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Opera, Theatrical Culture and Society in Late Eighteenth-Century Naples
The operatic culture of late eighteenth-century Naples represents the fullest expression of a matrix of creators, practitioners, theorists, patrons, and entrepreneurs linking aristocratic, public and religious spheres of contemporary society. The considerable resonance of 'Neapolitan' opera in Europe was verified early in the eighteenth century not only through voluminous reports offered by locals and visitors in gazettes, newspapers, correspondence or diaries, but also, and more importantly, through the rich and tangible artistic patrimony produced for local audiences and then exported to the Italian peninsula and abroad. Naples was not simply a city of entertainment, but rather a cultural ...
The Cambridge Companion to Eighteenth-Century Opera
The perfect accompaniment to courses on eighteenth-century opera for both students and teachers, this Companion is a definitive reference resource.
Instrumental Music in Late Eighteenth-Century Naples
This book demonstrates the cultivation of instrumental genres by Neapolitan musicians and its significant stature at the royal court. Drawing on archival documents and musical sources, it paints a compelling history of local instrumental music culture and contributes to a wider ethnographic portrait of Naples in the late eighteenth-century.
Instrumental Music in Late Eighteenth-century Naples
"The music of early modern Naples and its renowned artistic traditions remain a fruitful area for scholars in eighteenth-century studies. Contemporary social, political, and artistic conditions had stimulated a significant growth of music, musicians and culture in the Kingdom of Naples from the beginning of the seventeenth century. Although eighteenth-century Neapolitan opera is well documented in scholarship, historians have paid much less attention to the simultaneous cultivation of instrumental genres. Yet the culture of instrumental music grew steadily and by its end became an exclusive area of focus for the royal court, a remarkable departure from past norms of patronage. By bridging this gap, Anthony R. DelDonna brings together diverse fields, including historical musicology, music theory, Neapolitan and European history. His book investigates the wide-ranging role of instrumental genres within late eighteenth-century Neapolitan culture and introduces readers to new material, including recently discovered instrumental works of Paisiello, Cimarosa and Pleyel"--
Opera, Theatrical Culture and Society in Late Eighteenth-Century Naples
The operatic culture of late eighteenth-century Naples represents the fullest expression of a matrix of creators, practitioners, theorists, patrons, and entrepreneurs linking aristocratic, public and religious spheres of contemporary society. The considerable resonance of 'Neapolitan' opera in Europe was verified early in the eighteenth century not only through voluminous reports offered by locals and visitors in gazettes, newspapers, correspondence or diaries, but also, and more importantly, through the rich and tangible artistic patrimony produced for local audiences and then exported to the Italian peninsula and abroad. Naples was not simply a city of entertainment, but rather a cultural ...
The Clarinet
Offers unique perspectives on the clarinet's historical role in various styles, genres, and ensembles, from jazz and ethnic traditions to classical chamber music, concertos, opera, and symphony orchestras.
The Neapolitan Canzone in the Early Nineteenth Century as Cultivated in the Passatempi musicali of Guillaume Cottrau
This volume is a multi-disciplinary study of the Neapolitan tradition of nineteenth-century song or “Canzona napoletana.” It is based on primary (original music manuscripts) and secondary (correspondence, diaries, and varied historical materials) sources recovered from Neapolitan archives, libraries, and private collections. The book takes as its focus the figure of Guillaume Cottrau (1797-1847), a musician and publisher who left a significant breadth of original songs and arrangements issued in the song collection and series entitled Passatempi musicali. Cottrau was a cultural auteur, who integrated his diverse activities as editor, folklorist, and patron of salon music and musicians (i...
Feasting and Fasting in Opera
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.
The Rival Sirens
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.
Italian Opera in the Age of the American Revolution
Polzonetti reveals how revolutionary America inspired eighteenth-century European audiences, and how it can still inspire and entertain us.
