AÑO 18 Nº 31. ENERO - DICIEMBRE 2023
Dep. Legal ppi 201502ZU4671
Esta publicación cientíca en formato digital es continuidad
de la revista impresa.
ISSN 1856-7134 / e-ISSN 2542-3231
Depósito legal pp 200602ZU2376
Revista Arbitrada de la Facultad Experimental de Arte
de la Universidad del Zulia
Maracaibo, Venezuela
Revista Arbitrada de la Facultad Experimental de Arte
de la Universidad del Zulia. Maracaibo, Venezuela
AÑO 18 N° 31. ENERO - DICIEMBRE 2023 ~ pp. 48-56
Daniel Serrano
Felix Mendelssohn Bartholdy University of Music
and Theatre Leipzig
University of Music and Performing Arts Vienna
Vienna, Austria
danielserrano@gmx.at
Recibido: 05-01-23
Aceptado: 10-02-23
Antiphonal Composing in Salvatore Sciarrino’s
Superumina
Composición antifonal en Superumina de Salvatore
Sciarrino
Salvatore Sciarrino’s Superumina references a biblical text
and religious themes, such as the beginning of Psalm 137.
He incorporates an antiphon in Quadro III, connecting the
Psalm text with the antiphonal method used in church
music. The Quadro III (Antifona) represents an interrupted
dream, assuming peripeteia function. In an interrogation
scene, the protagonist, “La Donna,” recites fragments
from the Song of Songs while being interrogated by a
policeman. The various instruments perform disparate
sound elements, contrasting various musical ideas. This
research aims to identify compositional strategies that
clarify Sciarrino’s approach to the antiphonal mode of
composing and explore the elements from antiphonal
performing for the quotation of the Song of Songs, and in
what form he integrates them into his compositional style.
Keywords: Antiphon, Compositional Style, Psalm 137,
Contemporary Music, Opera.
Superumina, de Salvatore Sciarrino, hace referencia a
un texto bíblico y a temas religiosos, como el comienzo
del Salmo 137. Incorpora una antífona en el Quadro III,
conectando el texto del Salmo con el método antifonal
utilizado en la música sacra. El Quadro III (Antífona)
representa un sueño interrumpido, asumiendo la función de
peripecia. En una escena de interrogatorio, la protagonista,
“La Donna”, recita fragmentos del Cantar de los Cantares
mientras es interrogada por un policía. Los distintos
instrumentos interpretan elementos sonoros dispares,
contrastando diversas ideas musicales. Este estudio
pretende identicar estrategias compositivas que aclaren el
enfoque de Sciarrino sobre el modo antifonal de componer
y explorar los elementos procedentes de la interpretación
antifonal para la cita del Cantar de los Cantares, y de qué
forma los integra en su estilo compositivo.
Palabras clave: Antífona, estilo compositivo, salmo 137,
música contemporánea, ópera.
Abstract Resumen
49
Antiphonal Composing in Salvatore Sciarrino’s Superumina
Daniel Serrano
Introduction
The music theatre Superumina was premiered
on 20 May 2011 at the Nationaltheater Mannheim under
the musical direction of Tito Ceccherini and with staging
by Andrea Schwalbach (Elzenheimer, 2011). Further
performances took place in Aachen in 2012, in Palermo
in 2017 on the occasion of the Italian composer's 70th
birthday (Elzenheimer, 2019) and in Ostrava in 2022 as part
of the New Opera Days (Havlíková, 2022). Superumina's
plot takes place at a large railway station in Italy. In the
preamble to the score, entitled Le grandi stazioni ferroviarie,
the Sicilian-born composer points out that this place is
intended to represent a theocratic monumental building
that foregrounds the loneliness of each individual as
passers-by ow in all directions and become a river that
contributes to the depersonalisation of humanity (Sciarrino,
2010).
The libretto of Superumina, as with most of the
libretti of his stage works, was written by the composer
himself. At this point, it should be noted that his writing
process usually consists of drawing on existing texts, which
he then subjects to a process of reduction and condensation
(Nyeler, 2011) whereby Sciarrino often tends to use very
short and concise sentences (Samonà, 2020). Specically,
references to texts from the Bible can be recognised in
Superumina. In addition, Sciarrino reveals that he used
other literary sources of inspiration for the libretto such
as Novalis' Hymns to the Night and, in particular, a novel by
the Canadian writer Elisabeth Smart, from whose reading
the theme of the opera emerged (Sciarrino, 2010). The
novel in question is By Grand Central Station I Sat Down and
Wept, published in 1945. The title itself refers to a specic
passage from the Bible which Sciarrino in turn used for
the title of this opera, namely the beginning of the Psalm
137, “Super umina Babylonis illic sedimus et evimus”,
in English, “By the rivers of Babylon we sat and wept”
(Biblica, 2023a). Sciarrino probably intended the title to
create an association between the waters of Babel and the
anonymous streams of people that often occur in Italian
railway stations (Elzenheimer, 2019).
Superumina has La Donna as her main
protagonist, a woman who is constantly crossed by
numerous passers-by who always disregard and ignore
her. Sciarrino once said as he once replied to the question
of why he often uses a woman as the main protagonist for
his operas: “The female character should always be at the
centre of the opera, for the world is always seen through the
eyes of a woman” (Saxer, 2011, p. 28). In the preface to the
score, La Donna is introduced as follows:
A homeless woman, a being wounded by love,
will be our protagonist. Although she is a stranger
to herself, she seems to camouage herself in her
milieu, in the emptiness that precedes violence.
As she puts on her torn identity today, she uses
the greatest lyrical expression there is, the Song of
Songs from the Old Testament. (Sciarrino, 2010, Le
grandi stazioni ferroviarie, par. 15)
The second biblical reference in this opera has
just been mentioned. The Song of Songs is a book of the Old
Testament and the Hebrew Tanakh, which contains tender,
sometimes explicitly erotic love songs dating from around
the 10th century BC. The Song of Songs is characterised by
the alternating appearance of two main characters, a man
and a woman (Encyclopaedia Britannica, 2023), although
other speakers occasionally have their say, acting as a kind
of chorus. No logically coherent plot can be derived from
the narrative in this book, for it is basically about a man and
a woman alternately expressing their love for each other
by emphasising the beautiful qualities of their counterpart
(Encyclopaedia Britannica, 2023).
The libretto in Quadro III
The alternating recitative, which takes place in
the Song of Songs, is also characteristic of the concept of
the antiphon which Sciarrino attempts to realize in this
Quadro III, presumably due to the initial indication Antifona.
Sciarrino's choice of this ancient literary source may have
something to do with its loving content, which is intended
to emphasize La Donna's actions at this point in the
opera. In addition, the dialogue form of the Song of Songs
provides the perfect basis for Sciarrino's compositional
striving for an antiphon. In it, La Donna sings fragments
from the Song of Songs which are intended to represent
the above-mentioned interplay between the man and the
woman from this biblical book. The personality and mode
of expression of the beloved in the biblical Song of Songs
are recognizable in the verses of the homeless woman,
although La Donna in Superumina had to go through
a tragic past compared to the biblical depiction: "She
nds herself at a zero point of existence, in a situation of
nothing-life of such overwhelming totality that no way
out seems possible." (Saxer, 2011, p. 31). Furthermore, La
Donna does not encounter a groom in Superumina, but
rather frightened and aggressive individuals. Moreover, the
chorus of the Song of Songs, which in Sciarrino's opera is
represented by the streams of people passing in a hurry in
a public place, the railway station (Elzenheimer, 2011), does
not constitute a supportive community.
A sudden change in the plot occurs in the second
half of this opera, namely in Quadro III (Sciarrino, 2010),
to be analysed in this article, which, as mentioned above,
bears the subtitle Antifona and consists of very dierent
sound elements (Saxer, 2011). Instead of specifying the
tempo, Sciarrino writes “Esiste il tempo per i dispersi?”, in
English, “Does the tempo exist for the lost?” (Sciarrino, 2010,
p. 273). The action told here takes place at night, sometime
between sunset and dawn in an anonymous oce: “too
many towers of papers and too much emptiness. A shadow
slowly descends and rises again; short as a blink and always
50
REVISTA ARBITRADA DE LA FACULTAD EXPERIMENTAL DE ARTE DE LA UNIVERSIDAD DEL ZULIA. AÑO 18 Nº 31. ENERO - DICIEMBRE 2023
SituArte
repeating itself.” (Sciarrino, 2010) The text of Quadro III is
a paraphrase of the beginning of the fourth part of the
aforementioned novel by Smart, as La Donna is interrogated
by a policeman both in this novel and in the opera
Superumina (Elzenheimer, 2011). Instead of answering
the questions he asks her, the lady recites fragments from
the Song of Songs. Although Sciarrino uses the quotations
that already appear in Smart's novel for his opera, he also
employs other fragments from the Song of Songs. In doing
so, he sometimes picks up on other images that are more
symbolically charged than in the original (Misuraca, 2017).
This is a brief outline of the scene: the policeman,
who is rude to La Donna, seems to want to urge her to stop
her activities at the station and nally go home. La Donna,
for her part, fantasises and conjures up her friend. And so
he writes "it's an interrupted dream, it blandly takes the
place of the peripeteia." (Sciarrino, 2010, Le grandi stazioni
ferroviarie, par. 22). The text that Sciarrino uses here thus
consists, as already mentioned, basically of quotations from
the Song of Songs. Since there are numerous translations
of these biblical poems into many languages, sometimes
some words or sentence constructions may look a little
dierent from language to language. The Figure 1 shows
two columns, with the left-hand column corresponding
to my translation into English of the original text from
Superumina (Sciarrino, 2010), while the right-hand column
refers to the respective passage of the Song of Songs (Biblica,
2023b), from which Sciarrino presumably took the text and
possibly adapted it a little:
Libretto Song of Songs
The Woman
Bowed cherry tree
I go to meet my friend
him who tramples the lilies
The Woman
How beautiful you are my friend
how beautiful you are
your eyes doves
How beautiful you are my friend
how beautiful you are
your eyes doves
The Woman
Stilling a garden
of every incense tree
Blow on the garden
exhale its aromas
The Woman
Open me friend
perfect dove
(Song of Songs 2)
He
 our vineyards that are in bloom.
She
 My beloved is mine and I am his;
he browses among the lilies
(Song of Songs 1)
He
 How beautiful you are, my darling!
Oh, how beautiful!
Your eyes are doves.
She
 How handsome you are, my beloved!
Oh, how charming!
And our bed is verdant.
(Song of Songs 4)
He
 Your plants are an orchard of
pomegranates
 with every kind of incense tree,
She
 Blow on my garden,
that its fragrance may spread
everywhere.
(Song of Songs 5)
He
 Open to me, my sister, my darling,
my dove, my awless one.
and as I opened
A Policeman
What's the connection between
you
and that man?
The Woman
From my hand dripped myrrh
A Policeman
Be good, you'd better
The woman
myrrh on the latch
– I open
the beloved had disappeared
A policeman
Did you sleep in the same
room?
The Woman
If you meet my beloved
A Policeman
Shut up
The Woman
What will you say to him?
A Policeman
No wonder you ended up here
She
 I arose to open for my beloved,
[She]
and my hands dripped with myrrh,
[She]
on the handles of the bolt.
 I opened for my beloved,
but my beloved had left; he was gone.
[She]
 If you nd my beloved,
[She]
what will you tell him?
Figure 1
Comparison of the libretto text (Quadro III from Sciarrino's
Superumina) and the source text (Song of Songs).
There is no literal quotation from the Song of
Songs at the very beginning of Quadro III. However, it does
contain certain symbols that hint at the second part of the
Song of Songs. Here La Donna says: "I go to meet my friend,
him, who tramples the lilies" (Sciarrino, 2010, pp. 277–278).
Although there is another statement in the Song of Songs, it
also includes references to the friend and the lilies, namely:
"My beloved is mine and I am his; he browses among the
lilies" (Biblica, 2023b). Unlike before, the next part is derived
literally from the rst part of the Song of Songs. Here, La
Donna recites two fragments from the two main characters
of the Song of Songs, the rst of which is said by the man and
the second by the woman. La Donna sings both here: "How
beautiful you are my friend, how beautiful you are, your
eyes doves. How beautiful you are my friend, how beautiful
you are, your eyes doves." (Sciarrino, 2010, pp. 291–295). The
next fragment comes from the 4th part of the Song of Songs
and there are some changes regarding the selected words,
although other sections of the text are reproduced almost
verbatim. Once again, La Donna takes on the role of both
the man and the woman from the Song of Songs. She says:
"Stilling a garden of every incense tree, Blow on the garden
exhale its aromas" (Sciarrino, 2010, pp. 302–303). The rest of
the text recited by La Donna comes exclusively from the 5th
part of the Song of Songs. There are only minimal changes to
the original text, otherwise the original can be recognised
for the most part. This section is characterised by the use of
the policeman, who also contributes to the establishment
of this dialogue form. Despite insistent questioning of
the policeman, La Donna persistently continues with
the recitation of the Song of Songs and does not allow a
51
Antiphonal Composing in Salvatore Sciarrino’s Superumina
Daniel Serrano
coherent dialogue to form between the two characters,
while the policeman gradually becomes nervous and ends
the conversation with the sentence "No wonder you ended
up here" (Sciarrino, 2010, pp. 316–317).
The music in Quadro III
Once the text of Quadro III and its dialogue form
have been commented on, it is now time to return to the
concept of the antiphon, which Sciarrino attempts to
implement compositionally in this work. This particular type
of musical performance, characteristic of church music, is
characterised by the appearance of a refrain, which is often
sung before and after a psalm or canticle, sometimes even
between their verses (Nowacki, 2016), as in the following
antiphon Rorate caeli, in English, "Drop down, ye heavens"
(Fig. 1). Here, this refrain with the corresponding text Rorate
caeli is sung repeatedly before each verse and at the very
end. In total, it occurs 5 times.
The principle of the Rorate caeli antiphon just
described is also adopted by Sciarrino in Quadro III, where
he even uses the refrain 18 times. What is also striking is the
fact that the initial appearances of the refrain follow a certain
periodicity, because up to the 15th entry, each appearance
always takes place at intervals of 6 bars. However, the 16th
entry only occurs after 7 bars, as does the 17th entry. The
18th and nal appearance of the refrain, on the other hand,
only occurs after 14 bars.
Figure 2
Rorate caeli (Solesmes Abbey, 1961, pp. 1868–1870).
52
REVISTA ARBITRADA DE LA FACULTAD EXPERIMENTAL DE ARTE DE LA UNIVERSIDAD DEL ZULIA. AÑO 18 Nº 31. ENERO - DICIEMBRE 2023
SituArte
Musically, the vocal melodies, which are rst
performed by La Donna, but later by her and the policeman,
are articulated by the periodic interruptions of a concrete
instrumental sound pattern. This is a gure that always
consists of similar elements, namely the strokes of the
plates and bass drums, the low sounds of the piano, the
downward glissandi of the strings in harmonics and several
interventions by the woodwind instruments. Figure 2 shows
the very rst entry of the refrain in bar 31. First, I would like
to point out the downward glissandi in the strings, which
are marked in red. The rst and second violins as well as the
violas and cellos are each divided into two groups. In this
rst appearance, as in most, each of these string groups
plays two harmonics at intervals of a major second. The
harmonics are tremoloed and played in fortissimo dynamics.
This instrumental module is almost identical to a gure that
has already been described by Christian Utz with regard
to Sciarrino's opera Luci mie traditrici, composed in 1998,
who categorises it as “module C” (overtone glissandi) and
is intended to imitate the sound of the wind in this opera
about Gesualdo (Utz, 2010, p. 54). These glissandi from
the strings are activated by the short bangs in pianissimo
dynamics from the two pianos and the two bass drums. The
two bassoons and two bass clarinets also contribute to this
with multiphonics in piano dynamics. In addition, the utes
produce strongly accentuated air notes in fortissimo, which
quickly disappear again.
I call these elements impulse sounds, which are
performed by both percussion and woodwind instruments,
and they are now marked in blue. Such impulse sounds
are characteristic of Sciarrino's music, which he calls "little
bang" in Le Figure della musica da Beethoven a oggi, because
these gures generally trigger a chain of often new and
surprising events (Cruz Guevara, 2016, p. 112). However,
horns, trumpets, trombones and the steel plate (lastra in
Italian) are responsible for a dierent element, as they play
relatively long (quasi pedal) notes and are labelled in green.
This involves horns playing a loud, muted sound which,
like the strings, lasts for two bars, whereby the horns have
a diminuendo up to pianissimo. Trombones, for their part,
play with wa-wa mutes and sustain the fortissimo sound
for two bars. However, the trumpet enters a little later and
takes over the brass sound dal niente. The other instruments
occasionally enter with a slightly shorter sustained note,
often in conjunction with a wave-like dynamic course.
These instruments, namely the rst ute with air tone, the
alto ute and Bb clarinet with bisbigliando, oboe and English
horn with multiphonics as well as the marimba, are now
marked in violet. All these elements make up the refrain,
which adopts the following form on its rst appearance.
However, the elements already listed do not
always appear in the same shape, as illustrated by musical
example 3, which depicts the twelfth appearance of the
refrain. The red-marked downward glissandi of the strings
are a permanent feature in all appearances of the refrain,
although there are often variations in pitch and occasionally
also in the dynamic course. As before, each string part is
divided into two groups, with each of these groups playing
harmonics at intervals of a major second in relation to each
other. Unlike before, they now do not play everything in
fortissimo dynamics, but perform a crescendo and then a
diminuendo. They start in mezzopiano and reach the climax
of the crescendo at the end of the rst bar, in fortissimo,
after which they diminish “al niente”. The beginning and end
of these strings' gure is also emphasised by the double
basses using glissandi. The impulse element marked in
blue is also present, which is performed by both pianos
and the utes as before, although the dynamics are now
also dierent. Trombones, horns, oboe and English horn
also participate in this. Furthermore, the sustained notes
that always appear at the beginning of the chorus can
also be found here. While the bass drums, bassoons and
bass clarinet produced an impulse sound at the very rst
appearance of the refrain, they are now responsible for the
sustained tone element. Sciarrino thus strives for a subtle
modication in the orchestration and sound colour of the
elements used here when the refrain reappears and, to this
end, makes use of popular compositional strategies such as
repetition and variation, which run through Superumina,
especially the Quadro III (Villalobos, 2017, p. 96). The last
element, namely the comparatively short sustained notes
in violet, which are characterised by the wavelike dynamics,
is also carried out here by the utes and brass.
To examine the way in which the orchestration
of the refrain is varied, it is also worth taking a look at his
last appearance. The tremolo glissando of the harmonics
is now only performed by the violins. It is noticeable
that a forte dynamic is not achieved this time. In fact, the
strongest dynamic indication for the strings is piano. In
addition, the resulting harmony of each group of violins
is not a major second, as was often the case before, but a
third. This passage also shows that the gure in the strings
is actually a continuation of the motif in the cellos and
violas a bar earlier. Now the impulse sound or little bang,
which is responsible for activating the strings' glissandi,
is played by the horns, trombones, bass clarinets as slap
and by a percussion instrument not yet mentioned, which
Sciarrino describes as a bag of beer bottles located outside
the stage. The sustained tone element is not present here.
It may be recognisable in the melody of the voice, but in
the appearance of the refrain, the voice essentially behaves
independently of the other elements and instruments. In
opposite to this, the last element, which is characterized by
the use of short notes, can still be encountered. This gure,
marked in purple (see Fig. 4), is performed by the alto ute,
bass ute, clarinets and trumpets.
53
Antiphonal Composing in Salvatore Sciarrino’s Superumina
Daniel Serrano
Figure 3
Superumina (fragment). Sciarrino (2010, p. 280).
54
REVISTA ARBITRADA DE LA FACULTAD EXPERIMENTAL DE ARTE DE LA UNIVERSIDAD DEL ZULIA. AÑO 18 Nº 31. ENERO - DICIEMBRE 2023
SituArte
Figure 4
Superumina (fragment). Sciarrino (2010, p. 302).
55
Antiphonal Composing in Salvatore Sciarrino’s Superumina
Daniel Serrano
Figure 5
Superumina (fragment). Sciarrino (2010, p. 315).
56
REVISTA ARBITRADA DE LA FACULTAD EXPERIMENTAL DE ARTE DE LA UNIVERSIDAD DEL ZULIA. AÑO 18 Nº 31. ENERO - DICIEMBRE 2023
SituArte
Conclusion
To summarize, it can be said that Sciarrino
implements antiphonal composition on three levels
in the Quadro III from Superumina: (1) The choice of
text. The dialogue form of the fragments taken from the
Song of Songs has a responsorial structure, which is also
characteristic of the antiphonal musical performance of
psalms and canticles in church music; (2) the Donna in
dialogue with herself. The main character of this opera
enters into a dialogue with herself at the beginning of this
scene. She alternately quotes fragments of the man and
fragments of the woman from the Song of Songs. Although
in the second half of the scene she only recites the text of
the beloved woman from the Song of Songs, from this point
onwards she alternates with the new character entering
the scene, the policeman; and (3) the presence of a refrain,
which is characteristic of antiphons used in Gregorian
chant, for example. This refrain results from the recurring
appearance of an instrumental gesture that frames the
sung text of La Donna. This refrain is not repeated verbatim,
but is subjected to a process of variation and orchestral
transformation. Sciarrino thus ties in with his ecological
compositional thinking and is presumably intended to
increase the intensity of the audience's perception through
repetitive or almost repetitive elements (Haselböck, 2019, p.
134), meaning the refrain, which occurs a total of eighteen
times. At the same time, it can be interpreted as the strict
norms that society dictates to us and which, in this example,
attempt to defeat La Donna, who is swimming against
the tide. Nevertheless, she continues to sing her verses,
trying to ignore and circumvent the dictates that are being
imposed on her.
References
Biblica (2023a). Psalms 137. New International
Version NIV. Retrieved from https://www.biblica.com/bible/
niv/psalms/137/
Biblica (2023b). Song of Songs. New International
Version NIV. Retrieved from https://www.biblica.com/bible/
niv/song-of-songs/1/
Elzenheimer, R. (2019). “das vom Leben
abgetrennte Leben“. In U. Tadday (Ed.), Musik-Konzepte.
Sonderband: Salvatore Sciarrino (pp. 79-96). München:
edition text + kritik.
Elzenheimer, R. (Ed.) (2011). Programmheft Nr.
160: Superumina von Salvatore Sciarrino (Nationaltheater
Mannheim, 232. Spielzeit 2010/2011). Mannheim:
Concordia-Druckerei König oHG.
Encyclopaedia Britannica, The Editors of (2023,
September 12). Song of Solomon. Encyclopedia Britannica.
Retrieved from https://www.britannica.com/topic/Song-of-
Solomon
Cruz Guevara, J. (2016). Estructuras perceptivas
en la forma musical de Sciarrino. Quodlibet, 62(2), 94–114.
Haselböck, L. (2019). Hörbare Stille? Sichtbarer
Klang? In U. Tadday (Ed.), Musik-Konzepte. Sonderband:
Salvatore Sciarrino (pp. 131–150). München: edition text +
kritik.
Havlíková, H. (2022). NODO (New Opera Days
Ostrava): Opera on the ski slope and in the factory. Retrieved
from https://www.performczech.cz/en/unassigned/5632-
nodo-new-opera-days-ostrava-opera-on-the-ski-slope-
and-in-the-factory/
Misuraca, P. (2017). L'ultima stazione della Via
Crucis. Dalle umane di Elizabeth Smart a "Superumina"
di Salvatore Sciarrino. In A. Fodale (Ed.), Salvatore Sciarrino,
Superumina (pp. 29–58). Palermo: Teatro Massimo.
Nowacki, E. (2016). Antiphon. Denition und
Bedeutung. In L. Lütteken (Ed.), MGG Online. Retrieved from
https://www.mgg-online.com/mgg/stable/12794
Nyeler, M. (2011). Der Geruch von Blut – Salvatore
Sciarrinos "Macbeth". Retrieved from https://www.
beckmesser.de/komponisten/sciarrino/macbeth.html
Samonà, C. (2020). Salvatore Sciarrinos "La porta
della legge": fast ein kreisender Monolog nach Franz Kafka.
Eine Untersuchung zum Musiktheaterwerk und zur Rezeption
(Doctoral dissertation). Retrieved from https://archiv.ub.uni-
heidelberg.de/volltextserver/28801/7/Dissertation_C_
Samona.pdf
Saxer, M. (2011). “Wollen Sie noch mehr?” Die
Frau in Superumina. In R. Elzenheimer (Ed.), Programmheft
Nr. 160: Superumina von Salvatore Sciarrino (pp. 28–34).
Mannheim: Concordia-Druckerei König oHG.
Sciarrino, S. (2010). Superumina. Opera in un atto.
Rome: Rai Trade.
Solesmes Abbey (1961). Liber Usualis. Tournai:
Desclee & Co.
Utz, C. (2010). Statische Allegorie und “Sog
der Zeit”: zur strukturalistischen Semantik in Salvatore
Sciarrinos Oper “Luci mie traditrici”. Musik & Ästhetik, 14(53),
37–60.
Villalobos, R. (2017). Note die Regia. In A. Fodale
(Ed.), Salvatore Sciarrino, Superumina (pp. 93–96). Palermo:
Teatro Massimo.