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La cena del paradiso in honore et gloria del divis signor ducha (banchetto rinascimentale / Renaissance banquet)

  • Cibi, intermedi, musiche e danze dell’Italia rinascimentale

    • ORGANICO MODULARE: Possono essere utilizzati solo gli artisti riteniti necessari all’iniziativa.
    • MENU’: Il menù verrà realizzato in base alla posizione degli astri, al luogo ed alle esigenze specifiche (da un nostro chef o direttamente dal Committente)
    • MUSICA E DANZA: La Rossignol (da 7 a 12 Esecutori)
    • ANIMAZIONE ESTERNA (con simulazione di combattimenti con le spade): Gruppo storico sbandieratori di Volterra
    • DANZATORI/SERVITORI IN COSTUMI POPOLARI: Il Contrappasso
    • GIOCOLERIA, TEATRO, GIOCHI CON IL FUOCO: Giocoleti

    È la ricostruzione curiosa e divertente di un banchetto rinascimentale ricavata da documenti del tempo, ed in particolare delle descrizioni contenute in nel libro di Christofaro da Messisbugo. “Banchetti et compositioni di vivande et apparecchio generale“. Le ricette provengono da “De honesta voluptate et valetudine“, (1468), del Platina e dal “Libro de arte coquinaria” di Maestro Martino Da Como, scritto verso la metà del XV secolo, che riassumono tutta la tradizione gastronomica del tempo. Il banchetto rinascimentale è una girandola di suoni, di colori, di fantasia, di magnificenza: serve per stupire, meravigliare, per far sembrare tutto più eccezionale e straordinario. In essa si apprezzano i cibi con cinque sensi: la vista, l’olfatto, il tatto, il gusto ed anche con l’udito, poiché ogni vivanda, naturalmente servita con il vino appropriato, viene presentata, commentata ed accompagnata da musiche e danze specifiche. Ad arrivare in tavola non è più la quantità, ma la qualità e la creatività di chi prepara il piatto, secondo la stagione, l’occasione e la posizione degli astri. I banchetti rinascimentali vedono la partecipazione di molti nobili con i loro seguiti ed essi rappresentano uno spaccato interessante e curioso di vita sociale. Attraverso una immagine grandiosa e splendida della propria corte, il Signore può infatti imporsi all’ammirazione ed al rispetto delle persone dalle quali dipendono le sue fortune: sovrani amici e nemici, ambasciatori, banchieri, uomini di cultura ed artisti, nobili, cortigiani e plebei. Così come avveniva in quelle feste, verranno realizzati degli intermezzi recitati, cantati, suonati e ballati, adatti a ricreare il clima festoso, colto ed aristocratico tipico di quella nobiltà.

    Italian Renaissance food, intermezzos, music and dance

    • MODULAR ORGANIC
    • MENU: The menu will be realized according to stars’ position in those days, to the place and to the food (which is available in loco), and to clients’ needs.
    • MUSIC AND DANCE: La Rossignol (7 to 12 Performers)
    • FLAG GAMES AND ANIMATION: Gruppo storico sbandieratori di Volterra
    • SERVANTS/DANCERS: Il Contrappasso
    • JUGGLERS, PLAYERS WITH FIRE: Giocoleti

    The banquet is a curios and pleasant reconstruction of the intermezzos described in the famous “Dinner” (“Cena“) written by Christofaro from Messisbugo in “Banchetti et compositioni di vivande et apparecchio generale“. The recipes we propose come from “Libro de arte coquinaria” by Maestro Martino Da Como, written towards the middle of XV century, in which he summarizes the entire gastronomic tradition of his own time.
    The Renaissance banquet is full of sounds, colours, phantasy, splendour: it is used for amazing, for astonishing, for letting appear everything more extraordinary and splendid. In it, you can appreciate food with the five senses: sight, smell, taste, touch and also hearing, because every plate, served with the suitable wine, is presented and accompanied by specific music and dance. The quantity of food is now of little consequence: the quality and the chefs’ creativity are much more remarkable and important. Menus and recipes are prepared according to seasons, occasions and stars’ positions. Nobles with their retinues take part to Renaissance banquets and for this reason, they represent an interesting and curious section of social life. Through a splendid and magnificent image of his own court, the Prince can impose himself to the admiration and respect of people on whom his fortunes depend: sovereigns, friends and enemies, ambassadors, bankers, men of culture and artists, noblemen, courtesans and plebeians. Exactly as it happened during those feasts, we will realize theatrical intermezzos with music and dance, in order to recreate the joyful, cultivated and aristocratic atmosphere of that nobility.

    Principali fonti storiche / Main historical sources

    • Bartolomeo Sacchi detto il Platina, “De honesta voluptate et valetudine“, 1468
    • Martino Da Como, “Libro de Arte Coquinaria“, 1450
    • Cristoforo da Messisbugo, “Banchetti e compositioni di vivande…“, FE 1529
    • Eustachio Celebrino da Udine, “Opera nuova che insegna ad apparecchiare una mensa…“, 1526
    • Domenico Romoli detto il Panunto, “La singolar dottrina“, 1560
    • Domenico da Piacenza, “De la arte di ballare et danzare“, Paris, Bibl. National
    • Guglielmo Ebreo, “De pratica seu arte tripudii vulgare opusculum“, Paris, Bibl. National
    • Antonio Cornazano, “Libro dell’arte del danzare“, Biblioteca Apostolica Vativana
    • F.Gallo, “Il ballare lombardo“, Archivio storico lombardo
    • M. Padovan, “La danza alla corte degli Sforza“, MI 1983
    • F. Bossinensis “Tenori e contrabbassi intavolati…“, Petrucci VE 1509
    • Lettere dell’Ambasciatore estense a MILANO Giacomo Trotti“, Archivio di stato Modena
    • E.Motta, “I musici alla corte degli Sforza“, Archivio storico lombardo

    Ricostruzioni musicali e coreografiche ed intermezzi: La Rossignol.
    Musical and choreographic and intermezzos reconstructions are made by La Rossignol.