Download and read online Opera in Seventeenth Century Venice in PDF and EPUB "In this elegantly constructed study of the early decades of public opera, the conflicts and cooperation of poets, composers, managers, designers, and singers—producing the art form that was soon to sweep the world and that has been dominant ever since—are revealed in their first freshness."—Andrew Porter "This will be a standard work on the subject of the rise of Venetian opera for decades. Rosand has provided a decisive contribution to the reshaping of the entire subject. . . . She offers a profoundly new view of baroque opera based on a solid documentary and historical-critical foundation. The treatment of the artistic self-consciousness and professional activities of the librettists, impresarios, singers, and composers is exemplary, as is the examination of their reciprocal relations. This work will have a positive effect not only on studies of 17th-century, but on the history of opera in general."—Lorenzo Bianconi
Download and read online Chastity Heroism and Allure in PDF and EPUB
Download and read online Emblems of Eloquence in PDF and EPUB Opera developed during a time when the position of women—their rights and freedoms, their virtues and vices, and even the most basic substance of their sexuality—was constantly debated. Many of these controversies manifested themselves in the representation of the historical and mythological women whose voices were heard on the Venetian operatic stage. Drawing upon a complex web of early modern sources and ancient texts, this engaging study is the first comprehensive treatment of women, gender, and sexuality in seventeenth-century opera. Wendy Heller explores the operatic manifestations of female chastity, power, transvestism, androgyny, and desire, showing how the emerging genre was shaped by and infused with the Republic's taste for the erotic and its ambivalent attitudes toward women and sexuality. Heller begins by examining contemporary Venetian writings about gender and sexuality that influenced the development of female vocality in opera. The Venetian reception and transformation of ancient texts—by Ovid, Virgil, Tacitus, and Diodorus Siculus—form the background for her penetrating analyses of the musical and dramatic representation of five extraordinary women as presented in operas by Claudio Monteverdi, Francesco Cavalli, and their successors in Venice: Dido, queen of Carthage (Cavalli); Octavia, wife of Nero (Monteverdi); the nymph Callisto (Cavalli); Queen Semiramis of Assyria (Pietro Andrea Ziani); and Messalina, wife of Claudius (Carlo Pallavicino).
Download and read online Inventing the Business of Opera in PDF and EPUB In mid seventeenth-century Venice, opera first emerged from courts and private drawing rooms to become a form of public entertainment. Early commercial operas were elaborate spectacles, featuring ornate costumes and set design along with dancing and music. As ambitious works of theater, these productions required not only significant financial backing, but also strong managers to oversee several months of rehearsals and performances. These impresarios were responsible for every facet of production from contracting the cast to balancing the books at season's end. The systems they created still survive, in part, today. Inventing the Business of Opera explores public opera in its infancy, from 1637 to 1677, when theater owners and impresarios established Venice as the operatic capital of Europe. Drawing on extensive new documentation, the book studies all of the components necessary to opera production, from the financial backing of various populations of Venice, to the commissioning and creation of the libretto and the score; the recruitment and employment of singers, dancers, and instrumentalists; the production of the scenery and the costumes, and, the nature of the audience; and, finally, the issue of patronage. Throughout the book, the problems faced by impresarios come into new focus. The authors chronicle the progress of Marco Faustini, the impresario most well known today, who made his way from one of Venice's smallest theaters to one of the largest. His companies provide the most personal view of an impresario and his partners, who ranged from Venetian nobles to artisans. Throughout the book, Venice emerges as a city that prized novelty over economy, with new repertory, scenery, costumes, and expensive singers the rule rather than the exception. The authors examine the challenges faced by four separate Venetian theaters during the seventeenth century: San Cassiano, the first opera theater, the Novissimo, the small Sant'Aponal, and San Luca, established in 1660. Only two of them would survive past the 1650s. Through close examination of an extraordinary cache of documents--including personal papers, account books, and correspondence -- Beth and Jonathan Glixon provide a comprehensive view of opera production in mid-seventeenth century Venice. For the first time in a study of opera, an emphasis is placed on the physical production -- the scenery, costumes, and stage machinery -- that tied these opera productions to the social and economic life of the city. This original and meticulously researched study will be of strong interest to all students of opera and its history.
Download and read online Theatrical Dance in Seventeenth century Venetian Opera in PDF and EPUB
Download and read online Monteverdi s Last Operas A Venetian Trilogy in PDF and EPUB Claudio Monteverdi (1567-1643) was the first important composer of opera. This innovative study by one of the foremost experts on Monteverdi and seventeenth-century opera examines the composer's celebrated final works—Il ritorno d'Ulisse (1640) and L'incoronazione di Poppea (1642)—from a new perspective. Ellen Rosand considers these works as not merely a pair but constituents of a trio, a Venetian trilogy that, Rosand argues, properly includes a third opera, Le nozze d'Enea (1641). Although its music has not survived, its chronological placement between the other two operas opens new prospects for better understanding all three, both in their specifically Venetian context and as the creations of an old master. A thorough review of manuscript and printed sources of Ritorno and Poppea, in conjunction with those of their erstwhile silent companion, offers new possibilities for resolving the questions of authenticity that have swirled around Monteverdi's last operas since their discovery in the late nineteenth century. Le nozze d'Enea also helps to explain the striking differences between the other two, casting new light on their contrasting moral ethos: the conflict between a world of emotional propriety and restraint and one of hedonistic abandon.
Download and read online Unexplored Relatonships Between Early Seventeenth Century Venetian Opera and Contemporary Music in France and England in PDF and EPUB
Download and read online The Veremonda Resurrection in PDF and EPUB
Download and read online Venetian Opera in the Seventeenth Century in PDF and EPUB
Download and read online A Short History of Opera in PDF and EPUB When first published in 1947, A Short History of Opera immediately achieved international status as a classic in the field. This thoroughly revised and expanded fourth edition examines not only the standard performance repertoire, but also works considered important for the genre's development, from its Greek forerunners to the present day. The section on twentieth-century opera has been reorganized around national operatic traditions including a chapter devoted solely to opera in the United States, which incorporates material on the American musical and ties between classical opera and popular musical theater. With an extensive multilanguage bibliography, more than one hundred musical examples, and stage illustrations, this authoritative one-volume survey will be invaluable to students and serious opera buffs.
Download and read online Recitative in Seventeenth century Venetian Opera in PDF and EPUB
Download and read online Seventeenth Century Venetian Opera in PDF and EPUB The purpose of this dissertation is to study and interpret the social context of the opera theatre industry that developed in Venice between 1637 and 1680. This study aims to bring together a number of perspectives and topics related to the industry in order to develop a clear understanding of opera's place in Venetian society and culture. Beginning with a study of the predominant role of the librettist in opera production, I provide a sketch of the philosophical and aesthetic basis for their generative work, including a brief overview of Baroque aesthetic philosophy's ideal of "total music theatre" drawn from Renaissance humanism. "Total music theatre" is a term I coined to refer to the many different means required to create a parvus mundus or a miniature version of reality, creating a multi-faceted art form that I describe, metaphorically, as "synaesthesia". To this end, I provide studies of theatrical design, sets and machinery, and various forms of publicity. Emphasizing the culture of magnificence and the close connections to Venetian opera's origins as part of Carnival (Carnevale), I provide detailed studies of outstanding performers, commonly-used character types, themes, and musical forms, as well as an in-depth study of the role of women on stage and in the audience. The latter study is an effective means of illuminating the commercial opera industry as both a social process and a cultural form drawn from Venice's position in the Renaissance world. An integral part of the Venetian mythology is its connections to antiquity, including Roman, Greek, or Byzantine traditions, which can be seen in the librettos. As a whole, this dissertation is intended to provide a clear contextualization of the aesthetic behind this operatic repertoire and to illuminate how the aesthetic was implemented in a collaborative commercial musical and theatrical art form.
Download and read online The Gilded Stage in PDF and EPUB The Gilded Stage is a comprehensive tour of the world of opera. From its origins in the courts of northern Italy, to its internationally recognised position in modern culture, Snowman explores the social history of opera houses and impresarios, composers and patrons, artists and audiences. Even the most flamboyant composers could scarcely have imagined the global reach of opera in our own times. More opera is performed, financed, seen, heard, filmed and broadcast than ever before, and the world's leading performers are worshipped and paid like pop stars. Yet the art form is widely derided as 'elitist' and parts of the classical recording business appear close to bankruptcy. Pinpointing the scandals, forgotten history and key revolutions in the form with light erudition and a brilliant anecdotal eye, Daniel Snowman reveals that the world of opera has always known crisis and uncertainty - and the resulting struggles have often proved every bit as dramatic as those portrayed onstage.
Download and read online Seventeenth Century Ballet A multi art spectacle in PDF and EPUB This book contains a selection of research papers presented at the International Interdisciplinary Symposium “Seventeenth–century Ballet: a multi–art spectacle” which was held at King’s College London on 7 August 2010. The purpose of the symposium was to act as an international forum for multidisciplinary research on seventeenth century ballet. As far as we are aware, this was the first symposium which is specifically aimed to bring together researchers from many disciplines including early music and dance, iconography, exoticism, neo–Platonism and European history. The ballets created during the period of High Renaissance are undoubtedly among the major masterpieces of the theatrical genre of the era, and this can be proved not only in terms of their popularity, but also of the high quality, craftsmanship and their variety in form. Emphasizing this diversity, the symposium focuses on the interplay and tensions between discourses, continuities and discontinuities, and competing images of the seventeenth century ballet in Europe.
Download and read online Venice Incognito in PDF and EPUB "Fascinating and richly developed. Venice Incognito is a contribution both to urban studies and to the carnivalesque."—Natalie Zemon Davis, University of Toronto “Venice Incognito is a brilliant reassessment of Venetian carnival and the peculiar phenomenon of masking in early modern Venice. Johnson's wide-ranging, insightful, and imaginative scholarship is matched by his fluid and accessible writing style. This book is that all-too-rare commodity: a scholarly page-turner.” —Patricia Fortini Brown, author of Private Lives in Renaissance Venice “This is a beautiful book about a strange subject: the custom among Venetian aristocrats of wearing masks in public. One of the most original works in early modern scholarship I have read in a long time, Venice Incognito will have a permanent place on most early modern historians’ shelves and will be essential reading for performance studies and theater history.” —Edward Muir, author of The Culture Wars of the Late Renaissance “In this fascinating book, the author cleverly balances the traditional concept of masking as an anti-authoritarian culture of dissembling with the idea of the 'honest mask,' which defends rank and the established order, and produces an excellent, nuanced, and well-written account of the carnivalesque in eighteenth-century Venice.” —Aileen Ribeiro, author of Dress in Eighteenth-Century Europe “In this intriguing and thoroughly researched book, James Johnson takes the reader through the crowded calli, campi, and canals of Venice in search of the varied meanings of the mask in the history and culture of that city on the water. From masking’s first recorded appearance in the thirteenth century to its ubiquity in the carnival decline of eighteenth-century Venice, from the dissimulations of Giacomo Casanova to Arlecchino and the commedia dell’arte stage, from the social anonymity of the gambling halls to the socially charged debate over Goldoni’s radical unmasking of the actor, Venice Incognito traces the shifting functions of the mask and its implications. Just as importantly, the book challenges much conventional wisdom about masking and carnival itself.” —David Rosand, author of Painting in Sixteenth-Century Venice