Julia Sutton defined it, goes through a long period of the history of dance and music going beyond the eighteenth century just like a phoenix that is reborn from time to time. From couple dance to step in the contradictions, the Minuet is found both in the theater and at the court, but above all in the instrumental suites. Even when it was not performed to accompany the dancers, it did not lose its identity which will be investigated and tested during the course through the musical and choreographic documents in our possession.
The course does not require previous skills in dance.

“The Currents, in search of a definition”
Described in some dance treatises such as ThoinotArbeau’s “Ochésographie” or Cesare Negri’s “New Inventions of Dance”, the Corrente, as opposed to the Minuet from which it will be supplanted in the 18th century, does not have a unique structure. From jumping and fast at the beginning of the seventeenth century, it will turn into a solemn dance much loved by Louis XIV in France.
Through seventeenth-century literary and musical sources, the course aims to explore the different forms that this dance assumed in particular in the instrumental suites.
The course does not require previous skills in dance.

The teacher

Classically trained dancer, choreographer and teacher, she approaches the study of ancient dance in Urbino in 1992, under the guidance of B. Sparti, V. Daniels and D.C. Column. She deals with ethnic and contemporary dance, in 2002 she graduated dance-educator © Laban method / community dance (Mousiké, Bologna). She studied Paleography and Musical Philology at the University of Cremona.

From Europe, to Asia, to the Americas, she has performed with La Petite Bande by S. Kujiken, Le Concert des Nations by J. Savall, DoulceMémoire, Dowland Consort by J. Lindberg, Elyma by G. Garrido, La Follia by G. Fabiano, Micrologus, Musica Fiorita by D. Dolci, La Risonanza by F. Bonizzoni, LesJardins de Courtoisie, Resonances by C. Chiarappa, Norsk Barokkorkester G. von deer Gotz- R. Lislevand, Orchestra Barocca Civica Scuola di Musica Claudio Abbado- R. Balconies, La Follia by G. Fabiano, I Solisti Veneti.

For director Susanna Nicchiarelli she created the choreographies for the forthcoming film dedicated to Santa Chiara – produced by Vivo Film – and danced in Romeo and Jiuliet by Carlo Carlei – Indiana Production.

She has collaborated with Il Leoncello by A. Pontremoli and Il Ballarino dancing in various productions and in particular in the French-language show inspired by the life of Leonardo da Vinci “L’Harmoniedu Monde”.

She conducted research on Manuscript 9085 “LesBassesdanses de Marguerite d’Autriche” by conducting workshops and lectures-conferences (Bourg-en Bresse 2004; Pesaro, 2012; Dolmetsch School Congress, London 2013).

She created the choreography for the following works by Claudio Monteverdi: Il Ballo delle Ingrate, L’Orfeo, Il Combattimento by Tancredi and Clorinda staged several times in Milan, Genoa, Mantua, Brescia and Trento.

She danced with C. Turocy’s New York Dance Company on “The Pleasure of the Dance” and “The Temple of Glory” at the Jarvis Theater in Napa, California.

She presented her studies in the United States for the Society of Dance History Scholars, at the Vaganova Academy (St. Petersburg Russia), at the Université de Paris-Sorbonne (France), in Germany, VII International Historical Dance Symposium at BurgRothenfelsamMain, at the University of Bologna and at the Teatro San Carlo-Conservatorio Naples.

She has conducted lessons for adults and children in numerous prestigious institutions in Italy (Conservatory of Adria, Rovigo, Pesaro, Como, Brescia, Parma, Scuola Civica Milano) and abroad (CSI Lugano, Switzerland; Rigve International Summer Course, Norway; Valtice , Czech Republic; Belgium, Slovenia, Paraguay, Indonesia).