Academic literature on the topic 'Operas – Italy – History'
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Journal articles on the topic "Operas – Italy – History"
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Rabb, Theodore K. "Opera, Musicology, and History." Journal of Interdisciplinary History 36, no. 3 (January 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 America.
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Muir, Edward. "Why Venice? Venetian Society and the Success of Early Opera." Journal of Interdisciplinary History 36, no. 3 (January 2006): 331–53. http://dx.doi.org/10.1162/002219506774929854.
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Why did opera first succeed as a public art form in Venice between 1637 and 1650 when all the elements of the new form were fully evident? The answer is to be found in the conjunction between Venetian carnival festivity and the intellectual politics of Venetian republicanism during the two generations after the lifting of the papal interdict against Venice in 1607. During this extraordinary period of relatively free speech, which was unmatched elsewhere at the time, Venice was the one place in Italy open to criticisms of Counter Reformation papal politics. Libertine and skeptical thought flourished in the Venetian academies, the members of which wrote the librettos and financed the theaters for many of the early Venetian operas.
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Zaslaw, Neal. "Scylla et Glaucus: A case study." Cambridge Opera Journal 4, no. 3 (November 1992): 199–228. http://dx.doi.org/10.1017/s0954586700003773.
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The policies of centralisation pursued by Louis XIV and his ministers affected most aspects of French life and culture. From 1645 opera had been imported from Italy by Louis' minister Cardinal Mazarin, originally out of political motives. When it had become ‘naturalised’, assuming its characteristic French guise under the despotic direction of Lully's Académie Royale de Musique, it continued to serve political purposes. In return for a monopoly on theatre music, Lully saw to it that opera served not only as entertainment for the nobility and bourgeoisie, but also as propaganda for the state and for the divine right of the King. An incidental effect of these policies was that the number of French operas produced was small compared to the number in Italy. This was due to the monopoly; to the centralisation, which meant that with few exceptions ‘French’ opera really meant ‘Parisian’ opera; and to the lavishness of the productions, which made frequent changes of repertory impractical even with subsidies. Each première was an event of note, chronicled in official and unofficial sources – the archival documents, mémoires, correspondence, periodicals, pamphlets and books of the day. This profusion of documentation frequently makes possible a degree of precision about the history of early French opera that can rarely be attained for other national schools.
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Wangpaiboonkit, Parkorn. "Rethinking Operatic Masculinity: Nicola Tacchinardi's Aria Substitutions and the Heroic Archetype in Early Nineteenth-Century Italy." Cambridge Opera Journal 32, no. 1 (March 2020): 1–26. http://dx.doi.org/10.1017/s0954586720000099.
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AbstractThis article looks at representations of masculinity in Italian operatic performance in the 1820s and 1830s, with a particular focus on the ways in which male characters were transformed through the practice of aria and scene substitutions. Upon his retirement in 1833, the tenor Nicola Tacchinardi chastised musico performers – women who sang male roles – for their unconvincing portrayal of operatic heroes. Rather than complain about their high-lying voices, he chose to criticise these women's feminine appearance and idiosyncratic stage behaviours as unmasculine. Tacchinardi's criteria for gender performance, then, sidestepped embodied vocality and centred on performer appearance and behaviour in specific narrative situations. My study explores how Tacchinardi and his contemporaries employed aria substitution in heroic roles as a means for plot substitution, forgoing arias of dramatic stasis for dynamic scenes that showcase decisive action and augmented narrative significance. In this pre-Duprez milieu, before the onset of predetermined physiology in operatic discourse, male singers across the 1820s achieved an explicitly masculine self-definition not through voice, but as masters of textual control. Aria substitutions in the operas La Sacerdotessa d'Irminsul, La donna del lago and Norma demonstrate how singers established the components of masculine-heroic conventions through sensitive consideration of dramaturgy. I stress that the singing voice before 1830 was under-assimilated as an index of gender, and that rethinking the history of the ‘rise of the tenor’ may be crucial to understanding the history of the vocalic body.
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Hatipova, I. A. "Mikhail Vasilyevich Sechkin – Pianist, Conductor, Teacher." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 155–70. http://dx.doi.org/10.34064/khnum2-18.09.
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Target setting. In the modern musical culture of the Republic of Moldova M. V. Sechkin stands out as one of the key figures. He proved to be a multi skilled musician: piano player, conductor, and pedagogue. The scientific challenge disclosed in the article touches on creation of a coherent reflection of the work conducted by M. Sechkin in musical and artistic institutions of the Republic of Moldova during 1988–2015. Thus, notably contributing to the theoretical perception of the process of musical art development in the Republic of Moldova at the turn of the 21st century while filling up the gap in studying the history of Moldovan musical culture. Review of literature. The activity conducted by M. Sechkin was not reflected in the scientific literature. The present paper is the first attempt to present the creative portrait of the musician by summarizing press articles and a range of interviews. The purpose of this paper is confined to disclosing the contribution made by the famous piano player, conductor, and pedagogue M. Sechkin in the process of musical art development in Moldova at the turn of the 21st century. Research methodology. In the research of creative activity of M. Sechkin, use has been made of a complex of methods applicable in modern study of art: the empirical level of scientific research was established through informal personal conversations with M. Sechkin and other musicians, directly linked with his activity. Applied at the theoretical level were general scientific methods, such as analysis and synthesis, induction and deduction, comparison, etc. Statement of basic material. Over the years, M. V. Sechkin, born on March 31, 1943 in the Ukrainian City of Kharkov, has contributed decisively to the development of musical culture in the Republic of Moldova as a pianist, opera and symphony orchestra conductor, professor and public figure. He took his first lessons in music from his mother Maria Sechkin Zakharchenko, the follower of K. N. Igumnov. He attended the profile secondary musical school, class of Regina Gorovitz – the sister to the famous pianist Vladimir Gorovitz. In 1966, M. Sechkin graduated from Kharkov Conservatoire as a pianist on the class of Professor Mikhail Khazanovsky and then selected to remain with the Chair as an assistant. However, his dream of making a carrier of symphony and opera conductor has taken the young musician to a different path. The interest for conducting appeared under the influence of the art of conducting revealed by Leonid Khudoley, disciple of Nikolay Golovanov. Therefore, two years later, after graduation, M. Sechkin has entered the faculty of conductors at Kharkov Institute of Arts. One year later, he moves to Kyiv Conservatoire named after P. I. Tchaikovsky, where he attended the class of Professor Mikhail Kanershtein, disciple of one of the founders of the Soviet school of conducting Nicolay Malko. Next followed probation assistantship, where M. Sechkin attended a training course headed by the outstanding Ukrainian conductor Stephan Turchak. Having accomplished his probation assistantship, M. Sechkin has joined the Symphonic orchestra of Zaporozhye Philharmonics and later on invited to Donetsk Opera Theatre, where he mastered a rather comprehensive theatrical repertoire. The Chisinau (Moldova) period of maestro’s creative biography started beck in 1988, when he accepted the invitation to join the Moldovan State Conservatoire as Professor of the Chair of Special Piano and the Chair of Operatic Training. By then he headed the Students Symphony Orchestra, being one of the first conductors of Opera Studio. The Studio repertoire included the best images of West European and Russian opera classics. Prepared from the scratch were such operas as Carmen by G. Bizet and the Noblewoman Vera Sheloga by N. А. Rimsky Korsakov. The students – alumni of this conservatoire then worked successfully at the National Opera Theatre, performed in prestigious opera scenes around the world; among these one could mention Petru Racovita, Natalia Margarit, Lilya Sholomey, Yuri Gasca, Robert Khvalov, Stephan Curudimov, Mefodie Bujor, and Liliana Lavric. The Opera Studio Orchestra was touring in Italy and Spain. For a number of decades, M. Sechkin acted as one of the key conductors at the National Opera and Ballet Theatre, while from 1990 to 1992 acted as the Principal Conductor and the Art Director. Here he worked on staging the ballets Romeo & Juliette by S. Prokofiev, Spartacus by А. Khachaturian, and operas the Marriage of Figaro by W. Mozart, Don Carlos by G. Verdi, and Iolanta by P. I. Tchaikovsky. In parallel to the theatre plays, M. Sechkin has brightly proven his qualities as a conductor of the Symphony Orchestra of the National Philharmonics named after S. Lunchevici. Under his leadership (2008–2013), the orchestra performed more than twenty show programs, including premiere hits by P. Tchaikovsky (Symphony No. 5, symphony Manfred), A. Scriabin (Symphony No. 2 and No. 3), and S. Rachmaninoff (Symphony No. 3). Many of the musicians are marking high conducting mastery of M. Sechkin in performing orchestral accompaniment and special work with the soloists prior to orchestra performance. Likewise appreciated was the work of maestro with young musicians. The conductor devotes a lot of his time to promoting the oeuvre of Moldovan composers. Since 2000 and until nowadays, within the frameworks of the Days of New Music Festival, jointly with the National Philharmonics Orchestra, the maestro prepared a number of programs compiled from the works of V. Polyakov, V. Zagorsky, V. Rotaru, A. Luxemburg, O. Negruza, B. Dubossarsky, and Z. Tcaci. In 30 years of his activity in Chisinau, M. Sechkin cooperated with all of the known orchestra ensembles. Back in 90th, maestro was successfully touring with the National Opera and Ballet Theatre in Italy, Spain, Portugal, Switzerland, Rumania and Chile. In Rumania, M. Sechkin was working full time as a conductor and then as the principal conductor of the Symphony Orchestra of the city of Botosani (1998–2013), where he managed to stage about 70 show programs. The multifaceted and fruitful activity of the musician was repeatedly marked with Certificates of Honor and Diplomas. In 1996, he was decorated with the award Maestru în Artă (Master of Arts) and in 2018 with the noble award of the People’s Artist of the Republic of Moldova. Conclusions and prospects. While appreciating the contribution made by this outstanding musician into the development of the musical culture in the Republic of Moldova, one could clearly see the determinant trajectory of his life and artistic journey – the stalwart devotion to music, musical education, nurturing young performers and listeners of different age group generations.
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Davis, John A. "Opera and Absolutism in Restoration Italy, 1815–1860." Journal of Interdisciplinary History 36, no. 4 (April 2006): 569–94. http://dx.doi.org/10.1162/jinh.2006.36.4.569.
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Opera played an important part in the lives of urban Italians during the decades that followed the fall of Napoleon's European empire and the restoration of the Italian legitimist rulers by the Congress of Vienna. To argue, however, that opera mattered because of its association with nationalism is to get the formula the wrong way around. Nationalists, as well as political authorities, wanted to harness opera to their cause because of its inherent social significance. The theater offered urban, educated Italians the opportunity to be entertained and to congregate lawfully in a public place. The fact that the theaters continued to draw regular audiences, regardless of censorship, would seem a sure indication that politics—at least not in the narrow, nationalist sense—was not the primary reason why opera mattered.
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Batsak, K. Yu. "Italian opera stars of the Kharkiv stage: the 80s of the 19th – early 20th centuries." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 89–119. http://dx.doi.org/10.34064/khnum2-18.06.
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Introduction. The Italian opera in Kharkiv has a long history tradition. Its beginnings date back to the 1850s, when the city became a part of the tour routes of Odesa Italian opera troupes under F. Berger’s, V. Sermattei’s direction (1850s – early 1860s), those of Taganrog – under V. Sermattei’s, Corsi’s and Co (second half of 1860s – 1876). These little provincial troupes with unequal by quality the stuff of singers, with a little choir, usually without their own orchestra, within their possibilities, introduced the popular Italian opera repertoire to the Kharkiv audience. Technical and technological achievements – the development of the rail network, the shipping industry, the telegraph and telephone as the newest means of communication, etc., facilitated communication and, among other things, caused cultural achievements rapid exchange. Those times were marked by increasing of diffusive phenomena (in opera repertoire, in the troupe composition, etc.) in musical and theatrical arts, which, in particular, contributed to the scenic creativity activation of Italian artistes and the extension of the geography of their performances. Outstanding and average singers from the Apennines have travelled to different countries of the world with solo concert programs as part of wandering or stationary opera groups. Artistic tours to Eastern direction – to the European territories of the Russian Empire, along with touring trips to the North and South America countries, – became one of the most prevalent. Kharkiv, being one of the largest industrial and cultural centres in the Russian Empire, as a rule, was included by Italian theatre management in vocal-artistic tour programs. Theoretical background. The problem of the famous Italian opera singers’ activity on the Kharkiv stage in the 80s of the 19th – the beginning of the 20th is poorly investigated. Separate pages of M. Battistini’s, J. Bellinchoni’s, A. Mazini’s, T. Ruffo’s, and E. Tamberlik’s biographies related to Kharkiv were studied by M. Varvartsev (2000) in his historical and biographical work “Italians in the cultural space of Ukraine (the end of 18 – 20s years of the 20th century”, written in the form of a dictionary. The main source for the study of this subject were the local musicologists’ (V. Sokalsky, K. Bych-Lubensky, Yu. Babetsky, etc.) theatrical reviews, published in the Kharkiv regional and city press. Objectives. As the Italian opera art had undeniable influence on the Kharkiv musical culture development, the purpose of the article is to study the scenic activity of the famous Italian opera artistes, which acquainted the local theatrical audience with the assets of the world opera arts in the last decades of the 19th – early 20th century. For this purpose, the following tasks have been outlined: to find out the information potential of music-critical publications, dedicated to the Italian singers’ performances, which were printed in the local press; identify and systematize the facts describing the Italian opera performers’ participation in Kharkiv musical life during that period; to reveal the concert and opera repertoire, to study the evaluations of the Italian singers’ performances by professional criticism, the ways of artistes’ interaction with the audience; to determine the Kharkiv performances position in the famous vocalists’ creative biography, to reconstruct the geography of their tour routes, included performances in Kharkiv. The methodology involves the application of the semiotic-hermeneutic method in order to analyze the phenomena of musical-theatrical life (peculiarities of vocal-stylistic style, specificity of musical-critical thought, reactions and preferences of the audience) as a culture text and their hermeneutical understanding; bio-bibliographic method (to find out and combine facts of life and creative activity of Italian singers in Italy and abroad, in particular, in Kharkiv as well-known culture centre); cultural and historical method (allows to study the Italian singers’ scenic activities as a social phenomenon, to identify social factors contributed to the spread of the Italian opera achievements in the local music and theatre environment). Results and discussion. The study of famous Italian singers’ performances on the Kharkiv stage in the definite period allowed highlighting new facts of their biographies, to analyze the concert and opera repertoire, the features of vocal and performing style, acting specifics. The research revealed the place of Kharkiv concert and opera performances in Italian artistes’ touring programs, analyzed the directions and peculiarities of communicative interactions between performers and spectators, determined the Kharkiv performances place in creative biographies of vocalists who have gained European fame. Conclusions. Italian artistes’ performances had a great influence on local opera singers’ professional growth, the formation of musical tastes and preferences of the educated part of the city residents. The investigation of the repertoire of the Italian singers testifies to their desire to acquaint the listener with the best achievements of European opera art, as well as to present contemporary Russian composers’ operas, which, at the time, were getting popularity in the Western European countries, due, primarily, to Italian performers. Kharkiv performances were usually the part of Italian artistes’ tours, being organized in the largest cities of Ukraine and surrounding regions of former Russian Empire – in Odesa, Kyiv, Mykolayiv, Rostov on Don, which testified, in particular, that the city was transformed into one of the European music culture distribution centres then. The high valuation given by the musical critique of the famous singers artistic talents, the active support of their performances by the audience, attest to the utmost importance of the Italians’ touring activity in the Kharkiv musical culture development.
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Castelvecchi, Stefano. "Commentary: Was Verdi a “Revolutionary”?" Journal of Interdisciplinary History 36, no. 4 (April 2006): 615–20. http://dx.doi.org/10.1162/jinh.2006.36.4.615.
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The recent work of historians and musicologists on Restoration Italy illustrates the complexity of the relationship between opera and society, allowing us to leave behind simplistic claims about either the “revolutionary” role of Italian opera or its political irrelevance. From a perspective closer to that of mentality history, the question to what extent a particular composer was “revolutionary” may take new directions, and even become irrelevant altogether.
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Davis, John A. "Opera and Absolutism in Restoration Italy, 1815–1860." Journal of Interdisciplinary History 36, no. 4 (March 1, 2006): 569–94. http://dx.doi.org/10.1162/002219506776023208.
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Tallián, Tibor. "Oper spielen — Opern schaffen Entstehungs- und Aufführungsgeschichte der ersten ungarischen Operntragödie." Studia Musicologica 55, no. 3-4 (September 2014): 179–235. http://dx.doi.org/10.1556/6.2014.55.3-4.1.
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The paper investigates the genesis as well as the performance history of Ferenc Erkel’s first opera. Bátori Mária, the first Hungarian tragic national opera was premiered on 8 August 1840 at the Hungarian Theatre in Pest. In it, Erkel adapted the model of Italo-French romantic opera. Further representations of Bátori Mária spanned over the following two decades. Based on contemporary critical reviews, the author offers a reconstruction of the performances, traces the soloists’ artistic carreer, and highlights the difficult process of professionalization of Hungarian opera playing.
Dissertations / Theses on the topic "Operas – Italy – History"
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Di, Lillo Ivano. "Opera and nationalism in Fascist Italy." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/283883.
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Cumoli, Flavia. "Periferie e mondi operai: immigrazione, spazi sociali e ambiti culturali negli anni '50." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210345.
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Notre thèse analyse le rapport entre pratiques sociales d’intégration d’immigrés, modèles d’installation et processus de transformation de la morphologie urbaine dans deux études de cas qui se prêtent à une comparaison stimulante. D’un côté, nous avons le cas de l’émigration italienne interne vers un pole industriel de la banlieue métropolitaine milanaise (Sesto San Giovanni); de l’autre côté, celui de l’émigration italienne internationale dans une agglomération des bassins miniers wallons (La Louvière). Il s’agit de deux contextes d’insertion fort différents du point de vue de la morphologie sociale et de l’organisation territoriale, qui profilent des espaces hybrides entre rural et urbain en profonde et rapide transformation, à cause des flux massifs de la main d’œuvre immigrée. Ces différences nous permettent de mettre à l’épreuve de l’analyse comparée les conceptions sociologiques et les parcours historiques de l’intégration, du tissu sociale qui en est à la base, de la citoyenneté, de la construction d’identités collectives, afin de dépasser les dichotomies stéréotypées entre rural/urbain, tradition/modernité, intégration/conflit, migration interne/internationale. La thèse développe une analyse parallèle des deux études de cas en suivant un fil argumentatif unitaire, qui s’ouvre avec une enquête sur les flux migratoires et les contextes d’accueil des migrations. Dans les deux premiers chapitres nous avons analysé le contexte économique, social et territorial dans lequel s’inscrivent les processus migratoires. Pour le cas belge, nous avons analysé le cycle de l’industrie charbonnière, le processus de dépopulation de la Wallonie et les mécanismes qui règlent les flux, c'est-à-dire une migration contractée par les deux gouvernements. En ce qui concerne le cas milanais, nous avons tracé les contours de la très rapide urbanisation, qui a conduit toute une série de communes limitrophes à Milan à entrer dans l’orbite métropolitaine et à se qualifier comme des pôles périphériques.
Après avoir tracé les contours du cadre général, nous avons fait face, dans la deuxième partie, à la question plus spécifique du logement et des formes d’installations. Pour le cas louviérois, nous avons reconstruit les conditions de logement et la très difficile confrontation des premiers immigrés avec le monde du travail charbonnier, l’absence d’une initiative publique dans le secteur du logement jusqu’en 1954, faiblement compensé par l’initiative patronale, et la phase suivante des années 1950, qui a mené à la stabilisation des immigrés dans la région. De Sesto San Giovanni nous avons reconstruit la transition complexe vers la périphérie métropolitaine, à partir des installations rurales jusqu’aux politiques publiques locales et nationales de construction de grands ensembles, en soulignant comment cette intervention urbanistique était au centre d’un débat très vif sur l’aménagement du territoire, qui a débouché sur la création d’institutions administratives régionales. Dans la dernière partie de la recherche nous avons plutôt approfondi les aspects sociaux et culturels des parcours d’installation et d’intégration dans les deux tissus urbains. C’est en cette partie que nous avons utilisé davantage les sources orales, afin d’analyser les perceptions de soi, les mécanismes de construction de l’identité sociale et donc tous les changements que la migration, le rencontre avec la ville et l’industrie ont entraîné dans les organisations familiales, dans les perspectives de vie, les aspirations et les projets des migrants. À partir de l’analyse de ces parcours, dans le chapitre conclusif nous avons interrogé quelques catégories historiques et sociologiques classiques des études migratoires: d’abord le sens d’appartenance à la communauté d’origine et le développement d’un sens d’identité nationale, ensuite le processus de formation d’une solidarité de classe, qui dans les deux contextes a pris des formes sensiblement distinctes surtout par rapport aux différences dans la mémoire de l’expérience migratoire.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
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Lenar, Richard E. "The Figure of Mary in Italian Opera: Theological Foundations and Technical Analysis." IMRI - Marian Library / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=udmarian1557504767565933.
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Swanson, Barbara Dianne. "Speaking in Tones: Plainchant, Monody, and the Evocation of Antiquity in Early Modern Italy." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1365170679.
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Cailliez, Matthieu. "La diffusion du comique en Europe à travers les productions d’opere buffe, d’opéras-comiques et de komische Opern (France - Allemagne - Italie, 1800-1850)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040110/document.
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Cette étude de la diffusion du comique en Europe, à travers les productions d’opere buffe, d’opéras-comiques et de komische Opern dans la première moitié du XIXe siècle, porte dans un premier temps sur les livrets et leur circulation, puis sur la diffusion des œuvres, enfin sur les modèles structurels musicaux du comique et leurs transferts. Entré le premier dans l’ère de la « littérature industrielle », le théâtre français s’impose à l’échelle du continent et les librettistes français bénéficient du système avantageux du droit d’auteur. Déconsidérés et mal rémunérés, les librettistes italiens et allemands traduisent et adaptent en grande quantité des pièces françaises. Tandis que l’opera buffa connaît une incroyable diffusion en France et en Allemagne entre 1800 et 1850, aussi bien en langue originale qu’en traduction, et que l’opéra-comique suit son exemple en Allemagne en traduction, la komische Oper est rarement jouée en France, et les genres français et allemand restent inconnus en Italie. Les modèles structurels du comique italien, dont les opere buffe de Rossini constituent la plus célèbre expression, sont repris par les compositeurs français et allemands dans leurs propres ouvrages. Les compositeurs allemands empruntent également aux modèles structurels du comique français, si bien que le genre de la komische Oper consiste principalement en une synthèse franco-italienne. Dans une période caractérisée par l’essor des nationalismes, la circulation des œuvres, des librettistes et des compositeurs favorise paradoxalement la construction d’une unité de l’Europe par le rireThis study of the diffusion of comic in Europe, through the productions of opere buffe, opéras-comiques and komische Opern during the first half of the 19th century, firstly examines the libretti and their circulation, then the diffusion of comic operas, and lastly the musical structural models of comic and their transfers. The French theatre inaugurates the age of « industrial literature » imposing itself on the whole continent, and the French librettists benefit from the profitable system of royalties. Discredited and badly payed, the Italian and German librettists translate and adapt a great number of French plays. While the opera buffa enjoys an incredible diffusion in France and in Germany between 1800 and 1850, as well in the original language as in translation, and while the opéra-comique follows suit in Germany (but always in translation), the komische Oper is rarely played in France, and the French and German genres remain unknown in Italy. The structural models of Italian comic, of which Rossini’s opere buffe are the most famous expression, are taken up by French and German composers in their own works. The German composers also borrow from the structural models of French comic, so much so that the genre of the komische Oper ends up consisting principally of a synthesis of French and Italian elements. During a period characterised by the rise of nationalisms, the circulation of the works, the librettists and the composers paradoxically favours the construction of a European unity through laughter
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Francescangeli, Eros. "La sinistra rivoluzionaria in Italia. Politica e organizzazione (1943-1978)." Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3425284.
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This dissertation analyzes that peculiar political front that in the 1970s called itself, and was generally called «revolutionary left», in alternative to the «official», «traditional», or «historical» left represented by the Italian Communist Party (Pci) and the Italian Socialist Party (Psi).
The research, however, embraces a longer time span of Italian socio-political history and the international labor movement, starting with the anarchist movement and the dissident organizations that in 1943-44 appeared within the socialist-communist traditions (Trotskyites, Bordigists, socialist left, etc.), and ending with the Marxist-Leninist and operaista (“workerist”) organizations of the sixties and seventies.
The cross-sectional analysis of the sources has revealed both continuities and discontinuities in the political activism of the revolutionary left before and after 1968. In any case, the former seem to outnumber the latterQuesta ricerca analizza quella peculiare area politica che negli anni settanta si rappresentò, e in genere venne rappresentata, come «sinistra rivoluzionaria», alternativa a quella definita «ufficiale», «tradizionale» o «storica» (Partito comunista italiano e Partito socialista italiano). La ricerca, tuttavia, abbraccia un arco temporale relativamente ampio della storia politico-sociale italiana e del movimento operaio italiano e internazionale. Partendo dal dissidentismo anarchico e social-comunista (trockisti, bordighisti, sinistra socialista, ecc.), che si manifesta a partire dal 1943-1944, si arriva alle organizzazioni rivoluzionarie degli anni sessanta e settanta: marxisti-leninisti e operaisti. Dallo studio incrociato delle fonti è emerso come il rapporto tra il Sessantotto e la militanza politica nei gruppi della sinistra rivoluzionaria pre e post-sessantottina fosse caratterizzato sia da elementi di continuità-omogeneità sia da elementi di rottura-eterogeneità. In ogni caso, i primi sembrano sopravanzare i secondi
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KOTKINA, Irina. "Classical opera under authoritarian rule : a comparative study of cultural policy in the USSR, Italy and Germany." Doctoral thesis, 2008. http://hdl.handle.net/1814/10401.
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Defence date: 15 December 2008Examining Board: Prof. Edward Arfon Rees (EUI, and European Research Institute, University of Birmingham) - supervisor Prof. Heinz-Gerhard Haupt (EUI) Prof. Svetlana Savenko (Moscow State P.I. Tchaikovsky Conservatory, and Russian State Institute for Art Studies) Prof. Hans Erich Bödeker (Max Planck Institute for History, Göttingen, and Max Planck Institute for the History of Science, Berlin)
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
The aim of this thesis is to analyze and compare the operatic culture of Stalinist USSR, Nazi Germany, and Fascist Italy. This task implies analyzing and comparing the operatic cultures, and scrutinizing governmental policies as they affected opera in the USSR, Germany, and Italy in the period of authoritarian rule. The most important focus is on the impact which these three regimes had on opera. And we start our analysis from the paradoxical fact that opera managed to retain its high quality during the time of strictest repression
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Vanherle, Francisca Paula. "Castrati : the history of an extraordinary vocal phenomenon and a case study of Handel’s opera roles for Castrati written for the First Royal Academy of Music (1720-1728)." Thesis, 2002. http://hdl.handle.net/2152/29851.
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Castrati were without doubt, an extraordinary phenomenon in the vocal world. Four centuries of history exist from the first evidence of their presence in music, dating from the 1550s, and the death of the last castrato Allessandro Moreschi, in 1922. A tradition almost solely practiced in Italy, the castrati experienced their halcyon days in the seventeenth and eighteenth century. At first, they were recruited and castrated as young boys to sing in the soprano sections of the church choirs. They enjoyed an extensive training in specialized conservatorios and grew to be the most accomplished vocalists the world had known thus far. Inevitably, their art was noticed by opera composers of the time. They flourished and were celebrated in Italy and abroad. Their vocal technique and artistic skills dictated the bel canto style for nearly two hundred years. At the end of the eighteenth century, the growing awareness in moral philosophy, and a series of political shifts in Europe put an end to the overwhelming success of the eunuchs. Yet their influence on opera composition of the time and of the subsequent decades was of immense consequence. An important question should be raised when performing the opera roles written for castrati nowadays. Who will sing the castrato roles? As a logical solution, women or countertenors should adopt these roles into their repertoire. A study of opera roles written for castrati by a baroque master in the genre, Georg Friedrich Handel, sheds some light on the music for these rare birds. The castrato role-study encompasses Handel’s operas written for the First Royal Academy of Music (1720-1728). By disclosing some particular aspects in the music and the drama, it becomes clear what voice type should be singing these roles in present day Handel opera production.text
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Legault, Matilde. "L’instrumentalisation des opéras de Giacomo Puccini par le régime fasciste italien : le cas de Turandot." Thesis, 2020. http://hdl.handle.net/1866/25687.
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Ce mémoire porte sur l’instrumentalisation politique de la figure du compositeur Giacomo Puccini (1858-1924) et de ses œuvres, plus spécifiquement Turandot (1926), pendant la période fasciste en Italie (1922-1945). Il traite de la dichotomie entre tradition et modernité présente dans la propagande culturelle fasciste, notamment dans la réappropriation du mythe de Puccini à la suite de son décès en 1924, puis de façon exacerbée dans l’utilisation politique de Turandot, plus particulièrement au moment de la création de l’opéra en 1926.
Cette recherche repose sur l’étude de la presse italienne et des revues culturelles de l’époque afin d’analyser la manipulation du discours entourant la figure de Puccini. L’exploitation de son statut de compositeur national, le développement de son image d’homme du peuple et l’exaltation de son génie musical, vu à la fois comme universel et italien, ont permis aux représentants du régime d’héroïser Puccini selon les divers idéaux fascistes.
Ultimement, ce mémoire vise à montrer comment Puccini a fait l’objet d’une récupération idéologique afin de favoriser un consensus populaire et une consolidation identitaire permettant la légitimation du pouvoir mussolinien. Ce cas de figure exemplifie les effets de la rhétorique et des mécanismes culturels d’une hégémonie totalitaire dans la vie musicale d’une nation.This thesis explores the political appropriation of composer Giacomo Puccini (1858-1924) and his operas during the fascist period in Italy (1922-1945). It highlights the dichotomy created by the regime’s insistence on both tradition and modernity in its cultural propaganda, as mirrored in the reinterpretation of the myth surrounding Puccini after his death in 1924—particularly in the political use of Turandot after the opera’s 1926 premiere. Based on a detailed study of the Italian press of the time and of cultural magazines controlled by the regime, this research analyzes the manipulation of the discourse surrounding Puccini’s image in fascist Italy. Party members exploited Puccini’s myth by insisting on his status as a national Italian composer, his image as a man of the people, and his musical genius, considered as both universal and quintessentially Italian. Through this rhetoric, Puccini became a standard-bearer of fascist ideology, praised both as a composer of the great Italian opera tradition and as a highly modern creator. Ultimately, the aim of this thesis is to understand how Puccini was subjected to an ideological appropriation that legitimized fascist authority by fostering social consensus and establishing a strong Italian collective identity. Puccini’s case exemplifies the effects of a totalitarian regime’s rhetoric and cultural mechanisms on the musical life of a nation.
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Prud'homme, Gabrielle. "Commémorer Verdi sous le fascisme : les célébrations de 1941." Thesis, 2018. http://hdl.handle.net/1866/23959.
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Ce mémoire porte sur la récupération politique de la figure et des œuvres du compositeur Giuseppe Verdi (1813-1901) pendant la période fasciste en Italie (1922-1943), et plus précisément à l’occasion des manifestations relatives aux célébrations du quarantième anniversaire de sa mort en 1941, alors que l’Italie est en guerre contre la France et l’Angleterre.
Le premier chapitre explore le développement du mythe de Verdi, et montre comment le compositeur est graduellement transformé en héros national pour devenir une icône de l’art lyrique italien, s’inscrivant dans un effort de glorification du passé pour la promotion d’un esprit nationaliste italien pour, ultimement, attester de la suprématie du pouvoir fasciste.
Le deuxième chapitre propose une étude de l’organisation des festivités de 1941; il se penche aussi bien sur les événements musicaux que sur les discours et les publications, pour ensuite présenter une analyse plus approfondie des célébrations organisées à Parme. Il y est question de la riche réception des manifestations, qui assurent l’entretien et la fortification du mythe verdien.
Le troisième chapitre analyse les éléments discursifs entourant les festivités, afin de démontrer que l’encensement de la figure de Verdi suit diverses lignes de force qui convergent vers la représentation fasciste de la civilisation italienne. Par l’exploitation des sujets nationalistes véhiculés dans ses opéras, la restitution de son image révolutionnaire et patriotique et l’exaltation de son génie, présenté comme étant à la fois italien et universel, les adhérents du régime ont entretenu et développé le mythe Verdi selon le canon de l’idéologie fasciste.
Le but ultime de ce mémoire est de montrer comment, pendant la période fasciste et plus particulièrement au cours des célébrations de 1941, Verdi a fait l’objet d’une récupération idéologique visant à appuyer la légitimité du pouvoir en place pour créer une hégémonie favorable au climat de consensus nécessaire au régime en temps de guerre.This thesis focuses on the political recovery of the figure and works of the composer Giuseppe Verdi (1813-1901) during the fascist period in Italy (1922-1943), and more specifically in 1941 during the celebrations commemorating the fortieth anniversary of his death, a moment in time which coincided with Italy’s war against France and England. The first chapter explores the development of Verdi’s myth and sheds light on how the composer was gradually transformed into a national hero to become an icon of Italian opera. This was part of a wider effort to glorify the past in order to promote an Italian nationalist spirit, and ultimately, attest to the supremacy of the fascist power. The second chapter studies the organization of the festivities of 1941; it examines musical events as well as speeches and publications, and presents a more in-depth analysis of the celebrations organized in Parma. It deals with the rich reception of the manifestations, which assure the maintenance and the fortification of the Verdian myth. The third chapter analyzes the discursive elements surrounding the festivities, in order to demonstrate that the exalting of Verdi’s figure follows various lines of force that converge towards the fascist representation of the Italian civilization. By exploiting nationalist subjects conveyed in his operas, restoring his revolutionary and patriotic image and exalting his genius, presented as being both Italian and universal, the adherents of the regime maintained and nurtured a Verdian myth according to the fascist’s cannon. The ultimate goal of this thesis is to show how, during the fascist period and more specifically during the celebrations of 1941, Verdi was subjected to an ideological appropriation that aimed, on the one hand, at given the legitimacy to the fascism authority and on the other, establish a climate of social consensus essential to the exercise of power during wartime.
Books on the topic "Operas – Italy – History"
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Silvia, Lusuardi Siena, ed. Placido Domingo, la mia voce sotto le stelle: Trent'anni all'Arena di Verona. Cinisello Balsamo, Milano: Silvana, 1999.
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Stanley, Sadie, ed. Puccini and his operas. London: Macmillan, 2000.
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Changing the score: Arias, prima donnas, and the authority of performance. New York: Oxford University Press, 2008.
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Puccini: A listener's guide. New York: Amadeus Press, 2008.
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Il trittico, Turandot, and Puccini's late style. Bloomington: Indiana University Press, 2010.
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The Italian traditions and Puccini: Compositional theory and practice in nineteenth-century opera. Bloomington: Indiana University Press, 2011.
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Rosselli, John. Singers of Italian opera: The history of a profession. Cambridge: Cambridge University Press, 1992.
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Essays on Handel and Italian opera. Cambridge: Cambridge University Press, 1985.
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Brian, Richardson, Gilson Simon A, and Keen Catherine, eds. Theatre, opera, and performance in Italy from the fifteenth century to the present: Essays in honour of Richard Andrews. Egham: Society for Italian Studies, 2004.
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Feldman, Martha. Opera and sovereignty: Transforming myths in eighteenth-century Italy. Chicago: University of Chicago Press, 2007.
Find full textBook chapters on the topic "Operas – Italy – History"
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Frigotto, Maria Laura, and Francesca Frigotto. "Resilience and Change in Opera Theatres: Travelling the Edge of Tradition and Contemporaneity." In Towards Resilient Organizations and Societies, 223–47. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-82072-5_9.
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ABSTRACTOver the last century, the opera has changed dramatically and on several levels. This chapter maps out the major changes of the opera since its origin in its country of birth, Italy, discussing whether this evolution displays a form of transformative resilience. As a theoretical contribution, this case allows to challenge the resilience framework presented in Chapter 1, by raising several prominent questions for the conceptual advancement and empirical grounding of resilience. We ask: To what extent can an entity change in order to be considered a persisting entity and not a different entity? Or in other words: How much continuity is necessary to recognize resilience in the same entity? We add: How are different levels of resilience (institutional, organizational and individual) nested one into another, and therefore, how is the ‘agency of resilience’ played out? As an empirical contribution, this chapter sketches an empirical reconstruction of the history of the opera in a holistic longitudinal perspective.
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Körner, Axel. "Unveiling Modernity: Verdi’s America and the Unification of Italy." In America in Italy. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691164854.003.0005.
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This chapter examines the creation of Giuseppe Verdi's American opera Un ballo in maschera, first performed around the time of Italy's Second War of Independence, in 1859. Un ballo in maschera was the first modern Italian opera set across the Atlantic. The history of its creation and the subsequent debate around it serves as a classic example of the cultural imagination surrounding life in the New World as well as the wider social impact of political ideas in nineteenth-century Italy. The chapter first considers Un ballo's close connection to the Unification of Italy before offering a reading of the opera. It also explores how Verdi depicted America in his opera and how his depiction relates to Italian debates about America at the time. Finally, it assesses the impact of censorship on the plot of Un ballo.
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"Chapter 25. Introduction / Opera in France and Italy." In A Short History of Opera, 577–610. Columbia University Press, 2003. http://dx.doi.org/10.7312/grou11958-026.
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"Chapter 6. Italian Opera in the Later Seventeenth Century in Italy." In A Short History of Opera, 83–106. Columbia University Press, 2003. http://dx.doi.org/10.7312/grou11958-007.
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"Chapter 23. The Later Nineteenth Century: France! Italy! Germany! and Austria." In A Short History of Opera, 473–504. Columbia University Press, 2003. http://dx.doi.org/10.7312/grou11958-024.
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Lockhart, Ellen. "Giuditta Pasta and the History of Musical Electrification." In Animation, Plasticity, and Music in Italy, 1770-1830. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520284432.003.0006.
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Chapter 5 traces the theme of human plasticity into Italian aesthetic discourse and opera of the 1820s and 1830s. The echoes of the musical statues of the late Enlightenment can be heard in the reception of performers of Ottocento opera, especially the women. Figures like Maria Malibran and particularly Giuditta Pasta were construed as living statues or artificially animated interlopers from an ancient past. This quality of animatedness was described with a very new kind of imagery within music criticism, one that drew on well-known developments in the nascent scientific field later known as electrobiology.
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Heyman, Barbara B. "A New Opera House." In Samuel Barber, 470–503. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0018.
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The commission that was one of the greatest tributes to Barber’s career turned out to be his nemesis. Antony and Cleopatra, written for the opening of the new Metropolitan Opera House at Lincoln Center in New York, was handicapped by the inflated Franco Zeffirelli production, with its problematic paraphernalia, including camels and goats and a malfunctioning pyramid, which eclipsed serious evaluation of the music. This chapter narrates how the opera based on Barber’s favorite Shakespeare play came to life, how he handpicked the major characters ̶—Leontyne Price for Cleopatra and Justino Díaz for Antony ̶—and how these artists devoted themselves to the literature and history of their roles. Although Barber’s work here was no less brilliant, the critics felt that the failure of the opera was due to overproduction, with an infusion of mechanical and technical failures. After the premiere, Barber boarded the SS Constitution for Europe. Over the next decade, he devoted his energies intermittently toward a revision of the opera in collaboration with Menotti. In 1975, four performances of the more intimate version with increased lyric meditation were presented at the Juilliard School. Critical reviews of a production at the Spoleto Festival in Italy after Barber died gave much attention to the musical strengths of the opera, with uniform appreciation of Barber as a master of orchestra and choral writing. Performances followed in Chicago, New York, and Philadelphia.
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Spitzer, Michael. "Passions." In A History of Emotion in Western Music, 243–74. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190061753.003.0007.
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This chapter begins that part of the book devoted to the period of “affective realism,” when the modern concept of musical emotion crystallized. Dedicated to the Baroque period, the chapter focuses on the four musical-emotional communities of Italy (Vivaldi), England (Handel), Germany (J. S. Bach), and France (Rameau). Arching over all four emotional styles is the dialogue between emotional models developed by Descartes and Spinoza; and, more broadly, the dialectic between “passion” and “action,” stemming from Aquinas. The chapter reviews Descartes’ theory of emotional expression, and Spinoza’s therapeutic model of emotion, especially his theory of Conatus. The prevailing idea of Affektenlehre is thereby placed into context. The chapter concludes with an extended consideration of Rameau’s opera, Hippolyte et Aricie, in the context of Descartes’ theory of wonder.
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Woodhouse, Barbara Bennett. "A Tale of Two Villages." In The Ecology of Childhood, 41–73. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9780814794845.003.0003.
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Chapter three opens with detailed the two villages that are compared in this book, Scanno Italy and Cedar Key Florida. The portraits cover demography, history, political structure, geography, natural surroundings, social customs and traditions, with a particular focus on the lives of children. Both communities serve populations hovering around 1,700; both are majority Caucasian; both have strong community identities and traditions; and both are located in remote natural environments, with Scanno tucked in a valley of the Apennine Mountains in the Abruzzo region of Central Italy and Cedar Key occupying a chain of islands on the sparsely settled Gulf Coast of Florida in the South of the United States. The village portraits are followed by explicit comparisons of similarities and differences that are most relevant to the ecology of childhood, including early childhood and education systems, access to free play spaces, living on the edge of natural disaster, children’s sense of history and place, economic trauma and resilience, and presence or absence of racial and ethnic tension. The chapter closes with an exercise in triangulation, using multiple sources and uncomfortable conversations to explore attitudes towards racial and ethnic diversity.
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Horden, Peregrine. "Water in Mediterranean History." In Managing Water Resources, Past and Present. Oxford University Press, 2004. http://dx.doi.org/10.1093/oso/9780199267644.003.0009.
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I am a historian, not a hydrologist, and it is well known that historians tell stories. So let me begin with one that opens up some of the themes I would like to consider. The date is around AD 400. The scene is the fringe of the small provincial town of Nola in Campania, Italy. Here was to be found the shrine of St Felix. It had recently been constructed in the middle of an elaborate complex by the bishop of Nola, Paulinus. Fountains gurgled in the courtyards of the basilica, offering natural refreshment. They also symbolized both the church’s and the saint’s therapeutic powers—the water of life, the rivers of paradise, baptismal regeneration. Rain-collecting cisterns initially met the requirements of the shrine, but these proved inadequate. The shrine became in effect parasitic on the water supply of Nola. This supply arrived both through the grand Aqua. Augusta, overall some 96 kilometres long, and from a small aqueduct that started in the hills of Abella. Now Abella was a very small nearby town that took its water into a reservoir through pipes from high mountain ridges and released the surplus down an aqueduct that both supplied Nola and irrigated the surrounding estates. The aqueduct was refurbished by the Abellans so that it fed St Felix’s shrine first and Nola second. The Nolans, however, felt deprived by the suburban complex to the point that they rioted. Yet another aqueduct, a disused one, had to be restored by the Abellans to appease the inhabitants of Nola, even though Bishop Paulinus had already been trying to persuade the Nolans that, by dividing their water with the saint, they reaped unexpected rewards, not just of a spiritual kind. The surrounding fields were better watered than they had been before; the area was better fed. Paulinus wrote in the poem (Carmen 21) that is our principal evidence for the local conflict: ‘Where rough stones lay arid in bare fields, there is now the pleasant transformation of greenery on the watered turf. . . Felix . . . has also brought here to your city the fountains that flow from heaven’ (Walsh 1975: 195-201, at p. 200; Trout 1999:192-4; Squatriti 1998:13-14).
Conference papers on the topic "Operas – Italy – History"
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Tomayko, James E. "Solar Sea Power: Over a Century of Invention." In ASME 2005 International Solar Energy Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/isec2005-76093.
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Solar Sea Power is one of the unusual technologies in history, in that it did not progress in capability much since its first invention by Jacques d’Arsonval in 1881. It has been reinvented several times since then (at least 14 instances, probably more), which is not unusual by itself, as explained in the paper, however, the lack of progress in technological sophistication is unusual, unless the design is dominated by an established, older, paradigm. Some of these repeated inventions were need-based, such as Claude’s, intended for French colonial Africa; few or none matched periods of increased interest in solar power. Even though individual inventors developed Solar Sea Power (SSP), governments were considered likely to advance the technology and apply it for the first 90 years or so of its existence. Recently, this task has been abandoned by deep-pocket governments and left to small, specialized companies such as Anderson’s. Examples of the former are the plant design intended for a lake in northern Italy and the mega-plant with identical technology designed under the Energy Research and Development Agency (ERDA) sponsorship by TRW, a government contractor since sold to an aerospace firm. SSP plants do not produce much electricity, but since a portion of the output is used for operation, it is free to operate, and constantly renewable. It is even more reliable than wind power, in that the temperature differences in suitable water are always there, but wind, a product of many factors, is not blowing at all times.
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Camiz, Alessandro. "Diachronic transformations of urban routes for the theory of attractors." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5639.
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Alessandro Camiz ¹ ¹ Department of Architecture, Girne American University, Cyprus, Association for Historical Dialogue and Research, Home for Cooperation (H4C), 28 Marcou Dracou Street, Nicosia, Cyprus, 1102. E-mail: alessandrocamiz@gau.edu.tr Keywords (3-5): urban tissues, urban morphology, urban routes, theory, history Conference topics and scale: Tools of analysis in urban morphology Recent urban morphology studies consider urban tissues as living organisms changing in time (Strappa, Carlotti, Camiz, 2016), following this assumption the theory should examine more analytically what Muratori called ‘medievalisation’ (Muratori, 1959), a term describing some of the transformations of urban routes happened in the middle ages. The paper considers the diachronic deformation of routes, and other multi-scalar occurrences of the attraction phenomena (Charalambous, Geddes, 2015), introducing the notion of attractors and repellers. Archaeological studies already do consider attractors and repellers as a tool to interpret some territorial transformations, following the assumption that “the trajectory that a system follows through time is the result of a continuous dynamic interaction between that system and the multiple 'attractors' in its environment” (Renfrew, Bahn, 2013, p. 184). There are different elements that can act as attractors in an urban environment, such as bridges, city walls, city gates, water systems, markets, special buildings, and it is possible to consider each of these anthropic attractors as equivalent to a morphological attractor at the geographical scale. We can even interpret the ridge-top theory (Caniggia, 1976) as the result of attraction and repellence of geographic features on anthropic routes. The territorial scale analysis is the methodological base of the theory, but the attractors herein considered operate at the urban scale, deviating locally across time from a rectilinear trajectory and defining a specific urban fabric. The research interprets and reads the effects of attractors on urban routes and fabrics as a method for the reconstruction of Nicosia’s medieval city walls, in continuity between the Conzenian approach (Whitehand, 2012) and the Italian School of Urban Morphology (Marzot, 2002). References:, Muratori, S. (1959) Studi per un’operante storia urbana di Venezia (Istituto Poligrafico dello Stato, Roma). Caniggia, G. (1976) Strutture dello spazio antropico. Studi e note (Uniedit, Firenze). Marzot, N. (2002) ‘The study of urban form in Italy’, Urban Morphology 6.2, 59-73. Whitehand, J.W.R. (2012) ‘Issues in urban morphology’, Urban Morphology 16.1, 55-65. Renfrew, C., Bahn, P. (eds.) (2013) Archaeology: The Key Concepts, (London, Routledge). Charalambous, N., Geddes, I. (2015) ‘Making Spatial Sense of Historical Social Data’, Journal of Space Syntax 6.1, 81-101. Strappa, G., Carlotti, P., Camiz, A. (2016) Urban Morphology and Historical Fabrics. Contemporary design of small towns in Latium (Gangemi, Roma).