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Книги з теми "Opera in the Seventeenth Century Venice"

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Автор: Grafiati

Опубліковано: 23 вересня 2022

Оновлено: 28 січня 2023

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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. Bath: Old School Press, 1999.

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10

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

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11

Sullam, Sara Copia. Jewish poet and intellectual in seventeenth-century Venice: The works of Sarra Copia Sulam in verse and prose, along with writings of her contemporaries in her praise, condemnation, or defense. Chicago and London: University of Chicago Press, 2009.

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12

Sullam, Sara Copia. Jewish poet and intellectual in seventeenth-century Venice: The works of Sarra Copia Sulam in verse and prose, along with writings of her contemporaries in her praise, condemnation, or defense. Chicago and London: University of Chicago Press, 2009.

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13

Jewish poet and intellectual in seventeenth-century Venice: The works of Sarra Copia Sulam in verse and prose, along with writings of her contemporaries in her praise, condemnation, or defense. Chicago and London: University of Chicago Press, 2009.

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14

Guliyev, Ahmad. Safavids in Venetian and European Sources. Venice: Fondazione Università Ca’ Foscari, 2022. http://dx.doi.org/10.30687/978-88-6969-592-6.

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Анотація:

The emergence of the Safavid Empire in the early sixteenth century marked a significant change in the geopolitics of the Middle East. This momentous change coincided with the widening of Ottoman expansion eastward and the exploration by European powers, especially by Venice, of the possibilities of forming alliances against the Ottomans with the involvement of the Safavids. Thus, Ottoman threat and commercial interests contributed to the emergence and development of diplomatic, cultural, and trade relations between the Republic of Venice and the Safavid Empire, which lasted until the end of the seventeenth century. Drawing on the documents from the Venetian State Archives and other contemporary sources, this book focuses mainly on some aspects of Safavid diplomacy, including the language of the Safavid polity, the role of European subjects as interpreters for the shahs, material and visual characteristics of Safavid diplomatic letters to Venice, the attitude of the Safavids towards resident diplomacy, the reception of the European envoys in the Safavid court and Europeans’ perception of Safavid diplomatic practices, as well as the characteristics of the Safavid embassies to Venice. We have tried to explain the role of Turkish as a language of diplomacy and communication in Safavid-Venetian encounters. We have also attempted to explore briefly how the Venetians distinguished Safavid subjects according to their ethno-linguistic affiliations. Finally, we examine the Ottoman factor in Safavid-Venetian relations in order to establish to what extent, if any, the Ottomans had an impact on the overall character of Safavid-Venetian relations.

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15

Rosand, Ellen. Opera in Seventeenth-Century Venice: The Creation of a Genre. University of California Press, 2007.

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16

Rosand, Ellen. Opera in Seventeenth-Century Venice: The Creation of a Genre. University of California Press, 1990.

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17

Rosand, Ellen. Opera in Seventeenth-Century Venice: The Creation of a Genre. University of California Press, 1990.

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18

Chastity, heroism, and allure: Women in the opera of seventeenth-century Venice. 1995.

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19

Heller, Wendy. Emblems of Eloquence: Opera and Women's Voices in Seventeenth-Century Venice. University of California Press, 2004.

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20

Heller, Wendy. Emblems of Eloquence: Opera and Women's Voices in Seventeenth-Century Venice. University of California Press, 2004.

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21

Glixon, Jonathan, and Beth Glixon. Inventing the Business of Opera: The Impresario and His World in Seventeenth Century Venice. Oxford University Press, Incorporated, 2005.

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22

Glixon, Jonathan, and Beth Glixon. Inventing the Business of Opera: The Impresario and His World in Seventeenth Century Venice. Oxford University Press, USA, 2008.

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23

Heller, Wendy. Emblems of Eloquence: Opera and Women S Voices in Seventeenth-Century Venice. University of California Press, 2004.

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24

Glixon, Johnathon E., and Beth L. Glixon. Inventing the Business of Opera: The Impresario and His World in Seventeenth-Century Venice. Ams Studies in Music. Oxford University Press, 2005.

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25

De Lucca, Valeria. The Politics of Princely Entertainment. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190631130.001.0001.

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The Politics of Princely Entertainment explores transformations in the politics of entertainment of the Italian aristocratic classes during the second half of the seventeenth century, a time when profound social and cultural shifts influenced the production and consumption of music. The emergence of commercial theaters in the 1630s in Venice and the great appeal that opera began to have for a large and international audience required the aristocracy to take on a new role within the complex network of agents responsible for the production not only of opera but of music in general. The increasing competition between commercial opera theaters, ruling courts, aristocratic families, and religious institutions, and the consequent professionalization of roles that previously had relied solely on patronage meant that singers, poets, and composers acquired unprecedented negotiating power. These questions are explored following the journeys and ventures of two of the most prominent patrons in seventeenth-century Italy, Prince Lorenzo Onofrio Colonna and his wife Maria Mancini. During the thirty years under examination here, 1659–1689, the Colonna were the most influential and active agents in Roman musical life: they sponsored an unprecedented number of operas, serenatas, oratorios, public ceremonies, and carnival parades while supporting the careers of the most prominent composers, librettists, musicians, and singers of the time. Following the Prince and his wife through their travels to Venice, Spain (as Viceroys of the Kingdom of Aragon), and later Naples, this book traces the journeys not only of scores and librettos, but also of the singers, composers, and librettists whose art reached these faraway corners of Europe, serving diverse social and political purposes.

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26

Studies in Seventeenth-Century Opera. Taylor & Francis Group, 2010.

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27

Glixon, BethL. Studies in Seventeenth-Century Opera. Taylor & Francis Group, 2017.

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28

Glixon, BethL. Studies in Seventeenth-Century Opera. Taylor & Francis Group, 2017.

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29

Waeber, Jacqueline. Cambridge Companion to Seventeenth-Century Opera. Cambridge University Press, 2020.

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30

Rapp, Richard Tilden. Industry and Economic Decline in Seventeenth-Century Venice. Harvard University Press, 2013.

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31

Rapp, Richard Tilden. Industry and Economic Decline in Seventeenth-Century Venice. Harvard University Press, 2013.

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32

Burke, Peter. Venice and Amsterdam: A Study of Seventeenth-Century Elites. 2nd ed. Blackwell Pub, 1995.

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33

Seventeenth-century opera and the sound of the commedia dell'arte. 2016.

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34

Glixon, Beth Lise. Recitative in seventeenth-century Venetian opera: Its dramatic function and musical language. 1985.

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35

Hugh Alexander (Sandy) Robert Thorburn. Seventeenth-century Venetian opera: The collaborative context of a commercial, synaesthesic art form. 2006.

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36

Altieri, Joanne. Theatre of Praise: The Panegyric Tradition in Seventeenth-Century English Drama. Rowman & Littlefield Publishers, Incorporated, 1986.

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37

Schnoebelen, A. Bologna, 1: Maurice Cazzati, Op. 6 SH Venice 1648 Mauricio Cazzati Op. 13 SH Venice 1651 Mauricio Cazzati, Op. 25 SH Bologna 1661 (Solo Motets from the Seventeenth Century Series). Routledge, 1988.

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38

Schnoebelen, A. Solo Motets in Italy: Lionardo Simonetti (compiler), Chirlanda Sacra Lib. 1, Op. 2 Venice, 1625, Motetti a Voce Sola da Diversi Ecclentissimi Autori... ... Motets from the Seventeenth Century Series). Routledge, 1987.

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39

Sulam, Sarra Copia, and Don Harrán. Jewish Poet and Intellectual in Seventeenth-Century Venice: The Works of Sarra Copia Sulam in Verse and Prose, along with Writings of Her Contemporaries in Her Praise, Condemnation, or Defense. University of Chicago Press, 2009.

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40

Sullam, Sara Copia. Jewish Poet and Intellectual in Seventeenth-Century Venice: The Works of Sarra Copia Sulam in Verse and Prose along with Writings of Her Contemporaries in Her Praise, Condemnation, or Defense. University of Chicago Press, 2010.

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41

Glixon, Jonathan E. Daily Offices and More. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190259129.003.0005.

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The nuns themselves performed the Divine Offices in their choir, following procedures carefully outlined in ceremonial books, a few of which survive for Venice. In most cases, these were sung in standard plainchant, although Santa Teresa had a unique repertoire, and San Lorenzo had an unusual set of ceremonies for Holy Week, especially the Mandatum (washing of the feet). While some Venetian nunneries were known for singing polyphony around 1500, this tradition ended with the reforms a few decades afterwards. Later sources show evidence of falsobordone and primitive polyphony, and occasionally of some use of organ and other instruments by the nuns. An interesting exception to this is the nunnery of Santi Marco e Andrea di Murano, several of whose nuns achieved some fame as singers in the first half of the seventeenth century, for whom Carlo Filago composed a book of motets.

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42

David, Deirdre. Snow. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198729617.003.0005.

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In 1949, Pamela and Snow travelled to Venice for an international meeting of PEN. In the course of a magical week, they admitted their love for each other and Pamela returned to London determined to ask Neil for a divorce, whereupon Neil confessed that he was having an affair. After a tumultuous few months in which Snow wavered in committing himself exclusively to Pamela, they married in July 1950. Pamela had no knowledge of his complicated involvement with several other women, particularly Anne Seagrim, his long-time secretary. Pamela continued writing and published Catherine Carter, the narrative of a romance between a theatre manager modelled on Henry Irving and an actress who resembles Pamela. After the birth of her second son, Philip Snow, in 1952, the family moved to Nethergate, a seventeenth-century house in Suffolk where Pamela became increasingly lonely and unhappy due to Snow’s absence in London during the week.

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43

Harris, Ellen T., and Ellen T. Harris. Musical and Dramatic Structure. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190271664.003.0004.

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The early sources of Dido and Aeneas differ in their overall layout. The harmonic structure of the opera provides a key to its organization in a practice based on earlier seventeenth-century models. Purcell, however, uses harmony in a more dramatic way than his models. The lack of a musical setting of the final chorus and dance indicated in the libretto at the end of Act II seems to skew the harmonic organization, but it also reflects his use of harmony as a dramatic tool. A structural analysis of the opera without these movements reveals a two-part symmetrical structure dividing the opera in half. The successive movements in the two halves are paired in musical structure while their textual opposition reflects the central conflict of the opera.

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44

Gerber, Jane S. Cities of Splendour in the Shaping of Sephardi History. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781904113300.001.0001.

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Sephardi identity has meant different things at different times, but has always entailed a connection with Spain, from which the Jews were expelled in 1492. While Sephardi Jews have lived in numerous cities and towns throughout history, certain cities had a greater impact on the shaping of their culture. This book focuses on those that may be considered most important, from Cordoba in the tenth century to Toledo, Venice, Safed, Istanbul, Salonica, and Amsterdam at the dawn of the seventeenth century. Each served as a venue in which a particular dimension of Sephardi Jewry either took shape or was expressed in especially intense form. Significantly, these cities were mostly heterogeneous in their population and culture — half of them under Christian rule and half under Muslim rule — and this too shaped the Sephardi worldview and attitude. While Sephardim cultivated a distinctive identity, they felt at home in the cultures of their adopted lands. The book demonstrates that Sephardi history and culture have always been multifaceted. The book's interdisciplinary approach captures the many contexts in which the life of the Jews from Iberia unfolded, without either romanticizing the past or diluting its reality.

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45

Roule, Natasha, ed. La chute de Phaéton, comédie en musique (1694). A-R Editions, 2022. http://dx.doi.org/10.31022/b233.

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Marc-Antoine Legrand's La chute de Phaéton, comédie en musique (1694) is the only surviving opera parody from France that was written outside of Paris in the seventeenth century. Part spoken theater and part musical drama, Legrand's work sets excerpts of Jean-Baptiste Lully's Phaéton to a narrative about a troupe of musicians in the city of Lyon who try to rescue their failing opera company from financial collapse. Based on actual events, La chute de Phaéton cleverly transforms Lully's moral lessons on the disastrous consequences of hubris into a scathing commentary on the opera industry—and on the genre of opera itself. The musical portion amounts to approximately thirty minutes of performance time and includes dances, choruses, récitatifs, and airs, making it an ideal tool for introducing students to French baroque music as well as for offering an opportunity of creative exploration for those more experienced with the repertoire.

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46

Agazzari, Agostino. Eumelio, dramma pastorale (1606). Edited by Matthew J. Hall, Elizabeth Lyon, and Zoe Weiss. A-R Editions, 2022. http://dx.doi.org/10.31022/b227.

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Eumelio, dramma pastorale was composed and performed in Rome for Carnival in 1606 at the Collegium Germanicum et Hungaricum, Rome's Jesuit seminary. The work is one of the very few music dramas from the first decade of the seventeenth century, and even as a relatively short work it constitutes a significant proportion of the repertory. Alongside the more well known Orpheus dramas, Eumelio is an important witness to the influence of Jesuit drama on the development of Italian monody and, more broadly, to the early history of opera.

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47

Melamed, Daniel R. The Musical Topic of the Mass in B Minor. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190881054.003.0003.

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If there is a fundamental musical subject of Johann Sebastian Bach’s Mass in B Minor, a compositional problem the work explores, it is the tension between two styles cultivated in church music of Bach’s time. One style was modern and drew on up-to-date music such as the instrumental concerto and the opera aria. The other was old-fashioned and fundamentally vocal, borrowing and adapting the style of Giovanni Pierluigi da Palestrina, his sixteenth-century contemporaries, and his seventeenth-century imitators. The movements that make up Bach’s Mass can be read as exploring the entire spectrum of possibilities offered by these two styles (the modern and the antique), ranging from movements purely in one or the other to a dazzling variety of ways of combining the two. The work illustrates a fundamental opposition in early-eighteenth-century sacred music that Bach confronts and explores in the Mass.

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48

Newark, Cormac, and William Weber, eds. The Oxford Handbook of the Operatic Canon. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780190224202.001.0001.

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This collection examines the phenomenon of the operatic canon: its formation, history, current ontology and practical influence, and future. It does so by taking an international and interdisciplinary view: the workshops from which it was derived included the participation of critics, producers, artistic directors, stage directors, opera company CEOs, and even economists, from the United Kingdom, the United States, France, Italy, Ireland, Germany, the Netherlands, Denmark, and Canada. The volume is structured as a series of dialogues: each subtopic is addressed by two essays, introduced jointly by the authors, and followed by a jointly compiled list of further reading. These paired essays complement each other in different ways, for example by treating the same geographical location in different periods, by providing different national or regional perspectives on the same period, or by thinking through similar conceptual issues in contrasting milieus. Part I consists of a selection of surveys of operatic production and consumption contexts in France, Italy, Germany, England, Russia, and the Americas, arranged in rough order from the late seventeenth century to the late nineteenth century. Part II is a (necessarily) limited sample of subjects that illuminate the operatic canon from different—sometimes intentionally oblique—angles, ranging from the influence of singers to the contiguous genres of operetta and musical theater, and the effects of recording and broadcast over almost 150 years. The volume concludes with two essays written by prominent figures from the opera industry who give their sense of the operatic canon’s evolution and prospects.

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49

Melani, Alessandro. L’empio punito. Edited by Luca Della Libera. A-R Editions, 2022. http://dx.doi.org/10.31022/b228.

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Alessandro Melani's L’empio punito was produced during a short period of prosperity for Roman opera in the second half of the seventeenth century. The libretto, by Giovanni Filippo Apolloni, versified by Filippo Acciaiuoli, adapts the Don Juan myth into an operia seria form. By borrowing many elements from classical literature, Acciaiuoli and Apolloni distance their story from the psychological and ideological topics of the original myth, thereby creating space to parody some of its previous models. The first performance, at the Teatro Colonna on 17 February 1669, was sponsored by Cardinal Flavio Chigi, Agostino Chigi, Lorenzo Onofrio Colonna, and Cardinal Giacomo Rospigliosi, a collective sponsorship following the similar successful production of Il Girello in 1668. Contemporary accounts describe L’empio punito as a novelty and praise its production, especially the visual aspect, which was so well received that a second row of seats was added to allow the entire audience a good view of the stage. The scenery, costumes, ballets, and the various nobles in attendance were all described in the surviving avvisi; the quality of the music and the singing were also highly praised.

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