This knockout CD of Vivaldi motets is a thrilling ride. They are scored for soprano and strings and show the wonderful variety of effects Vivaldi had at his disposal faster, more dramatic arias use the metaphor of a ship in storm-tossed seas, searching for calm winds and safety: But here, because these motets are religious in nature, it is the soul in flux that is wishing for God, or a saint, to guide it. Vivaldi will use the lower strings to give the feeling of menacing weather while the singer navigates through outlandishly difficult coloratura fast runs, octave leaps, high stacatto effects ; conversely, each motet also contains a slow, introspective aria which requires a long, soft vocal line.
Viewing opera as a complex and fascinating form of art and social ritual, rather than reducing it simply to music and text analysis, individual essays investigate aspects such as audiences, architecture of the theaters, marketing, acting style, and the politics and strategy of representing class and gender.
The reader is encouraged to view opera as a cultural phenomenon that can reveal aspects of our culture, both past and present. Eighteenth-century opera is experiencing a renewal of critical and popular success through innovative and provoking productions world-wide, and this Companion will appeal to opera-goers as well as to students and teachers of this key topic.
Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. DelDonna and Pierpaolo Polzonetti.
Includes bibliographical references and index. ISBN hardback — paperback 1. Opera — 18th century. DelDonna and Pierpaolo Polzonetti Frontmatter More information Contents List of music examples List of illustrations and tables Notes on contributors Preface and acknowledgments Chronology of eighteenth-century operas and select events List of abbreviations Part I.
National styles and genres 9 Genre and form in French opera David Charlton 10 Genre and form in German opera 11 Opera in eighteenth-century England: Engel, Ideen zu einer Mimik —86page 96 Tables Table 2.
He is currently completing books on the staging of opera in London between andand on the London years of the soprano Regina Mingotti. She has published on the usual suspects Mozart, Verdi, Puccinidealing in particular with issues of staging, theatricality, and performance.
She is a member of the editorial team of the new Opera Quarterly. Gianni Cicali received a Ph. His present research concerns sixteenth-century Florentine sacred theatre. Caryl Clark teaches musicology at the University of Toronto, specializing in eighteenth-century studies and interdisciplinary opera studies.
DelDonna and Pierpaolo Polzonetti Frontmatter More information xii Contributors southern Italy of the seventeenth and eighteenth centuries. Forthcoming is Storia della musica e dello spettacolo a Napoli. Il Settecentoalso with Maione.
DelDonna is a specialist on eighteenth-century Neapolitan music, musicians and culture with an emphasis on opera, archival studies, performance practice, and ballet.
He is editor of and a contributor to Genre and Eighteenth-Century Music Gennaro Magri and his World She is currently studying the dramaturgy of dance in French opera from Lully to Rameau.
Estelle Joubert has completed her D. She is currently undertaking a book-length study on opera and politics in Germany from the Enlightenment to Napoleon. His research is on the theater music in eighteenth-century Spain, including Spanish zarzuela and reception of Italian opera.
Cronologia degli spettacoli — and —and La cappella musicale del Tesoro di San Gennaro di Napoli tra Sei e Settecento He has authored numerous articles in journals and conference proceedings.
Polzonetti is presently working on a book on representations of America in eighteenth-century opera funded by the National Endowment for the Humanities and by the American Council of Learned Societies. His chief research interests are the history of the orchestra, American song, and the relations between Western and non-Western music.
He has published articles on these and related topics in The Journal of the American Musicological Society, the Journal of Musicology, Musical Quarterly, Early Music, the Journal of Music Theory, and American Music, as well as music reviews and articles in newspapers, magazines, handbooks, dictionaries, and encyclopedias.
Stein studies European, Spanish, and colonial Latin American music of the period —, with particular emphasis on theater music and opera. He has published widely on Haydn including the Haydn article in the revised edition of the New Grove Dictionary of Music and Musicians, also published as a separate volumeMozart especially his operasBeethoven, Schubert, and Brahms, as well as essays on analysis, editorial and performance practice, and the historiography of music.
DelDonna and Pierpaolo Polzonetti Frontmatter More information Preface and acknowledgments [xv] Eighteenth-century opera is a living art form in modern contemporary culture, inspiring new live productions, video and audio recordings, as well as critical editions.
Our fascination with this repertory is boundless because these works both text and meaning continue to change as our world transforms itself, and our engagement with the past is reciprocal, as it can only lead us to a stronger awareness of our present culture.
This rapport between past and present has been especially vibrant in recent years, indeed the production of critical essays on eighteenth-century opera has been comparable to the voluminous writings on opera published in the eighteenth century. The eighteenth century produced an abundance of operatic material a great part of which has disappeared derived from an average output of more than 50 new operas per year.The Art of John Van Kesteren in Opera, Hetty Plumacher, Marcel Cordes, Christoph Willibald Gluck, The Bridesmaid's Best Man, Barbara Hannay National Civic Review, v.
94, No. 1 - Spring , Michael R. McGrath. Advertised in the program as the first opera written in the New World, La Púrpura de la Rosa (PR) was premiered in Christoph Willibald Gluck: Alceste. Send to a Friend; Composer: Christoph Willibald Gluck () Librettist: Ranieri de’ Calzabigi, after Euripides (Italian version) Marie François Louis Gand Leblanc Roullet, based.
Christoph Willibald Gluck () first composed Alceste in Vienna in to a liberetto in Italian by Ranieri de' Calzabigi. This early version of the work included a famous preface() in which Gluck criticized the florid style of operatic composition of his day.
A Review of the Preface to Alceste, an Opera by Christoph Willibald Gluck ( words, 1 pages) Preface to Alceste William Gluck was born in near the German-Bohemian border. Hewas enlightened composer who brought about new ideas to opera. While Salieri followed the precepts set forth by Gluck and his librettist Ranieri de' Calzabigi in the preface to Alceste ; Salieri also drew on some musical ideas from the more traditional opera-seria and even opera buffa, creating a new synthesis in the process.
27a-c. Gluck, Christoph Willibald. Libretto of L'innocenza giustificata. Libretto entitled La Vestale.