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Il regno della Luna, Part 2
Niccolò Piccinni (1728¿1800) wrote Il regno della luna for the Regio Ducal Theatro in Milan in 1770, and a revised version¿preserved in the only extant source¿was performed seven times in Dresden between 1773 and 1775. The work showcases the subversion of dramma giocoso conventions through which Piccinni presented characters that are at once realistic and sympathetic. Noteworthy musical elements include the high proportion of ensembles in relation to arias, the frequent use of accompanied recitative, and the prominent role of the chorus. The unknown librettist may have been Giuseppe Parini, whose Enlightenment views are echoed in the opera¿s unconventional themes. The libretto engages strongly with eighteenth-century Italian discourse regarding the social and political position of women, the non-European Other, and the societal costs and benefits of militarism and commerce. Involving actual travel to the Moon, the work also exemplifies early science fiction. Presented here in its first modern edition, Il regno della Luna stands as a testament to the most forward-looking ideas of its time, both musically and ideologically.
La Buona Figliuola
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Opera
Opera is the only guide to the research writings on all aspects of opera. This second edition presents 2,833 titles--over 2,000 more than the first edition--of books, parts of books, articles and dissertations with full bibliographic descriptions and critical annotations. Users will find the core literature on the operas of 320 individual composers and details of operatic life in 43 countries. All relevant works through to November 1999 have been considered, covering more than fifteen years of literature since the first edition was published.
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.
