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Castelvecchi presents a critical re-evaluation of the operatic genre system and the cult of sensibility in the age of Mozart.
The study of opera in the second half of the eighteenth century has flourished during the last several decades, and our knowledge of the operas written during that period and of their aesthetic, social, and political context has vastly increased. This volume explores opera and operatic life of the years 1750-1800 through a selection of articles intended to represent the last few decades of scholarship in all its excitement and variety.
This collection of essays, presented by an internationally known team of scholars, explores the world of Vienna and the development of opera buffa in the second half of the eighteenth century. Although today Mozart remains one of the most well-known figures of the period, the era was filled with composers, librettists, writers and performers who created and developed opera buffa. Among the topics examined are the relationship of Viennese opera buffa to French theatre; Mozart and eighteenth-century comedy; gender, nature and bourgeois society on Mozart's buffa stage; as well as close analyses of key works such as Don Giovanni and Le nozze di Figaro.
European Romanticism gave rise to a powerful discourse equating genres to constrictive rules and forms that great art should transcend; and yet without the categories and intertextual references we hold in our minds, "music" would be meaningless noise. Musical Genre and Romantic Ideology teases out that paradox, charting the workings and legacies of Romantic artistic values such as originality and anti-commercialism in relation to musical genre. Genre's persistent power was amplified by music's inevitably practical social, spatial, and institutional frames. Furthermore, starting in the nineteenth century, all music, even the most anti-commercial, was stamped by its relationship to the marketplace, entrenching associations between genres and target publics (whether based on ideas of nation, gender, class, or more subtle aspects of identity). These newly strengthened correlations made genre, if anything, more potent rather than less, despite Romantic claims. In case studies from across nineteenth-century Europe engaging with canonical music by Bizet, Chopin, Verdi, Wagner, and Brahms, alongside representative genres such as opéra-comique and the piano ballade, Matthew Gelbart explores the processes through which composers, performers, critics, and listeners gave sounds, and themselves, a sense of belonging. He examines genre vocabulary and discourse, the force of generic titles, how avant-garde music is absorbed through and into familiar categories, and how interpretation can be bolstered or undercut by genre agreements. Even in a modern world where transcription and sound recording can take any music into an infinite array of new spatial and social situations, we are still locked in the Romantics' ambivalent tussle with genre.
Opera has been around ever since the late 16th century, and it is still going strong in the sense that operas are performed around the world at present, and known by infinitely more persons than just those who attend performances. On the other hand, it has enjoyed periods in the past when more operas were produced to greater acclaim. Those periods inevitably have pride of place in this Historical Dictionary of Opera, as do exceptional singers, and others who combine to fashion the opera, whether or not they appear on stage. But this volume looks even further afield, considering the cities which were and still are opera centers, literary works which were turned into librettos, and types of pieces and genres. While some of the former can be found on the web or in other sources, most of the latter cannot and it is impossible to have the whole picture without them. Indeed, this book has an amazingly broad scope. The dictionary section, with about 340 entries, covers the topics mentioned above but obviously focuses most on composers, not just the likes of Mozart, Verdi and Wagner, but others who are scarcely remembered but made notable contributions. Of course, there are the divas, but others singers as well, and some of the most familiar operas, Don Giovanni, Tosca and more. Technical terms also abound, and reference to different genres, from antimasque to zarzuela. Since opera has been around so long, the chronology is rather lengthy, since it has a lot of ground to cover, and the introduction sets the scene for the rest. This book should not be an end but rather a beginning, so it has a substantial bibliography for readers seeking more specific or specialized works. It is an excellent access point for readers interested in opera.
The first full-length study of the last great era of Italian opera
The Visual Life of Romantic Theater examines the dynamism and vibrancy of stage spectacle and its impact in an era of momentous social upheaval and aesthetic change. Situating theatrical production as key to understanding visuality ca. 1780-1830, this book places the stage front and center in Romantic scholarship by re-envisioning traditional approaches to artistic and social creation in the period. How, it asks, did dramaturgy and stagecraft influence aesthetic and sociopolitical concerns? How does a focus on visuality expand our understanding of the historical experience of theatergoing? In what ways did stage performance converge with visual culture beyond the theater? How did extratheatrical genres engage with theatrical sight and spectacle? Finally, how does a focus on dramatic vision change the way we conceive of Romanticism itself? The volume’s essays by emerging and established scholars provide exciting and suggestive answers to these questions, along with a more capacious conception of Romantic theater as a locus of visual culture that reached well beyond playhouse walls.
In this volume a team of three dozen international experts presents a fresh picture of literary prose fiction in the Romantic age seen from cross-cultural and interdisciplinary perspectives. The work treats the appearance of major themes in characteristically Romantic versions, the power of Romantic discourse to reshape imaginative writing, and a series of crucial reactions to the impact of Romanticism on cultural life down to the present, both in Europe and in the New World. Through its combination of chapters on thematic, generic, and discursive features, Romantic Prose Fiction achieves a unique theoretical stance, by considering the opinions of primary Romantics and their successors not as guiding “truths” by which to define the permanent “meaning” of Romanticism, but as data of cultural history that shed important light on an evolving civilization.SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series' total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of “irony” as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism's own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the “Old” and “New” Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.
'Recognition in Mozart's Operas' is a thoughful treatise that uses both literary and musicological methods to illuminate some of Mozart's best-loved operas. Waldoff argues that, rather than offering the simple happy endings or tragic climaxes of 'easier' operas, many of Mozart's work features scenes of recognition-moments.
A unique window on the world of nineteenth-century amateur music-making provided by the study of domestic musical arrangements of opera.