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An impassioned guide to opera's political dimension. Taking us on a tour of 200 years of great opera, from "The Marriage of Figaro" to "Nixon in China", Anthony Arblaster uncovers the political dimension of an art form all too often considered as purely aesthetic and reveals opera's full vitality and passion for liberty.
Don Giovanni has been called the greatest opera ever composed, an almost perfect work. Along with "Aida," "La Boheme," and "Carmen," Mozart's masterpiece is one of the most often performed operas. The work is so admired that when the Italian composer Gioacchino Rossini was asked which of his own operas he liked best, Rossini unhesitatingly replied, ""Don Giovanni."" This Dover edition contains the standard Italian libretto of "Don Giovanni," side by side with a complete new English translation. Convenient and portable, it also includes an informative Introduction, a complete List of Characters, and an easy-to-follow Plot Summary. All repeats are given in full, so you can follow the text as it is sung, without losing your place. With this inexpensive, handy guide, opera lovers can appreciate every word of Mozart's brilliant comic drama in the original Italian or in modern English. An ideal companion for reading along with a recording, a broadcast, or at the performance itself, this superb volume is a first-rate aid to enjoyment of one of the world's most celebrated operas. "
This volume maps the multilayered narratives created in cinema on and around Silvio Berlusconi as a means of exploring the ageof Berlusconismo. The analysis crosses chronological and generic boundaries, stretching back to the comedy Italian style, which foreshadows the symbolic meanings incarnated by Berlusconi before he actually entered the public stage. The book delineates a comprehensive cinematic corpus and focuses on a selection of narrative and documentary films, from the proto-Berlusconi everyman of La più bella serata della mia vita (The Most Wonderful Evening of My Life, 1972) by Ettore Scola, to the Berlusconi pretext for political self-reflection of Arance e martello (Oranges and Hammer, 2014) by Diego Bianchi. The author argues that the Berlusconi in these films represents not only the historical persona, but also a pervasive semiotic category in which the recent history of the country is inscribed and Italian society mirrors itself.
Documents the changes in approaches to gender in opera in the early 19th century.
In the summer of 1785, in the city of Venice, a wealthy 60-year-old man was arrested and accused of a scandalous offense: having sexual relations with the 8-year-old daughter of an impoverished laundress. Although the sexual abuse of children was probably not uncommon in early modern Europe, it is largely undocumented, and the concept of "child abuse" did not yet exist. The case of Paolina Lozaro and Gaetano Franceschini came before Venice's unusual blasphemy tribunal, the Bestemmia, which heard testimony from an entire neighborhood—from the parish priest to the madam of the local brothel. Paolina's Innocence considers Franceschini's conduct in the context of the libertinism of Casanova and also employs other prominent contemporaries—Jean-Jacques Rousseau, Carlo Goldoni, Lorenzo Da Ponte, Cesare Beccaria, and the Marquis de Sade—as points of reference for understanding the case and broader issues of libertinism, sexual crime, childhood, and child abuse in the 18th century.
Venice Reconsidered offers a dynamic portrait of Venice from the establishment of the Republic at the end of the thirteenth century to its fall to Napoleon in 1797. In contrast to earlier efforts to categorize Venice's politics as strictly republican and its society as rigidly tripartite and hierarchical, the scholars in this volume present a more fluid and complex interpretation of Venetian culture. Drawing on a variety of disciplines—history, art history, and musicology—these essays present innovative variants of the myth of Venice—that nearly inexhaustible repertoire of stories Venetians told about themselves.
For observers of the European film scene, Federico Fellini’s death in 1993 came to stand for the demise of Italian cinema as a whole. Exploring an eclectic sampling of works from the new millennium, Italian Film in the Present Tense confronts this narrative of decline with strong evidence to the contrary. Millicent Marcus highlights Italian cinema’s new sources of industrial strength, its re-placement of the Rome-centred studio system with regional film commissions, its contemporary breakthroughs on the aesthetic front, and its vital engagement with the changing economic and socio-political circumstances in twenty-first-century Italian life. Examining works that stand out for their formal brilliance and their moral urgency, the book presents a series of fourteen case studies, featuring analyses of such renowned films as Il Divo, Gomorrah, The Great Beauty, We Have a Pope, The Mafia Only Kills in the Summer, and Fire at Sea, along with lesser-known works deserving of serious critical scrutiny. In doing so, Italian Film in the Present Tense contests the widely held perception of a medium languishing in its "post-Fellini" moment, and instead acknowledges the ethical persistence and forward-looking currents of Italian cinema in the present tense.
Convivial beginnings. The symposium and the birth of opera ; The Renaissance banquet as multimedia art ; Orpheus at the cardinal's table ; Eating at the opera house -- "Tastes funny" : tragic and comic meals from Monteverdi to Mozart ; Comedy as embodiment in Monteverdi and Mozart ; The insatiable : tyrants and libertines ; Indulging in comic opera : gastronomy as identity -- The effects of feasting and fasting ; Coffee and chocolate from Bach to Puccini ; Verdi and the laws of gastromusicology ; The Callas diet.
Outstanding selection of tales include the celebrated "Cavalleria Rusticana" (Rustic Chivalry), "Nedda," "L'amante di Gramigna" (Gramigna's Mistress), "Reverie," "Jeli the Herdsman," "Nasty Redhead," and 6 others. Introduction. Notes.