The character of Clorinda, in particular, allows interesting observations,
for she undergoes a deep metamorphosis during the course of the work. She
is initially disguised as a male warrior, yet before her death she allows
her feminine self to emerge. By means of a reductionist technique in close
relationship to the treatment of the text, I will show how the style of
the music changes in relation to the revelation of Clorindaís identity.
Every time Clorinda sings, she employs a different musical style, with
a different relationship with the text and a different harmonic orientation.
The comparison between the first and last cadences of the composition demonstrates
the meaning of the changes and transformations. The spectator is guided
through them as if through a camera that momentarily focuses its attention
on different objects in order to grasp the meaning of narration, fully
apparent only at the end of the performance. The music becomes a process
of montage and transformations, the embodiment of change of gender and