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Explores the intersection of the world of opera, literature and partisan politics to show how Italian opera was put to use in the 'culture wars' of the day. This last of a trilogy of books on opera and politics in Britain examines the cultural politics of opera during the ministerial reign of Sir Robert Walpole from 1720 to 1742. The book explores the intersection of the world of opera, literature, and partisan politics to show how Italian opera - with its associations with the court, ministry and Britain's social-political elite - was put to use in the 'culture wars' of the day: how Italian opera was used for partisan political advantage; how political work could be accomplished by means of opera. It shows that attacks on opera had ulterior targets. The book surveys a range of often overlooked verse and prints to show how critique or satire of opera were a means for oppositional writers to delegitimize the Walpole ministry. Polemicists framed opera as a consequence of the corruption, luxury and False Taste generated by Walpole's ministry. It closes in the watershed year 1742: Handel had produced the last of his Italian operas the previous year, Walpole fell from power, and Alexander Pope published the last book of his Dunciad project.
Thomas McGeary's book explores the relationship between Italian opera and British partisan politics in the era of George Frideric Handel.
Love and tragedy, betrayal and redemption, success and failure, prison and parole, king and country, terror and triumph-all are vital parts of Leeman's saga of eight generations of his family. They won't quit; they live and die to touch the sands of the golden shore-America. For Everything a Season teaches readers when to cling, when to let go, when to fight, when to mourn, when to rejoice, and when to relax, but there is never a time-not for this family, anyway-to give up. For Everything a Season chronicles the fictionalized history of the fierce survival and intense hope of one steadfast family, a family just like a million others, whose dream it was to find freedom in America.
How have Handel's 'lives' in biographies and histories moulded our understanding of the musician, the man and the icon?