Download Free Opera In The Viennese Home From Mozart To Rossini Book in PDF and EPUB Free Download. You can read online Opera In The Viennese Home From Mozart To Rossini and write the review.

A unique window on the world of nineteenth-century amateur music-making provided by the study of domestic musical arrangements of opera.
"The many and varied domestic musical arrangements of opera that circulated in Vienna provide a unique window on the world of nineteenth-century amateur music-making. This study takes a novel stance for musicology, prioritising musical arrangements over original compositions, and female amateurs' perspectives over those of composers"--
London operatic adaptations have been maligned, but this comprehensive study demonstrates their importance to theatre, opera and canon formation.
"When the world comes to an end," Viennese writer Karl Kraus lamented in 1908, "all the big city orchestras will still be playing The Merry Widow." Viennese operettas like Franz Lehár's The Merry Widow were preeminent cultural texts during the Austro-Hungarian Empire's final years. Alternately hopeful and nihilistic, operetta staged contemporary debates about gender, nationality, and labor. The Operetta Empire delves into this vibrant theatrical culture, whose creators simultaneously sought the respectability of high art and the popularity of low entertainment. Case studies examine works by Lehár, Emmerich Kálmán, Oscar Straus, and Leo Fall in light of current musicological conversations about hybridity and middlebrow culture. Demonstrating a thorough mastery of the complex early twentieth‐century Viennese cultural scene, and a sympathetic and redemptive critique of a neglected popular genre, Micaela Baranello establishes operetta as an important element of Viennese cultural life—one whose transgressions helped define the musical hierarchies of its day.
While European powers were at war with the Ottoman Empire for much of the eighteenth century, European opera houses were staging operas featuring singing sultans and pashas surrounded by their musical courts and harems. Mozart wrote The Abduction from the Seraglio. Rossini created a series of works, including The Italian Girl in Algiers. And these are only the best known of a vast repertory. This book explores how these representations of the Muslim Ottoman Empire, the great nemesis of Christian Europe, became so popular in the opera house and what they illustrate about European–Ottoman international relations. After Christian armies defeated the Ottomans at Vienna in 1683, the Turks no longer seemed as threatening. Europeans increasingly understood that Turkish issues were also European issues, and the political absolutism of the sultan in Istanbul was relevant for thinking about politics in Europe, from the reign of Louis XIV to the age of Napoleon. While Christian European composers and publics recognized that Muslim Turks were, to some degree, different from themselves, this difference was sometimes seen as a matter of exotic costume and setting. The singing Turks of the stage expressed strong political perspectives and human emotions that European audiences could recognize as their own.
Warren Roberts has discovered a Rossini that others have not seen, a composer who commented ironically and satirically on religion and politics in Post-Napoleonic Europe.
Comprehensive and engaging exploration of Mozart's greatest works, focussing on his dual roles as performer and composer in Vienna.
Leading scholars re-evaluate the opposition between Beethoven and Rossini, the great symbolic duo of early nineteenth-century music.
Focussing on three different epochs (1700, 1800 and 1900), this book explores the history of music in Vienna, allowing the very different relationships between music and society that existed in each of these periods to be distinguished