Relevant bibliographies by topics / Opera in the Seventeenth Century Venice

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Opera in the Seventeenth Century Venice'

Author: Grafiati
Published: 23 September 2022
Last updated: 28 January 2023

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Journal articles on the topic "Opera in the Seventeenth Century Venice"

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Calcagno, Mauro. "Censoring Eliogabalo in Seventeenth-Century Venice." Journal of Interdisciplinary History 36, no. 3 (2006): 355–77. http://dx.doi.org/10.1162/002219506774929818.

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Analysis of the opera Eliogabalo in its various incarnations, from the perspective of Venetian society and politics at the time, reveals a veiled story of censorship and dissimulation. The first version of the opera, set by Francesco Cavalli in 1667, was hastily abandoned in favor of a new treatment by Giovanni A. Boretti on a libretto by Aurelio Aureli, which managed to retain telling traces of its predecessor. The subsequent fate of this second version, variously rewritten and performed around Italy until 1687, confirms the ideological controversy that always seemed to surround this opera an
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Rabb, Theodore K. "Opera, Musicology, and History." Journal of Interdisciplinary History 36, no. 3 (2006): 321–30. http://dx.doi.org/10.1162/002219506774929782.

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The interactions between operas and the societies in which they were composed and first heard are of interest to both historians and musicologists, especially because operas since the seventeenth century have had significant connections with political and social change. The essays in this special double issue of the journal, entitled “Opera and History”, pursue the connection in six settings: seventeenth-century Venice; Handel's London; Revolutionary Europe from 1790 to 1830; Restoration and Risorgimento Italy; Europe during the birth of Modernism from 1890 to 1930; and twentieth-century Ameri
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Thorburn, Sandy. "What News on the Rialto? Fundraising and Publicity for Operas in Seventeenth-Century Venice." Canadian University Music Review 23, no. 1-2 (2013): 166–200. http://dx.doi.org/10.7202/1014523ar.

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Commercial operas of seventeenth-century Venice, the earliest public operas, are generally described as rigorously literary from 1637-1660. Various tools, including sets, machines, and musical forms helped audiences from various classes and places understand this Venetian Carnevale entertainment. The goal—to create a commercial entertainment industry that reflected and highlighted the wonders of Venice—was identified early in the history of Venetian commercial opera. This paper seeks to define the extent to which nascent commercial enterprises like newspapers, the mail, publishing, and adverti
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Rosand, Ellen. "Commentary: Seventeenth-Century Venetian Opera as Fondamente nuove." Journal of Interdisciplinary History 36, no. 3 (2006): 411–17. http://dx.doi.org/10.1162/002219506774929845.

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Seventeenth-century Venice was the ideal center for the development of opera because of certain special conditions: regular demand from a broad and depend able audience of citizens and travelers alike, dependable financial backing from the many competing patrician families who constructed and operated theaters, a flourishing publishing industry that provided publicity, and a tradition in which the arts were designed specifically to enhance the self-image of the republic. These conditions combined to sustain a genre that appealed to its audience on multiple levels. The increasing demand for new
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Rosselli, John. "From princely service to the open market: Singers of Italian opera and their patrons, 1600–1850." Cambridge Opera Journal 1, no. 1 (1989): 1–32. http://dx.doi.org/10.1017/s0954586700002743.

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We are used to thinking of ‘opera singer’ as a profession. But no such profession existed when opera emerged as a genre at the turn of the sixteenth and seventeenth centuries, when the first public opera house opened in Venice in 1637, or for three or four decades after that: operas were too few to occupy most of anyone's time. In the early seventeenth century not even ‘singer’ was as yet a clearly defined trade. Many singers were also instrumentalists: some accompanied themselves (and some also composed their own music), while others switched between singing and playing; the commonest Italian
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Mamy, Sylvie, and Ellen Rosand. "Opera in Seventeenth-Century Venice. The Creation of a Genre." Revue de musicologie 81, no. 2 (1995): 293. http://dx.doi.org/10.2307/946973.

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Bouwsma, William J., and Ellen Rosand. "Opera in Seventeenth-Century Venice: The Creation of a Genre." Journal of Interdisciplinary History 23, no. 2 (1992): 383. http://dx.doi.org/10.2307/205320.

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Schmidt, Carl B., and Ellen Rosand. "Opera in Seventeenth-Century Venice: The Creation of a Genre." Notes 49, no. 2 (1992): 520. http://dx.doi.org/10.2307/897890.

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Williams, Sarah F. "Opera and Women's Voices in Seventeenth-Century Venice. Wendy Heller." Early Modern Women: An Interdisciplinary Journal 1 (September 1, 2006): 159–61. http://dx.doi.org/10.1086/emw23541461.

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Bruno, Salvatore, and Ellen Rosand. "Opera in Seventeenth-Century Venice: The Creation of a Genre." Italica 70, no. 3 (1993): 406. http://dx.doi.org/10.2307/479570.

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Dissertations / Theses on the topic "Opera in the Seventeenth Century Venice"

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Miller, Robin A. (Robin Annette). "The Prologue in the Seventeenth-Century Venetian Operatic Libretto: its Dramatic Purpose and the Function of its Characters." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277705/.

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The Italian seicento has been considered a dead century by many literary scholars. As this study demonstrates, such a conclusion ignores important literary developments in the field of librettology. Indeed, the seventeenth-century operatic libretto stands as a monument to literary invention. Critical to the development of this new literary genre was the prologue, which provided writers with a context in which to experiment and achieve literary transcendence. This study identifies approximately 260 dramatic works written in Venice between the years 1637 and 1682, drawn together for the first ti
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MARGETTS, JAMES ANOR. "Echoes of Venice: The Origins of the Barcarolle for Solo Piano." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1218894990.

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Calcagno, Mauro P. "Staging musical discourses in seventeenth-century Venice : Francesco Cavalli's Eliogabalo (1667) /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40050069g.

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De, Vivo Filippo Luciano Carlo. "Wars of papers : communication and polemic in early seventeenth-century Venice." Thesis, University of Cambridge, 2002. https://www.repository.cam.ac.uk/handle/1810/272055.

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Patierno, Carolina. "Miti allo specchio : Ero e Leandro, Piramo e Tisbe : dal testo alla scena, dalle fonti classiche alle riscritture del Seicento italiano." Thesis, Sorbonne université, 2021. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2021SORUL152.pdf.

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Le présent travail de recherche porte sur la réception des fabulae de Héro et Léandre et de Pyrame et Thisbé dans la littérature italienne du XVIIe siècle, en particulier dans quatre textes différents par genre, style et origine géographique : Gli amori infelici di Leandro ed Ero (1618), l'idylle de Giovanni Capponi, Hero et Leandro (1630) et La Tisbe, respectivement la «Favola maritima » et la «lieta favola» de Francesco Bracciolini, et Il Leandro (1679), le drame musical de Badovero-Pistocchi. La décision de mettre les deux mythes en relation étroite l'un avec l'autre se fonde sur certaines
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Karp, Jamie Marie. "The Changing Symbolic Images of the Trumpet: Bologna and Venice in the Seventeenth Century." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500135/.

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The trumpet is among the most ancient of all musical instruments, and an examination of its history reveals that it has consistently maintained important and specific symbolic roles in society. Although from its origins this symbolic identity was linked to the instrument’s limited ceremonial and signaling function, the seventeenth century represents a period in which a variety of new roles and identities emerged. Bologna and Venice represent the two most important centers for trumpet writing in Italy during the seventeenth century. Because of the differing ideologies at work in these cities
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Lin, Thomas Wen Tsen. "Giasone's Travels: Opera and Its Performance in the Seventeenth Century." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467520.

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This dissertation presents an in-depth examination of Giacinto Andrea Cicognini and Francesco Cavalli’s Giasone (1649). Its premiere in Venice took the city by storm, generating such enthusiasm among opera audiences that the publisher Andrea Giuliani was forced to print two additional editions of the libretto that same year simply to meet widespread demand. In an industry that chewed up and spat out operas, one in which most productions had an effective shelf life of one year, Giasone would go on to be performed throughout Italy over the next forty years, ranging as far south as Palermo and as
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Hammerton, Rachel Joan. "English impressions of Venice up to the early seventeenth century : a documentary study." Thesis, University of St Andrews, 1987. http://hdl.handle.net/10023/2792.

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The first Englishmen to write about the city-state of Venice were the pilgrims passing through on their way to the Holy Land. Their impressions are recorded in the travel diaries and collections of advice for prospective fellow pilgrims between the early fourteenth and early sixteenth centuries, the most substantial being those of William Wey, Sir Richard Guylforde and Sir Richard Torkington, who visited Venice in 1458 and '62, 1506, and 1517 respectively. In the 1540s arrived the men who saw Venice as part of the new Europe--Andrew Borde and William Thomas. Thomas's study of the Venetian stat
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Pfost, Bodie. "The Trombone in A: Repertoire and Performance Techniques in Venice in the Early Seventeenth Century." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19710.

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Music published in Venice, Italy in the first half of the seventeenth century includes a substantial amount specifying the trombone. The stylistic elements of this repertoire require decisions regarding general pitch, temperament, and performing forces. Within the realm of performing forces lie questions about specific instrument pitch and compositional key centers. Limiting this study to repertoire performed and published in approximately the first half of the seventeenth century allows a focus on specific performance practice decisions that underline the expressive elements of the repertoire
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Henderlight, Justin. "Declamation in seventeenth-century English opera, or the nature of "recitative musick"." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42032.

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During the English Reformation, composers attempted to create a uniquely English take on opera, one rooted in dramatic elements and conventions tied to the English court masque of the earlier part of the century. One component essential to opera, recitative, was understood then and now to be an Italian invention, and though the Britons knew it to be an indispensible element of operatic style, they had only a passing acquaintance with its specific characteristics. Using stylistic features present in declamatory lutesongs from within masques and without, English composers attempted to develop th
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Books on the topic "Opera in the Seventeenth Century Venice"

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Opera in seventeenth-century Venice: The creation of a genre. University of California Press, 1991.

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Emblems of eloquence: Opera and women's voices in seventeenth-century Venice. University of California Press, 2003.

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Emmanuel, Glixon Jonathan, ed. Inventing the business of opera: The impresario and his world in seventeenth-century Venice. Oxford University Press, 2005.

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Glixon, Beth Lise. Inventing the business of opera: The impresario and his world in seventeenth-century Venice. Oxford University Press, 2006.

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Alm, Irene. Theatrical dance in seventeenth-century Venetian opera. UMI Dissertation Services, 1993.

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Venice, Austria, and the Turks in the seventeenth century. American Philosophical Society, 1991.

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Venice and Amsterdam: A study of seventeenth-century elites. 2nd ed. Polity Press, 1994.

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The theatre of praise: The panegyric tradition in seventeenth-century English drama. University of Delaware Press, 1986.

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Coryate, Thomas. Venice visited: Being a dozen extracts from the journal of Thomas Coryat, who, in the early seventeenth century, walked from Somerset to Venice and back. Old School Press, 1999.

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Aikin, Judith Popovich. A language for German opera: The development of forms and formulas for recitative and aria in seventeenth-century German libretti. Harrassowitz, 2002.

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Book chapters on the topic "Opera in the Seventeenth Century Venice"

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Tedesco, Anna. "Ancora sulla fortuna de La Fuerza lastimosa nell’opera del Seicento: Alfonso I di Matteo Noris (Venezia Napoli Palermo)." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.12.

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Lope de Vega’s play, La fuerza lastimosa, written around 1599 and first published in 1609, was very popular in Seventeenth-Century Italy, as research by Fausta Antonucci and Salomé Vuelta has demonstrated. Several Italian adaptations are already known, among which a dramma per musica, La forza compassionevole, written by Antonio Salvi and staged in Leghorn in 1694. In the same year, another opera based on Lope’s drama was staged in Venice (as Alfonso I) and in Naples (under the title Alfonso il Sesto re di Castiglia). Two years later, this last version was revived in Palermo, again, as in Naples, to celebrate the birthday of King Charles II of Spain. None of these three librettos indicates Lope’s authorship nor it has been hypothesized until now. However, the plot of all librettos is clearly based on Lope’s play. This chapter aims at illustrating the relation between the librettos for these three performances and La fuerza lastimosa. It also discusses the context of all the stagings and identifies some of the existing musical sources. Finally, it argues that Alessandro Scarlatti could be the author of the Neapolitan score.
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Davis, Robert C. "9. Arsenal and Arsenalotti: Workplace and Community in Seventeenth-Century Venice." In The Workplace before the Factory, edited by Leonard N. Rosenband. Cornell University Press, 2020. http://dx.doi.org/10.7591/9781501737732-011.

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Shaw, James. "14. Liquidation or certification? Small claims disputes and retail credit in seventeenth-century Venice." In Buyers and Sellers. Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.seuh-eb.4.00125.

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Kennedy, T. Frank. "Jesuit Opera in Seventeenth-Century Vienna: Patientis Christi memoria by Johann Bernhard Staudt (1654–1712)." In The Jesuits II, edited by John W. O’Malley, Gauvin Alexander Bailey, Steven J. Harris, and T. Frank Kennedy. University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442681552-048.

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Markaki, Tatiana. "Innovations and the art of deception: mixed cloths in Venetian Crete (17th century)." In La moda come motore economico: innovazione di processo e prodotto, nuove strategie commerciali, comportamento dei consumatori / Fashion as an economic engine: process and product innovation, commercial strategies, consumer behavior. Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-565-3.04.

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This paper investigates innovations of the early modern European textile industry and practices of cultural transfer using seventeenth-century Venetian Crete as a case study. It explores the use of novelties, such as mixed cloths, in the dowries assigned to brides in the urban setting of Candia (modern Heraklion) and the surrounding countryside during the period 1600-1645. It draws on computer-processed data from marriage agreements and inventories of movables from the State Archives of Venice. It illustrates, through a comparative lens, how brides used (silk) mixed fabrics to differentiate themselves from others and how Venetian Crete followed the changes in production techniques of the European textile industry.
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Calcagno, Mauro. "Censoring Eliogabalo in Seventeenth-Century Venice." In Studies in Seventeenth-Century Opera. Routledge, 2017. http://dx.doi.org/10.4324/9781315087610-7.

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Glixon, Beth L. "La sirena antica dell’Adriatico: Caterina Porri, a Seventeenth-Century Roman Prima Donna on the Stages of Venice, Bologna, and Pavia." In Studies in Seventeenth-Century Opera. Routledge, 2017. http://dx.doi.org/10.4324/9781315087610-8.

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Glixon, Beth L., and Jonathan E. Glixon. "INTRODUCTION TO THE BUSINESS OF OPERA IN SEVENTEENTH‐CENTURY VENICE: PEOPLE AND FINANCES." In Inventing the Business of Opera. Oxford University Press, 2006. http://dx.doi.org/10.1093/acprof:oso/9780195154160.003.0001.

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"OPERA." In Music in the Seventeenth Century. Cambridge University Press, 1987. http://dx.doi.org/10.1017/cbo9780511586132.006.

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Antonelli, Valerio, Raffaele D’Alessio, and Emanuela Mattia Cafaro. "Bookkeeping Treatises in Seventeenth-Century Venice." In The Origins of Accounting Culture. Routledge, 2018. http://dx.doi.org/10.4324/9781315102627-6.

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Conference papers on the topic "Opera in the Seventeenth Century Venice"

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Simou, Xeni. "The Old Navarino fortification (Palaiokastro) at Pylos (Greece). Adaptation to early artillery." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11389.

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Old Navarino fortification (Palaiokastro) is located on the promontory supervising the naturally endowed Navarino-bay at the south-western foot of Peloponnese peninsula, near the contemporary city of Pylos. The cliff where it is built and where ancient relics lie, was fortified by Frankish in the thirteenth century. The fortification though knows significant alterations firstly by Serenissima Republic of Venice from the fifteenth century that aims to dominate the naval routes of Eastern Mediterranean by establishing a system of coastal fortifications and later by the Ottomans after the conques
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Ballarin, Matteo, and Nadia D'Agnone. "Paesaggio, suolo, tempo: la rappresentazione dei tempi geologici nella citta' di Catania." In International Conference Virtual City and Territory. Centre de Política de Sòl i Valoracions, 2014. http://dx.doi.org/10.5821/ctv.8041.

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Parlare di tempo geologico è un modo di contestualizzare i processi materiali della terra nella
 sua storia. La scala dei tempi geologici suddivide la lunga storia della terra in eoni, ere, periodi
 ed epoche, non omogenei tra loro, ma in relazione l'un l'altro a seconda di ciò che emerge
 dall'analisi dei dati stratigrafici o dallo studio della stratificazione dei diversi livelli della crosta
 terrestre.
 Recentemente negli studi relativi a territorio e paesaggio è stata introdotta l'idea che l'epoca
 dell'Olocene, iniziata circa 11.700 anni fa, sia terminata e c
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