Da Nozze alte a Le Adelaidi: un armonico concerto di voci

Abstract

My contribution begins with an obvious and already established fact, which encourages an interpretation of Le Adelaidi (2007) in terms of plurality. More importantly, it stems from the idea that plurality (along with multiplication and overlap) results from a journey that begins with Nozze alte (1981) – passing through Gli stretti congiunti (1982) and Nati complici (1999) – and reaches its most intense expression in Le Adelaidi, where this theme is amplified to an unprecedented degree.