Divas and Scholars

Performing Italian Opera

Author: Philip Gossett

Publisher: University of Chicago Press

ISBN: 0226304884

Category: Music

Page: 704

View: 7648

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Winner of the 2007 Otto Kinkeldey Award from the American Musicological Society and the 2007 Deems Taylor Award from the American Society of Composers, Authors, and Publishers. Divas and Scholars is a dazzling and beguiling account of how opera comes to the stage, filled with Philip Gossett’s personal experiences of triumphant—and even failed—performances and suffused with his towering and tonic passion for music. Writing as a fan, a musician, and a scholar, Gossett, the world's leading authority on the performance of Italian opera, brings colorfully to life the problems, and occasionally the scandals, that attend the production of some of our most favorite operas. Gossett begins by tracing the social history of nineteenth-century Italian theaters in order to explain the nature of the musical scores from which performers have long worked. He then illuminates the often hidden but crucial negotiations opera scholars and opera conductors and performers: What does it mean to talk about performing from a critical edition? How does one determine what music to perform when multiple versions of an opera exist? What are the implications of omitting passages from an opera in a performance? In addition to vexing questions such as these, Gossett also tackles issues of ornamentation and transposition in vocal style, the matters of translation and adaptation, and even aspects of stage direction and set design. Throughout this extensive and passionate work, Gossett enlivens his history with reports from his own experiences with major opera companies at venues ranging from the Metropolitan and Santa Fe operas to the Rossini Opera Festival at Pesaro. The result is a book that will enthrall both aficionados of Italian opera and newcomers seeking a reliable introduction to it—in all its incomparable grandeur and timeless allure.

Divas and Scholars

Performing Italian Opera

Author: Philip Gossett

Publisher: University of Chicago Press

ISBN: 0226304876

Category: Music

Page: 675

View: 6939

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"Divas and Scholars" is a dazzling and beguiling account of how opera comes to the stage, filled with Philip Gossett's personal experiences of triumphant - and even failed - performances and suffused with his towering passion for music. Gossett, the world's leading authority on the performance of Italian opera, brings to life the problems, and occasionally the scandals, that attend the production of some of our favorite operas.Gossett begins by tracing the social history of nineteenth-century Italian theaters in order to explain the nature of the musical scores from which performers have long worked. He then illuminates the often hidden but crucial negotiations between what is written and how it is interpreted by opera conductors and performers.

Divas and Scholars

Performing Italian Opera

Author: Philip Gossett,Professor of Music and the Humanities Philip Gossett

Publisher: N.A

ISBN: N.A

Category: Music

Page: 675

View: 1745

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'Divas and Scholars' is an account of how opera comes to the stage, filled with Philip Gossett's personal experiences of triumphant - and even failed - performances and suffused with his towering and tonic passion for music. Writing as a fan, a musician, and a scholar, Gossett, the world's leading authority on the performance of Italian opera, brings colourfully to life the problems, and occasionally the scandals, that attend the production of some of the world's most favourite operas.

The New Grove Masters of Italian Opera

Rossini, Donizetti, Bellini, Verdi, Puccini

Author: Philip Gossett,Julian Budden,William Ashbrook,Friedrich Lippmann,Andrew Porter,Mosco Carner

Publisher: W. W. Norton & Company

ISBN: 9780393303612

Category: Music

Page: 353

View: 4689

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These five biographies provide the first complete survey of Italian opera from the early buffo operas of Rossini to Verdi's great masterpieces, Otello and Falstaff, and the verismo operas of Puccini. Andrew Porter has been highly praised for his original and enlightening account of Verdi, and Philip Gossett has received similar acclaim for his treatment of Rossini. Porter, Gossett, William Ashbrooke, Julian Budden, Mosco Carner, and Friedrich Lippmann, all acknowledged experts in the field of Italian opera, combine to offer insight into the traditions and workings of one of the most fascinating periods in the history of opera. Book jacket.

Monteverdi's Last Operas

A Venetian Trilogy

Author: Ellen Rosand,David Rosand

Publisher: Univ of California Press

ISBN: N.A

Category: Music

Page: 447

View: 3494

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"That Ellen Rosand's understanding of seventeenth-century Venetian opera is encyclopedic has long been recognized. By focusing her attention now on all three of the last operas of Claudio Monteverdi, however, she has met a formidable challenge: this book demonstrates how to put philology at the service of interpretation and interpretation at the service of philology. All those who care about these operas, fundamental to the development of the genre itself, and about scholarship in the Humanities, will profit from her masterful achievement."--Philip Gossett, the Robert W. Reneker Distinguished Service Professor at The University of Chicago and author of Divas and Scholars: Performing Italian Opera "Ellen Rosand's monumental study is so much more than a meticulous exploration and explanation of all the surviving material and its many literary and musical sources. She presents ingenious, utterly convincing solutions to the problems posed by this material, offering therefore countless new insights into Monteverdi's last two surviving operas, the great Poppea and Ulisse, while also reeling in to this forensic examination the tantalisingly lost score of Le nozze de Enea. Her feel for the music is inspiring, and her theatrical instinct exemplary. This is a book of phenomenal clarity and great passion, and an indispensable addition to our understanding of this great composer."--Jane Glover, Conductor and Music Director for Chicago's Music of the Baroque.

Italian Opera

Author: David R. B. Kimbell

Publisher: Cambridge University Press

ISBN: 9780521466431

Category: Music

Page: 684

View: 1386

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David Kimbell traces the history of Italian opera from the Renaissance to the early twentieth century.

Nietzsche and Music

Author: Georges Liébert

Publisher: University of Chicago Press

ISBN: 9780226480879

Category: Music

Page: 291

View: 6473

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For Nietzsche, music gave access to a realm of wisdom that transcended thought. Music was Nietzsche's great solace; in his last years, it was his refuge from madness."--BOOK JACKET.

Verdi in Performance

Edited by Alison Latham and Roger Parker

Author: Alison Latham,Roger Parker

Publisher: Oxford University Press on Demand

ISBN: 9780198167358

Category: Music

Page: 196

View: 8089

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This collection of essays addresses the issue of how to make Verdi's operas relevant to modern audiences while respecting the composer's intentions. Here, both scholars and music and stage practitioners reflect current thinking on matters such as "authentic" staging, performance practice, and the role of critical editions.

In Classic Style

The Splendor of American Ballet Theatre

Author: Nancy Ellison,Kevin McKenzie,Rachel Suzanne Moore

Publisher: Rizzoli International Publications

ISBN: 9780847830411

Category: Music

Page: 237

View: 5346

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An oversized celebration of the signature performances of the American Ballet Theater features lavish photographs of such dancers as Angel Corella, Alessandra Ferri, and Ethan Stiefal in a range of productions, from Othello and The Sleeping Beauty to Swan Lake and Giselle.

The Frightful Stage

Political Censorship of the Theater in Nineteenth-Century Europe

Author: Robert Justin Goldstein

Publisher: Berghahn Books

ISBN: 9780857454195

Category: History

Page: 322

View: 3266

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In nineteenth-century Europe the ruling elites viewed the theater as a form of communication which had enormous importance. The theater provided the most significant form of mass entertainment and was the only arena aside from the church in which regular mass gatherings were possible. Therefore, drama censorship occupied a great deal of the ruling class’s time and energy, with a particularly focus on proposed scripts that potentially threatened the existing political, legal, and social order. This volume provides the first comprehensive examination of nineteenth-century political theater censorship at a time, in the aftermath of the French Revolution, when the European population was becoming increasingly politically active.

Blackness in Opera

Author: Naomi Andre,Karen M. Bryan,Eric Saylor

Publisher: University of Illinois Press

ISBN: 9780252093890

Category: Music

Page: 304

View: 5021

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Blackness in Opera critically examines the intersections of race and music in the multifaceted genre of opera. A diverse cross-section of scholars places well-known operas (Porgy and Bess, Aida, Treemonisha) alongside lesser-known works such as Frederick Delius's Koanga, William Grant Still's Blue Steel, and Clarence Cameron White's Ouanga! to reveal a new historical context for re-imagining race and blackness in opera. The volume brings a wide-ranging, theoretically informed, interdisciplinary approach to questions about how blackness has been represented in these operas, issues surrounding characterization of blacks, interpretation of racialized roles by blacks and whites, controversies over race in the theatre and the use of blackface, and extensions of blackness along the spectrum from grand opera to musical theatre and film. In addition to essays by scholars, the book also features reflections by renowned American tenor George Shirley. Contributors are Naomi André, Melinda Boyd, Gwynne Kuhner Brown, Karen M. Bryan, Melissa J. de Graaf, Christopher R. Gauthier, Jennifer McFarlane-Harris, Gayle Murchison, Guthrie P. Ramsey Jr., Eric Saylor, Sarah Schmalenberger, Ann Sears, George Shirley, and Jonathan O. Wipplinger.

From the Score to the Stage

An Illustrated History of Continental Opera Production and Staging

Author: Evan Baker

Publisher: N.A

ISBN: 9780226035086

Category: History

Page: 439

View: 9068

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"In clear, witty prose, Evan Baker covers all the major players and pieces involved in getting an opera onto the stage, from the stage director who creates the artistic concept for the production and guides the singers' interpretation of their roles to the blocking of singers and placement of scenery. He concentrates on the people--composers, librettists, designers, and technicians--as well as the theaters and events that generated developments in opera production. Additional topics include the many difficulties in performing an opera, the functions of impresarios, and the business of music publishing. Delving into the absorbing and often neglected history of stage directing, theater architecture and technology, and scenic and lighting design, Baker nimbly links these technical aspects of opera to actual performances and performers, and the social context in which they appeared. Out of these details arise illuminating discussions of individual productions that cast new light on the operas of Wagner, Verdi, and others." -- Publisher's website.

Changing the Score

Arias, Prima Donnas, and the Authority of Performance

Author: Hilary Poriss

Publisher: Oxford University Press

ISBN: 9780199744657

Category: Music

Page: 240

View: 9142

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This study seeks to explore the role and significance of aria insertion, the practice that allowed singers to introduce music of their own choice into productions of Italian operas. Each chapter investigates the art of aria insertion during the nineteenth century from varying perspectives, beginning with an overview of the changing fortunes of the practice, followed by explorations of individual prima donnas and their relationship with particular insertion arias: Carolina Ungher's difficulties in finding a "perfect" aria to introduce into Donizetti's Marino Faliero; Guiditta Pasta's performance of an aria from Pacini's Niobe in a variety of operas, and the subsequent fortunes of that particular aria; Maria Malibran's interpolation of Vaccai's final scene from Giulietta e Romeo in place of Bellini's original setting in his I Capuleti e i Montecchi; and Adelina Patti's "mini-concerts" in the lesson scene of Il barbiere di Siviglia. The final chapter provides a treatment of a short story, "Memoir of a Song," narrated by none other than an insertion aria itself, and the volume concludes with an appendix containing the first modern edition of this short story, a narrative that has lain utterly forgotten since its publication in 1849. This book covers a wide variety of material that will be of interest to opera scholars and opera lovers alike, touching on the fluidity of the operatic work, on the reception of the singers, and on the shifting and hardening aesthetics of music criticism through the period.

The Oxford Handbook of Opera

Author: Helen M. Greenwald

Publisher: Oxford University Press, USA

ISBN: 0195335538

Category: Music

Page: 1177

View: 675

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'The Oxford Handbook of Opera' captures the highly charged dynamic between opera and its audience, bringing the complexities of scholarship and the excitement of performance into the mainstream conversation. Fifty essays address an extensive range of topics.

The Gilded Stage

A Social History of Opera

Author: Daniel Snowman

Publisher: Atlantic Books (UK)

ISBN: 9781843544678

Category: Music

Page: 496

View: 7228

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This title unwraps the story of opera in the contexts in which it has developed, throughout history and around the world, from Handel's London to the glamour of the Parisian opera via Venetian carnival.

Changing the Score

Arias, Prima Donnas, and the Authority of Performance

Author: Hilary Poriss

Publisher: Oxford University Press

ISBN: 0190452684

Category: Music

Page: 240

View: 5467

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This study seeks to explore the role and significance of aria insertion, the practice that allowed singers to introduce music of their own choice into productions of Italian operas. Each chapter investigates the art of aria insertion during the nineteenth century from varying perspectives, beginning with an overview of the changing fortunes of the practice, followed by explorations of individual prima donnas and their relationship with particular insertion arias: Carolina Ungher's difficulties in finding a "perfect" aria to introduce into Donizetti's Marino Faliero; Guiditta Pasta's performance of an aria from Pacini's Niobe in a variety of operas, and the subsequent fortunes of that particular aria; Maria Malibran's interpolation of Vaccai's final scene from Giulietta e Romeo in place of Bellini's original setting in his I Capuleti e i Montecchi; and Adelina Patti's "mini-concerts" in the lesson scene of Il barbiere di Siviglia. The final chapter provides a treatment of a short story, "Memoir of a Song," narrated by none other than an insertion aria itself, and the volume concludes with an appendix containing the first modern edition of this short story, a narrative that has lain utterly forgotten since its publication in 1849. This book covers a wide variety of material that will be of interest to opera scholars and opera lovers alike, touching on the fluidity of the operatic work, on the reception of the singers, and on the shifting and hardening aesthetics of music criticism through the period.

En Travesti

Women, Gender Subversion, Opera

Author: Corinne E. Blackmer,Patricia Juliana Smith

Publisher: Columbia University Press

ISBN: 0231102690

Category: Music

Page: 381

View: 3254

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-- Michael and Linda Hutcheon, Cambridge Opera Journal

Opera in Seventeenth-Century Venice

The Creation of a Genre

Author: Ellen Rosand

Publisher: Univ of California Press

ISBN: 0520254260

Category: History

Page: 710

View: 9715

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"In this elegantly constructed study of the early decades of public opera, the conflicts and cooperation of poets, composers, managers, designers, and singers—producing the art form that was soon to sweep the world and that has been dominant ever since—are revealed in their first freshness."—Andrew Porter "This will be a standard work on the subject of the rise of Venetian opera for decades. Rosand has provided a decisive contribution to the reshaping of the entire subject. . . . She offers a profoundly new view of baroque opera based on a solid documentary and historical-critical foundation. The treatment of the artistic self-consciousness and professional activities of the librettists, impresarios, singers, and composers is exemplary, as is the examination of their reciprocal relations. This work will have a positive effect not only on studies of 17th-century, but on the history of opera in general."—Lorenzo Bianconi