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Venanzio Rauzzini in Britain
The remarkable career of Venanzio Rauzzini (1746-1810) sheds new light on changing musical tastes in late eighteenth-century Britain. Rauzzini was a leading soprano castrato who sang in the premiere of Mozart's Lucio Silla in 1772. Mozart was so pleased with the singer that he composed the famous motet Exsultate Jubilate for him. This book examines Rauzzini's career in Britain, starting with his three seasons as a principal singer at the King's Theatre in London (1774-77). Rauzzini was the first castrato to make Britain his home, and he enjoyed a multifaceted career there as a singer, concert director, composer (operas, chamber music, and songs), and voice teacher. Rauzzini's leadership of t...
British Music and the French Revolution
British Music and the French Revolution investigates the nature of British musical responses to the cataclysmic political events unfolding in France during the period of 1789–1795, a time when republican and royalist agendas were in conflict in both nations. While the parallel demands for social and political change resulted from different stimuli, and were resolved very differently, the 1790s proved to be a defining period for each country. In Britain, the combination of a protracted period of Tory conservatism, and the strong spirit of patriotism which swept the nation, had a profound influence on the arts. There was an outpouring of concert and theatrical music dealing with the French R...
Observations on the Castrati in Britain
This book highlights the experiences of castrato singers in Britain during the long eighteenth-century. These singers stood apart from traditional cultural and sexual norms of the period by nature of their altered bodies. The work investigates the fears surrounding the possibility of Catholic influence in the nation, and the ability of sensual Italian operatic music to feminize the male population and weaken the country’s leaders. The castrato as a possible romantic rival to “normal” men is also discussed, while the contributions of the castrati to cultural leadership in the areas of teaching, concert direction and social influence are examined. This book will appeal to music historians and those interested in cultural and gender studies.
Venanzio Rauzzini
Venanzio Rauzzini (1746–1810) enjoyed a multi-faceted career as a singer, composer and concert director. He began his career in Rome in 1765 as a soprano castrato, and quickly established his operatic credentials in various Italian centres before undertaking leading roles in Vienna and Munich. He returned to the Italian peninsula in 1772 and created the role of Cecilio in the premiere of W.A. Mozart’s opera, Lucio Silla on 26 December. Mozart was so pleased with Rauzzini’s singing that he composed the motet, Exultate jubilate, for the singer. Rauzzini accepted the invitation to become the primo uomo at the King’s Theatre in London for the 1774–75 season of Italian operas. Such was ...
The Solo English Cantatas and Italian Odes of Thomas A. Arne
This study examines Thomas Arne’s solo cantatas and Italian odes from musical, literary and social perspectives. Arne composed these works between 1740 and 1774. As such, they provide a means of evaluating the evolving aspects of his musical style throughout his compositional career. The Italian odes have been little-studied, but provide an important gloss on Charles Burney’s comments on Arne’s inability to set the Italian language. Study of the cantata texts that Arne set reveals that they are often pastiches which make use of the words of William Congreve, Alexander Pope, Christopher Smart and others. The resulting process of adaptation and recombination re-contextualizes the borrowed material, resulting in differing emphases and changed meanings. Arne was restricted in his career opportunities because of his Catholic faith. The cantata genre provided Arne with an important creative outlet in the hedonistic atmosphere of the concerts of London’s pleasure gardens.
Fontainebleau Operas for the Court of Louis XV of France by Jean-Philippe Rameau (1683-1764)
During the eighteenth century, the French court made yearly trips to the chateau of Fontainebleau during the autumn months, partaking of the abundant hunting in the surrounding area, and enjoying evenings of operas and plays presented by the leading performers from Paris. Jean-Philippe Rameau (1683- 1764), the leading French composer of the period, was asked to present 5 new operas at the chateau in 1753 and 1754. Only one of these works was ever published and three of the five were never heard in Paris. Consequently, these works have remained little known. This book presents Rameau's works first heard at Fontainebleau in the context of their compositional and performance histories, a context which is rich in court intrigues and social change. This study is the first published work to investigate these operas in detail, Rameau's relationship to the court and the public opera house of Paris is reevaluated, and the richness of Rameau's musical imagination is revealed in works from his maturity.
Venanzio Rauzzini in Britain. Castrato, Composer, and Cultural Leader
The remarkable career of Venanzio Rauzzini (1746-1810) sheds new light on changing musical tastes in late eighteenth-century Britain. Rauzzini was a leading soprano castrato who sang in the premiere of Mozart's Lucio Silla in 1772. Mozart was so pleased with the singer that he composed the famous motet Exsultate Jubilate for him. This book examines Rauzzini's career in Britain, starting with his three seasons as a principal singer at the King's Theatre in London (1774-77). Rauzzini was the first castrato to make Britain his home, and he enjoyed a multifaceted career there as a singer, concert director, composer (operas, chamber music, and songs), and voice teacher. Rauzzini's leadership of the Bath subscription concerts from 1780-1810 reveals the degree to which shifts in the social demographics of Bath over this period caused him to reevaluate his compositional choices, especially in light of the patriotic fervor that swept the nation during the protracted war with France. Furthermore, the recovery of much of the repertory performed during these concerts provides specific insights into issues of concert management at the time.
The Solo Cantata in Eighteenth-century Britain
Catalog furnishes information about the solo secular cantata (and cantata-like works) in eighteenth-century Britain in a format of use to scholars, teacher, and performers. This repertory has much to commend for both study and performance. Confined to the eighteenth century, it provides valuable insights into this period of British musical life. Includes a body of attractive and useful music.
William Appleman Williams
First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
