Landscape and Gender in Italian Opera
Author | : Emanuele Senici |
Publisher | : Cambridge University Press |
Total Pages | : 380 |
Release | : 2005-08-11 |
Genre | : Music |
ISBN | : 9780521834377 |
An unusual look at Italian opera in the nineteenth century.
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Author | : Emanuele Senici |
Publisher | : Cambridge University Press |
Total Pages | : 380 |
Release | : 2005-08-11 |
Genre | : Music |
ISBN | : 9780521834377 |
An unusual look at Italian opera in the nineteenth century.
Author | : Emanuele Senici |
Publisher | : Cambridge University Press |
Total Pages | : 0 |
Release | : 2009-01-29 |
Genre | : Music |
ISBN | : 9780521107785 |
In this unusual study, Emanuele Senici explores the connection between landscape and gender in Italian opera through the emblematic figure of the Alpine virgin. In the nineteenth century, operas portraying an emphatically virginal heroine, a woman defined by her virginity, were often set in the mountains, most frequently the Alps. The clarity of the sky, the whiteness of the snow and the purity of the air were associated with the 'innocence' of the female protagonist. Senici discusses a number of works particularly relevant to the origins, transformations and meanings of this conventional association including Bellini's La sonnambula (1831), Donizetti's Linda di Chamounix (1842), Verdi's Luisa Miller (1849), and Puccini's La fanciulla del West (1910). This convention presents an unusual point of view - a theme rather than a composer, a librettist, a singer or a genre - from which to observe Italian opera 'at work' over a century.
Author | : Valeria P. Babini |
Publisher | : Springer |
Total Pages | : 468 |
Release | : 2015-03-24 |
Genre | : Social Science |
ISBN | : 1137396997 |
Bringing together an interdisciplinary group of scholars, this volume explores nineteenth-century Italian sexualities from a variety of viewpoints, illuminating in particular personal and political relationships, same-sex desires, gender roles that defy societal norms, sexual behaviours of different classes and transnational encounters.
Author | : Christina Fuhrmann |
Publisher | : Cambridge University Press |
Total Pages | : 275 |
Release | : 2015-09-24 |
Genre | : Music |
ISBN | : 1316351874 |
In the early nineteenth century over forty operas by foreign composers, including Mozart, Rossini, Weber and Bellini, were adapted for London playhouses, often appearing in drastically altered form. Such changes have been denigrated as 'mutilations'. The operas were translated into English, fitted with spoken dialogue, divested of much of their music, augmented with interpolations and frequently set to altered libretti. By the end of the period, the radical changes of earlier adaptations gave way to more faithful versions. In the first comprehensive study of these adaptations, Christina Fuhrmann shows how integral they are to our understanding of early nineteenth-century opera and the transformation of London's theatrical and musical life. This book reveals how these operas accelerated repertoire shifts in the London theatrical world, fostered significant changes in musical taste, revealed the ambiguities and inadequacies of copyright law and sparked intense debate about fidelity to the original work.
Author | : Harriet Boyd-Bennett |
Publisher | : Cambridge University Press |
Total Pages | : 243 |
Release | : 2018-09-13 |
Genre | : History |
ISBN | : 1107169275 |
Focusing on opera and modernism in postwar Venice, Boyd-Bennett challenges assumptions about music in the twentieth century.
Author | : Christopher Morris |
Publisher | : Routledge |
Total Pages | : 244 |
Release | : 2016-04-15 |
Genre | : Music |
ISBN | : 131709459X |
Adopting and transforming the Romantic fascination with mountains, modernism in the German-speaking lands claimed the Alps as a space both of resistance and of escape. This new 'cult of mountains' reacted to the symptoms and alienating forces associated with modern culture, defining and reinforcing models of subjectivity based on renewed wholeness and an aggressive attitude to physical and mental health. The arts were critical to this project, none more so than music, which occupied a similar space in Austro-German culture: autonomous, pure, sublime. In Modernism and the Cult of Mountains opera serves as a nexus, shedding light on the circulation of contesting ideas about politics, nature, technology and aesthetics. Morris investigates operatic representations of the high mountains in German modernism, showing how the liminal quality of the landscape forms the backdrop for opera's reflexive engagement with the identity and limits of its constituent media, not least music. This operatic reflexivity, in which the very question of music's identity is repeatedly restaged, invites consideration of musical encounters with mountains in other genres, and Morris shows how these issues resonate in Strauss's Alpine Symphony and in the Bergfilm (mountain film). By using music and the ideology of mountains to illuminate aspects of each other, Morris makes an original and valuable contribution to the critical study of modernism.
Author | : Herbert Lindenberger |
Publisher | : Cambridge University Press |
Total Pages | : |
Release | : 2010-10-28 |
Genre | : Music |
ISBN | : 1139492586 |
Setting opera within a variety of contexts - social, aesthetic, historical - Lindenberger illuminates a form that has persisted in recognizable shape for over four centuries. The study examines the social entanglements of opera, for example the relation of Mozart's Abduction from the Seraglio and Verdi's Il trovatore to its initial and later audiences. It shows how modernist opera rethought the nature of theatricality and often challenged its viewers by means of both musical and theatrical shock effects. Using recent experiments in neuroscience, the book demonstrates how different operatic forms developed at different periods to create new ways of exciting a public. Lindenberger considers selected moments of operatic history from Monteverdi's Orfeo to the present to study how the form has communicated with its diverse audiences. Of interest to scholars and operagoers alike, this book advocates and exemplifies opera studies as an active, emerging area of interdisciplinary study.
Author | : Helen M. Greenwald |
Publisher | : Oxford Handbooks |
Total Pages | : 1217 |
Release | : 2014 |
Genre | : Music |
ISBN | : 0195335538 |
Fifty of the world's most respected scholars cast opera as a fluid entity that continuously reinvents itself in a reflection of its patrons, audience, and creators.
Author | : Pierpaolo Polzonetti |
Publisher | : University of Chicago Press |
Total Pages | : 336 |
Release | : 2021-11-11 |
Genre | : Cooking |
ISBN | : 022680495X |
Convivial beginnings. The symposium and the birth of opera ; The Renaissance banquet as multimedia art ; Orpheus at the cardinal's table ; Eating at the opera house -- "Tastes funny" : tragic and comic meals from Monteverdi to Mozart ; Comedy as embodiment in Monteverdi and Mozart ; The insatiable : tyrants and libertines ; Indulging in comic opera : gastronomy as identity -- The effects of feasting and fasting ; Coffee and chocolate from Bach to Puccini ; Verdi and the laws of gastromusicology ; The Callas diet.
Author | : Suzanne Aspden |
Publisher | : Cambridge University Press |
Total Pages | : 309 |
Release | : 2013-04-18 |
Genre | : Music |
ISBN | : 1107067766 |
The tale of the onstage fight between prima donnas Francesca Cuzzoni and Faustina Bordoni is notorious, appearing in music histories to this day, but it is a fiction. Starting from this misunderstanding, The Rival Sirens suggests that the rivalry fostered between the singers in 1720s London was in large part a social construction, one conditioned by local theatrical context and audience expectations, and heightened by manipulations of plot and music. This book offers readings of operas by Handel and Bononcini as performance events, inflected by the audience's perceptions of singer persona and contemporary theatrical and cultural contexts. Through examining the case of these two women, Suzanne Aspden demonstrates that the personae of star performers, as well as their voices, were of crucial importance in determining the shape of an opera during the early part of the eighteenth century.