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The History of Italian Opera marks the first time a team of scholars has worked together to investigate the entire Italian operatic tradition, rather than limiting its focus to major composers and their masterworks. Including both musicologists and historians of other arts, the contributors approach opera not only as a distinctive musical genre but also as a form of extravagant theater and a complex social phenomenon. This sixth volume in the series centers on the sociological and critical aspects of opera in Italy, considering the art in the context of an Italian literary and cultural canon rarely revealed in English and American studies. In its six chapters, contributors survey critics' changing attitudes toward opera over several centuries, trace the evolution of formal conventions among librettists, explore the historical relationships between opera and Italian literature, and examine opera's place in Italian popular and national culture. In perhaps the volume's most striking contribution, German scholar Carl Dahlouse offers his most important statement on the dramaturgy of opera.
The Modern Castrato: Gaetano Guadagni and the Coming of a New Operatic Age chronicles the career of the most significant castrato of the second half of the eighteenth-century. Guadagni may have been the only singer of the time fully able to understand the demands and opportunities of this reform, as well to possess the intelligence and self-knowledge to realize that it suited his skills, limitations and temperament perfectly--making him the first castrato to embrace the concepts of modern singing.
Passionate, witty, and brilliant, Opera as Drama has been lauded as one of the most controversial, thought-provoking, and entertaining works of operatic criticism ever written. First published in 1956 and revised in 1988, Opera as Drama continues to be indispensable reading for all students and lovers of opera.
This book explores all aspects of Gluck's historically important opera Orfeo.
Like literature and art, music has ‘works’. But not every piece of music is called a work, and not every musical performance is made up of works. The complexities of this situation are explored in these essays, which examine a broad swathe of western music. From plainsong to the symphony, from Duke Ellington to the Beatles, this is at root an investigation into how our minds parcel up the music that we create and hear.