There is no single study on the poetics of opera, but a historical outline can nevertheless be drawn from Andrea Della Corte, La critica musicale e i critici (Turin: UTET, 1961). However, a rich anthology of sources on “polemics” can be ...

Author: Lorenzo Bianconi

Publisher: University of Chicago Press

ISBN: 9780226045924

Category: Music

Page: 516

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The History of Italian Opera marks the first time a team of scholars has worked together to investigate the entire Italian operatic tradition, rather than limiting its focus to major composers and their masterworks. Including both musicologists and historians of other arts, the contributors approach opera not only as a distinctive musical genre but also as a form of extravagant theater and a complex social phenomenon. This sixth volume in the series centers on the sociological and critical aspects of opera in Italy, considering the art in the context of an Italian literary and cultural canon rarely revealed in English and American studies. In its six chapters, contributors survey critics' changing attitudes toward opera over several centuries, trace the evolution of formal conventions among librettists, explore the historical relationships between opera and Italian literature, and examine opera's place in Italian popular and national culture. In perhaps the volume's most striking contribution, German scholar Carl Dahlouse offers his most important statement on the dramaturgy of opera.

This sixth volume in the series centers on the sociological and critical aspects of opera in Italy, considering the art in the context of an Italian literary and cultural canon rarely revealed in English and American studies.

Author: Lorenzo Bianconi

Publisher: University of Chicago Press

ISBN: 0226045927

Category: Music

Page: 515

View: 149

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The History of Italian Opera marks the first time a team of scholars has worked together to investigate the entire Italian operatic tradition, rather than limiting its focus to major composers and their masterworks. Including both musicologists and historians of other arts, the contributors approach opera not only as a distinctive musical genre but also as a form of extravagant theater and a complex social phenomenon. This sixth volume in the series centers on the sociological and critical aspects of opera in Italy, considering the art in the context of an Italian literary and cultural canon rarely revealed in English and American studies. In its six chapters, contributors survey critics' changing attitudes toward opera over several centuries, trace the evolution of formal conventions among librettists, explore the historical relationships between opera and Italian literature, and examine opera's place in Italian popular and national culture. In perhaps the volume's most striking contribution, German scholar Carl Dahlouse offers his most important statement on the dramaturgy of opera.

Opera on Stage, the second book of this multi-volume work to be published in English-in an expanded and updated version-focuses on staging and viewing Italian opera, from the court spectacles of the late sixteenth century to modern-day ...

Author: Lorenzo Bianconi

Publisher: University of Chicago Press

ISBN: 0226045919

Category: Music

Page: 448

View: 509

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The History of Italian Opera marks the first time a team of expert scholars has worked together to investigate the Italian operatic tradition in its entirety, rather than limiting its focus to individual eras or major composers and their masterworks. Including both musicologists and historians of other arts, the contributors approach opera not only as a distinctive musical genre but also as a form of extravagant theater and a complex social phenomenon-resulting in the sort of panoramic view critical to a deep and fruitful understanding of the art. Opera on Stage, the second book of this multi-volume work to be published in English-in an expanded and updated version-focuses on staging and viewing Italian opera, from the court spectacles of the late sixteenth century to modern-day commercial productions. Mercedes Viale Ferrero describes the history of theater and stage design, detailing the evolution of the art well into the twentieth century. Gerardo Guccini does the same for stage and opera direction and the development of the director's role as an autonomous creative force. Kathleen Kuzmick Hansell discusses the interrelationships between theatrical ballet and Italian opera, from the age of Venetian opera to the early twentieth century. The visual emphasis of all three contributions is supplemented by over one hundred illustrations, and because much of this material-on the more "spectacular" visual aspects of Italian opera-has never before appeared in English, Opera on Stage will be welcomed by scholars and opera enthusiasts alike.

Opera and Italian literature. In Lorenzo Bianconi & Giorgio Pestelli (Eds.), Opera in theory and practice, image and myth [orig. publ. as Storia dell'opera italiana: teorie e tecniche, immagini efantasmi, 1988] (pp. 221-86).

Author: Bruno Forment

Publisher: Leuven University Press

ISBN: 9789058679000

Category: Music

Page: 185

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Will appeal to all music, literature, and art lovers seeking to deepen their knowledge of an increasingly popular repertoire.

Dramaturgy of Italian Opera. ̄ In Opera in Theory and Practice, Image and Myth, Vol. 6 of The History of Italian Opera, ed. Lorenzo Bianconi and Giorgio Pestelli, 73¥150. ¦¦¦. Die Musik des 19. Jahrhunderts. Vol.

Author: Steven Huebner

Publisher: Routledge

ISBN: 9781351915854

Category: Music

Page: 566

View: 771

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This volume covers opera in Italy, France, England and the Americas during the long nineteenth century (1789-1914). The book is divided into four sections that are thematically, rather than geographically, conceived: Places-essays centering on contexts for operatic culture; Genres and Styles-studies dealing with the question of how operas in this period were put together; Critical Studies of individual works, exemplifying particular critical trends; and Performance.

For the debate on opera, see Di Benedetto, “Poetics and Polemics,” in Lorenzo Bianconi and Giorgio Pestelli (eds.), Opera in Theory and Practice, Image and Myth, trans.

Author: Anthony R. DelDonna

Publisher: Cambridge University Press

ISBN: 9780521873581

Category: Music

Page: 343

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The perfect accompaniment to courses on eighteenth-century opera for both students and teachers, this Companion is a definitive reference resource.

Opera Production and Its Resources. Chicago and London: University of Chicago Press, 1998. Bianconi, Lorenzo, and Giorgio Pestelli (eds.). Opera in Theory and Practice, Image and Myth. Chicago and London: University of Chicago Press, ...

Author: Emma Barron

Publisher: Springer

ISBN: 9783319909639

Category: History

Page: 337

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When Mona Lisa smiled enigmatically from the cover of the Italian magazine Epoca in 1957, she gazed out at more than three million readers. As Emma Barron argues, her appearance on the cover is emblematic of the distinctive ways that high culture was integrated into Italy’s mass culture boom in the 1950s and 1960s, a period when popular appropriations of literature, fine art and music became a part of the rapidly changing modern Italian identity. Popular magazines ran weekly illustrated adaptations of literary classics. Television brought opera from the opera house into the homes of millions. Readers wrote to intellectuals and artists such as Alberto Moravia, Thomas Mann and Salvatore Quasimodo by the thousands with questions about literature and self-education. Drawing upon new archival material on the demographics of television audiences and magazine readers, this book is an engaging account of how the Italian people took possession of high culture and transformed the modern Italian identity.

VI: Opera in Theory and Practice, Image and Myth, trans. Mary Whittall (University of Chicago Press, 2003), pp. 178484. 19 Di Benedetto, 'Poetics and Polemics', pp. 4243, with reference in particular to Francesco Algarotti, Saggio sopra ...

Author: Nicholas Till

Publisher: Cambridge University Press

ISBN: 9780521855617

Category: Music

Page: 365

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The first comprehensive attempt to map the current field of opera studies by leading scholars in the discipline.

Opera in Theory and Practice, Image and Myth, translated by Kenneth Chalmers and Mary Whittall. The History of Italian Opera 6. Chicago: University of Chicago Press. ——. 2002. Opera on Stage, translated by Kate Singleton.

Author: Helen M. Greenwald

Publisher: Oxford Handbooks

ISBN: 9780195335538

Category: Music

Page: 1217

View: 970

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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.

“Character, Key Relations and Tonal Structure in Il trovatore.” Music Analysis 1 (1982): 143–53. Fabbri, Paolo. “Metrical and Formal Organization.” In Opera in Theory and Practice, Image and Myth, edited by Lorenzo Bianconi and Giorgio ...

Author: William Rothstein

Publisher: Oxford University Press

ISBN: 9780197609682

Category:

Page: 601

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Though studying opera often requires attention to aesthetics, libretti, staging, singers, compositional history, and performance history, the music itself is central. This book examines operatic music by five Italian composers--Rossini, Bellini, Mercadante, Donizetti, and Verdi--and one non-Italian, Meyerbeer, during the period from Rossini's first international successes to Italian unification. Detailed analyses of form, rhythm, melody, and harmony reveal concepts of musical structure different from those usually discussed by music theorists, calling into question the notion of a common practice. Taking an eclectic analytical approach, author William Rothstein uses ideas originating in several centuries, from the sixteenth to the twenty-first, to argue that operatic music can be heard not only as passionate vocality but also in terms of musical forms, pitch structures, and rhythmic patterns--that is, as carefully crafted music worth theoretical attention. Although no single theory accounts for everything, Rothstein's analysis shows how certain recurring principles define a distinctively Italian practice, one that left its mark on the German repertoire more familiar to music theorists.