The «Bestiaire d’amour» is one of the most extraordinary, ironical, imaginific works of art about this mysterious power that transforms and turns human creatures into beasts when they are under the effect of love. The whole love mechanism is analysed in a scientific, but impossible way. De Fournival tried to codify the incodificable, yet certain laws that rule this neverending masquerade: love. 

Aiming to put music into a poem that starts with the ban on singing has been a weird and useless work.
Who sings or listens never has a happy ending in the Bestiarie: may it be the siren’s song, the swan’s or the cricket’s, you always end up dead because of it. Perhaps that is why the poet, once he understood that his singing led to death without any benefit, gave it up and relied his ultimate effort to words and images. 

So, if singing is dangerous, I tried to put together, rather than a song, a kind of musical story in which every creature is summoned with a theme, thanks to the work of Stefano Nanni, who directed and wrote music for the orchestra, which still is the biggest creature in music: the symphonic Orcaestra, the boundless being that is able to swallow life experiences and spit them out as emotions. This precious poem, Bestiario, ended in the orchestra’s emicycle after ninehundred years, just for the renewed fun of seeing, hearing and remembering words that show the illustrated bestiary that we are. There is no other time in which we are so alone and full of monsters as when we are in love, both now and in the past.

Vinicio Capossela