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Romualdo Marenco
Excelsior, an extraordinary spectacular ballet in 6 parts and 11 scenes by Luigi Manzotti, with music by Romualdo Marenco, was premiered on 11 January 1881 at La Scala Milan. This unique and remarkable allegorical work depicts the rise of human civilization, and the stormy progress of technical development. This scenario is envisioned as an embittered struggle between the Spirits of Light and Darkness, and their more human personifications as Civilization (or Progress) and Obscurantism. The invention of the steam ship, the iron bridge, electricity, telegraphy, the building of the Suez Canal and the Mont Cenis Tunnel see the Spirit of Darkness admitting defeat. A Grand Festival of the nations...
Opera and Modern Spectatorship in Late Nineteenth-Century Italy
Alessandra Campana explores how operas and their stage manuals participated in the making of a modern public in late nineteenth-century Italy.
Willa Cather and the Dance
Anna Pavlova's revolutionary debut in 1910 at the Metropolitan Opera House captivated the nation and introduced Americans to the charms of modern ballet. Willa Cather was among the first intellectuals to recognize that dance had suddenly been elevated into a new art form, and she quickly trained herself to become one of the leading balletomanes of her era. Willa Cather and the Dance: "A Most Satisfying Elegance" traces the writer's dance education, starting with the ten-page explication she wrote in 1913 for McClure's magazine called "Training for the Ballet." Cather's interest was sustained through her entire canon as she utilized characters, scenes, and images from almost all of the important dance productions that played in New York.
History of Italian Philosophy
This book is a treasure house of Italian philosophy. Narrating and explaining the history of Italian philosophers from the Middle Ages to the twentieth century, the author identifies the specificity, peculiarity, originality, and novelty of Italian philosophical thought in the men and women of the Renaissance. The vast intellectual output of the Renaissance can be traced back to a single philosophical stream beginning in Florence and fed by numerous converging human factors. This work offers historians and philosophers a vast survey and penetrating analysis of an intellectual tradition which has heretofore remained virtually unknown to the Anglophonic world of scholarship.
Italy and the Suez Canal, from the Mid-nineteenth Century to the Cold War
Conceived in the 1850s and opened to navigation in 1869, the Suez Canal’s construction coincided with Italy’s path to unification and its first foray into nineteenth-century globalization. Since then, the history of Italy and the Canal have intertwined in many ways, throughout in peace and war. This edited collection explores the fundamental technical, diplomatic and financial contributions that Italy made to the production of the Canal and to its subsequent development, from the mid-nineteenth century to the Cold War. Drawing from unpublished public and private archival sources, this book is the first comprehensive account of this long and multifaceted relationship, providing innovative perspectives on Italy’s diplomatic, economic, social, colonial and cultural history. An insightful read for those studying maritime, diplomatic or Italian history, this book contributes to a growing body of research on the Canal, which has largely emerged from international business, labour and social history, and offers new insights into the Euro-Mediterranean region.
Music Criticism in Vienna, 1896-1897
Music Criticism in Vienna records a culture in which musical criticism had achieved the status of a minor art form. The period covered - October 1896 to December 1897 - was an eventful time in Vienna. Bruckner died, then Brahms; Mahler arrived; premieres of works by Czech composers coincidedwith increasing tension in the Empire between Czechs and Germans; Puccini's La Boheme reached Vienna on its sensational progress around the world; and the great programme music debate continued. These events and issues were recorded and debated by some two dozen critics ranging from Eduard Hanslick,widely credited with (and blamed for) raising music criticism to an art, to Heinrich Schenker. The focus of Sandra McColl's monograph is unashamedly on the critics themselves, and her reconstruction of the climate of debate about whatever music or musicians came to their notice. She illuminates theintellectual climate in which the music was created, performed and received, and provides a foundation for the study of musical criticism in the post-Hanslick generation.
The Ancient World in Silent Cinema
In the first four decades of cinema, hundreds of films were made that drew their inspiration from ancient Greece, Rome, Egypt and the Bible. Few of these films have been studied, and even fewer have received the critical attention they deserve. The films in question, ranging from historical and mythological epics to adaptations of ancient drama, burlesques, cartoons and documentaries, suggest a fascination with the ancient world that competes in intensity and breadth with that of Hollywood's classical era. What contribution did antiquity make to the development of early cinema? How did early cinema's representations affect modern understanding of antiquity? Existing prints as well as ephemera scattered in film archives and libraries around the world constitute an enormous field of research. This extensively illustrated edited collection is a first systematic attempt to focus on the instrumental role of silent cinema in twentieth-century conceptions of the ancient Mediterranean and Middle East.
Unworking Choreography
There is no archive or museum of human movement, no place where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dance refers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. Unworking Choreography develops this idea and postulates an unworking as evidenced by a conspicuous absence of references to actual choreographic works within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works given a lack of scores and an apparent resistance within the art form to the possibility of notation; and the questioning of ends of dance in contemporary practice and the relativisation of the very idea that dance artistic or choreographic processes aim at work production.
Operetta
Operetta developed in the second half of the 19th century from the French opéra-comique and the more lighthearted German Singspiel. As the century progressed, the serious concerns of mainstream opera were sustained and intensified, leaving a gap between opéra-comique and vaudeville that necessitated a new type of stage work. Jacques Offenbach, son of a Cologne synagogue cantor, established himself in Paris with his series of opéras-bouffes. The popular success of this individual new form of entertainment light, humorous, satirical and also sentimental led to the emergence of operetta as a separate genre, an art form with its own special flavour and concerns, and no longer simply a "little...
Reconstructing Theatre Architecture
The study is aimed at reconstructing the historical process at the base of any significant theatre architecture. The modern space for the show is no longer intended as a direct derivation from classical types, but as a product of the transformation of the urban fabric in our cities. The research was conducted at the academies, state and municipal historical archives of numerous towns, in particular Rome, Milan, Mantua, Ferrara, Venice, London and Prague. All images are original. The work also includes the list of about 700 major Italian historical theatres.
