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Opera and Vivaldi / ed. by Elise K. Kirk, Michael Collins.

Contributor(s): Material type: TextTextPublisher: Austin : University of Texas Press, [2021]Copyright date: ©1984Description: 1 online resource (408 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9781477300657
Subject(s): LOC classification:
  • ML1703 .O63 1984
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- INTRODUCTION -- PART I. Literary Sources and Their Transformation into Opera -- Dramatic Theory and the Italian Baroque Libretto -- Mythological Subjects in Opera Seria -- Ariosto and the Oral Tradition -- Ariosto's Orlando and Opera Seria -- Orlando in Seicento Venice: The Road Not Taken -- Eighteenth-Century Orlando: Hero5 Satyr, and Fool -- PART II. Venetian Opera in Its Cultural Milieu -- Venetian Theaters during Vivaldi's Era -- Costume in the Frescoes of Tiepolo and Eighteenth-Century Italian Opera -- Baroque Manners and Passions in Modern Performance -- Opera Criticism and the Venetian Press -- PART III. The Practice of Opera Seria -- Voice Register as an Index of Age and Status in Opera Seria -- Cadential Structures and Accompanimental Practices in Eighteenth-Century Italian Recitative -- Declamation and Expressive Singing in Recitative -- Embellishing Eighteenth-Century Arias: On Cadenzas -- PART IV. Vivaldi as Dramatic Composer -- The Relationship between Text and Music in the Operas of Vivaldi -- Vivaldi as Self-Borrower -- Vivaldi's Orlando: Sources and Contributing Factors -- PART V. Baroque Opera Today -- Preparing the Critical Edition: An Interview with Alan Curtis -- Opera Seria Today: A Credo -- APPENDIX -- Contributors -- Index
Summary: From the New York Times review of the Dallas Opera's performance of Orlando furioso and the international symposium on Baroque opera: ". . . it was a serious, thoughtful, consistent and imaginative realization of a beautiful, long-neglected work, one that fully deserved all the loving attention it received. As such, the production and its attendant symposium made a positive contribution to the cause of Baroque opera . . . . " Baroque opera experienced a revival in the late twentieth century. Its popularity, however, has given rise to a number of perplexing and exciting questions regarding literary sources, librettos, theater design, set design, stage movement, and costumes—even the editing of the operas. In 1980, the Dallas Opera produced the American premier of Vivaldi's Orlando furioso, which met with much acclaim. Concurrently an international symposium on the subject of Baroque opera was held at Southern Methodist University. Authorities from around the world met to discuss the operatic works of Vivaldi, Handel, and other Baroque composers as well as the characteristics of the genre. Michael Collins and Elise Kirk, deputy chair and chair of the symposium, edited the papers to produce this groundbreaking study, which will be of great interest to music scholars and opera lovers throughout the world. Contributors to Opera and Vivaldi include Shirley Wynne, John Walter Hill, Andrew Porter, Eleanor Selfridge-Field, Howard Mayer Brown, William Holmes, Ellen Rosand, and the editors.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781477300657

Frontmatter -- Contents -- INTRODUCTION -- PART I. Literary Sources and Their Transformation into Opera -- Dramatic Theory and the Italian Baroque Libretto -- Mythological Subjects in Opera Seria -- Ariosto and the Oral Tradition -- Ariosto's Orlando and Opera Seria -- Orlando in Seicento Venice: The Road Not Taken -- Eighteenth-Century Orlando: Hero5 Satyr, and Fool -- PART II. Venetian Opera in Its Cultural Milieu -- Venetian Theaters during Vivaldi's Era -- Costume in the Frescoes of Tiepolo and Eighteenth-Century Italian Opera -- Baroque Manners and Passions in Modern Performance -- Opera Criticism and the Venetian Press -- PART III. The Practice of Opera Seria -- Voice Register as an Index of Age and Status in Opera Seria -- Cadential Structures and Accompanimental Practices in Eighteenth-Century Italian Recitative -- Declamation and Expressive Singing in Recitative -- Embellishing Eighteenth-Century Arias: On Cadenzas -- PART IV. Vivaldi as Dramatic Composer -- The Relationship between Text and Music in the Operas of Vivaldi -- Vivaldi as Self-Borrower -- Vivaldi's Orlando: Sources and Contributing Factors -- PART V. Baroque Opera Today -- Preparing the Critical Edition: An Interview with Alan Curtis -- Opera Seria Today: A Credo -- APPENDIX -- Contributors -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

From the New York Times review of the Dallas Opera's performance of Orlando furioso and the international symposium on Baroque opera: ". . . it was a serious, thoughtful, consistent and imaginative realization of a beautiful, long-neglected work, one that fully deserved all the loving attention it received. As such, the production and its attendant symposium made a positive contribution to the cause of Baroque opera . . . . " Baroque opera experienced a revival in the late twentieth century. Its popularity, however, has given rise to a number of perplexing and exciting questions regarding literary sources, librettos, theater design, set design, stage movement, and costumes—even the editing of the operas. In 1980, the Dallas Opera produced the American premier of Vivaldi's Orlando furioso, which met with much acclaim. Concurrently an international symposium on the subject of Baroque opera was held at Southern Methodist University. Authorities from around the world met to discuss the operatic works of Vivaldi, Handel, and other Baroque composers as well as the characteristics of the genre. Michael Collins and Elise Kirk, deputy chair and chair of the symposium, edited the papers to produce this groundbreaking study, which will be of great interest to music scholars and opera lovers throughout the world. Contributors to Opera and Vivaldi include Shirley Wynne, John Walter Hill, Andrew Porter, Eleanor Selfridge-Field, Howard Mayer Brown, William Holmes, Ellen Rosand, and the editors.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)