Studies in Seventeenth-Century Opera
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portes grátis
Studies in Seventeenth-Century Opera
Glixon, BethL.
Taylor & Francis Ltd
12/2010
514
Dura
Inglês
9780754629016
15 a 20 dias
1110
Descrição não disponível.
Contents: Introduction; Part I 17th-Century Opera: The Early Years: Singing Orfeo: on the performers of Monteverdi's first opera, Tim Carter; Training a singer for Musica Recitativa in early 17th-century Italy: the case of Baldassare, John Walter Hill; Re-voicing Arianna (and laments): two women respond, Suzanne G. Cusick. Part II Monteverdi and Cavalli: Monteverdi's mimetic art: L'incoronazione di Poppea, Ellen Rosand; Tacitus incognito: opera as history in L'incoronazione di Poppea, Wendy Heller; Didone by Cavalli and Busenello: from the sources to modern productions, Dinko Fabris; Censoring Eliogabalo in 17th-century Venice, Mauro Calcagno. Part III Italian Opera During the Second Half of the 17th Century: La sirena antica dell'Adriatico: Caterina Porri, a 17th-century Roman prima donna on the stages of Venice, Bologna and Pavia, Beth L. Glixon; Dances from the 'four corners of the Earth': exoticism in 17th-century Venetian opera, Irene Alm; On the road with the 'suitcase aria': the transmission of borrowed arias in late 17th-century Italian opera revivals, Jennifer Williams Brown. Part IV Opera Outside Italy: Why the first opera given in Paris wasn't Roman, Margaret Murata; The articulation of Lully's dramatic dialogue, Lois Rosow; Recovering the Lullian divertissement, Rebecca Harris-Warrick; Opera and the Spanish political agenda, Louise K. Stein; What did Handel learn from Steffani's operas?, Colin Timms; Performance and political allegory in Restoration England: what to interpret and when, Andrew R. Walkling; The politics of opera in late 17th-century London, Robert D. Hume; Name Index.
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
Di Poppea;Ricciardo Amadino;venetian;Accademia Degli Incogniti;Tim Carter;Young Man;John Walter Hill;Filiberto Laurenzi;Suzanne G. Cusick;Venetian Operas;Ellen Rosand;Venetian Premiere;Wendy Heller;Act Iii;Dinko Fabris;William III;Mauro Calcagno;Cavalli's Operas;Beth L. Glixon;Arianna's Lament;Irene Aim;Aurelio Aureli;Jennifer Williams Brown;Busenello's Libretto;Margaret Murata;Giulio Caccini;Lois Rosow;Lully's Operas;Rebecca Harris-Warrick;Archivio Di Stato;Louise K. Stein;Seventeenth Century Venice;Colin Timms;Seventeenth Century Opera;Andrew R. Walkling;Francesco Sacrati;Robert D. Hume;Monteverdi's Music;Biblioteca Nazionale Marciana;Enzo Bentivoglio;Sigismund III;Possente Spirto;Premier Air
Contents: Introduction; Part I 17th-Century Opera: The Early Years: Singing Orfeo: on the performers of Monteverdi's first opera, Tim Carter; Training a singer for Musica Recitativa in early 17th-century Italy: the case of Baldassare, John Walter Hill; Re-voicing Arianna (and laments): two women respond, Suzanne G. Cusick. Part II Monteverdi and Cavalli: Monteverdi's mimetic art: L'incoronazione di Poppea, Ellen Rosand; Tacitus incognito: opera as history in L'incoronazione di Poppea, Wendy Heller; Didone by Cavalli and Busenello: from the sources to modern productions, Dinko Fabris; Censoring Eliogabalo in 17th-century Venice, Mauro Calcagno. Part III Italian Opera During the Second Half of the 17th Century: La sirena antica dell'Adriatico: Caterina Porri, a 17th-century Roman prima donna on the stages of Venice, Bologna and Pavia, Beth L. Glixon; Dances from the 'four corners of the Earth': exoticism in 17th-century Venetian opera, Irene Alm; On the road with the 'suitcase aria': the transmission of borrowed arias in late 17th-century Italian opera revivals, Jennifer Williams Brown. Part IV Opera Outside Italy: Why the first opera given in Paris wasn't Roman, Margaret Murata; The articulation of Lully's dramatic dialogue, Lois Rosow; Recovering the Lullian divertissement, Rebecca Harris-Warrick; Opera and the Spanish political agenda, Louise K. Stein; What did Handel learn from Steffani's operas?, Colin Timms; Performance and political allegory in Restoration England: what to interpret and when, Andrew R. Walkling; The politics of opera in late 17th-century London, Robert D. Hume; Name Index.
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
Di Poppea;Ricciardo Amadino;venetian;Accademia Degli Incogniti;Tim Carter;Young Man;John Walter Hill;Filiberto Laurenzi;Suzanne G. Cusick;Venetian Operas;Ellen Rosand;Venetian Premiere;Wendy Heller;Act Iii;Dinko Fabris;William III;Mauro Calcagno;Cavalli's Operas;Beth L. Glixon;Arianna's Lament;Irene Aim;Aurelio Aureli;Jennifer Williams Brown;Busenello's Libretto;Margaret Murata;Giulio Caccini;Lois Rosow;Lully's Operas;Rebecca Harris-Warrick;Archivio Di Stato;Louise K. Stein;Seventeenth Century Venice;Colin Timms;Seventeenth Century Opera;Andrew R. Walkling;Francesco Sacrati;Robert D. Hume;Monteverdi's Music;Biblioteca Nazionale Marciana;Enzo Bentivoglio;Sigismund III;Possente Spirto;Premier Air
