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Ermione
Ermione is one of the extraordinary serious operas that Rossini composed while artistic director of the royal theaters of Naples. Although it was not originally successful, Rossini treasured Ermione as his "little William Tell." Its revival at the Rossini Opera Festival's production in 1987—the first since the original staging in 1819—revealed its beauty to modern audiences and has spurred many additional performances. This critical edition is the first publication of Ermione in full score. The originality and power of Rossini's score lie in the musical realization of the four principal characters in Tottola's libretto—four survivors of the Trojan war—based on Racine's tragedy Andromaque. Rossini's Ermione was one of the most fully developed characters in nineteenth-century opera. The work's musical structure also was unconventional for its day. All the solo numbers involve other characters, and there is only one scene for a single protagonist.
Opera semiseria
Als Opera semiseria ("halbernste Oper") wird eine um 1800 aufkommende mittlere Gattung des italienischen Musiktheaters bezeichnet, die sich an modernen Pariser Buhnengenres wie Melodrame und Opera-comique orientierte und im fruhen 19. Jahrhundert auf den Spielplanen einen erheblichen Stellenwert einnahm. Vor dem Hintergrund asthetischer, okonomischer, politischer und sozialgeschichtlicher Prozesse wird ihre Entwicklung im Kontext eines franzosisch-italienischen Kulturtransfers interpretiert, der fur das napoleonische Italien grundlegend war, aber auch in der Zeit der Restauration und daruber hinaus fortwirkte. Die historische Bedeutung der Opera semiseria liegt vor allem in der Assimilation ...
Donizetti and His Operas
The series will include both new and recent titles drawn from the whole range of the Press's very substantial publishing programs.
A Dictionary of Music Titles
The title of a great musical composition is not always a clear or simple matter. An allusive title, particularly in a foreign language, or a title that does not seem related to the work, can confuse even the most devoted music lover. Here are histories of the creation of 3,500 titles for symphonies, operas, oratorios, ballets, orchestral works, choral works, chamber music, keyboard compositions, and songs, ranging from the popular to the obscure. Each entry (arranged by English, French, German, Italian or Spanish title) includes alternate titles where appropriate, the composer's name, date of composition and first performance, opus number where appropriate, a description of the work, and the origin of the title or any story behind it. A bibliography and an index conclude the work.
Rossini
Gioachino Rossini was one of the most influential, as well as one of the most industrious and emotionally complex of the great nineteenth-century composers. Between 1810 and 1829, he wrote 39 operas, a body of work, comic and serious, which transformed Italian opera and radically altered the course of opera in France. His retirement from operatic composition in 1829, at the age of 37, was widely assumed to be the act of a talented but lazy man. In reality, political events and a series of debilitating illnesses were the determining factors. After drafting the Stabat Mater in 1832, Rossini wrote no music of consequence for the best part of twenty-five years, before the clouds lifted and he be...
Gioachino Rossini
Giochino Rossini: A Research and Information Guide is designed as a tool for those beginning to study the life and works of Gioachino Rossini as well as for those who wish to explore beyond the established biographies and commentaries. The first edition was published in 2001, and represented a survey of some 878 publications relating to the composer’s life and works. The second edition is revised and updated to include the more than 150 books and articles written in the field of Rossini studies since then. Contents range from sources published in the early decades of the nineteenth century to works currently in progress. General subject areas include Rossini's biography, historical and analytical studies of his operatic and non-operatic compositions, his personal and professional associations, and the reassessment of his role in the development of nineteenth-century music.
Music Drama at the Paris Odéon, 1824–1828
Parisian theatrical, artistic, social, and political life comes alive in Mark Everist's impressive institutional history of the Paris Odéon, an opera house that flourished during the Bourbon Restoration. Everist traces the complete arc of the Odéon's short but highly successful life from ascent to triumph, decline, and closure. He outlines the role it played in expanding operatic repertoire and in changing the face of musical life in Paris. Everist reconstructs the political power structures that controlled the world of Parisian music drama, the internal administration of the theater, and its relationship with composers and librettists, and with the city of Paris itself. His rich depiction of French cultural life and the artistic contexts that allowed the Odéon to flourish highlights the benefit of close and innovative examination of society's institutions.
The Opera Lover's Companion
Written by a well-known authority, this book consists of 175 entries that set some of the most popular operas within the context of their composer's career, outline the plot, discuss the music, and more.
Literature and Music in the Atlantic World, 1767-1867
This new study looks at the relationship of rhetoric and music in the era's intellectual discourses, texts and performance cultures principally in Europe and North America. Catherine Jones begins by examining the attitudes to music and its performance by leading figures of the American Enlightenment and Revolution, notably Benjamin Franklin and Thomas Jefferson. She also looks at the attempts of Francis Hopkinson, William Billings and others to harness the Orphean power of music so that it should become a progressive force in the creation of a new society. She argues that the association of rhetoric and music that reaches back to classical Antiquity acquired new relevance and underwent new theorisation and practical application in the American Enlightenment in light of revolutionary Atlantic conditions. Jones goes on to consider changes in the relationship of rhetoric and music in the nationalising milieu of the nineteenth century; the connections of literature, music and music theory to changing models of subjectivity; and Romantic appropriations of Enlightenment visions of the public ethical function of music.
