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6.5 X 11 Double Line.P65 Cambridge University Press 978-0-521-69538-1 - The Cambridge Companion to Eighteenth-Century Opera Edited by Anthony R. DelDonna and Pierpaolo Polzonetti Frontmatter More information The Cambridge Companion to Eighteenth-Century Opera Reflecting a wide variety of approaches to eighteenth-century opera, this Companion brings together leading international experts in the field to provide a valuable reference source. Viewing opera as a complex and fascinating form of art and social ritual, rather than reducing it simply to music and text analysis, individual essays investigate aspects such as audiences, architecture of the theaters, marketing, acting style, and the politics and strategy of representing class and gender. Overall, the volume provides a synthesis of well-established knowledge, reflects recent research on eighteenth- century opera, and stimulates further research. The reader is encouraged to view opera as a cultural phenomenon that can reveal aspects of our culture, both past and present. Eighteenth-century opera is experiencing a renewal of critical and popular success through innovative and provoking productions world-wide, and this Companion will appeal to opera-goers as well as to students and teachers of this key topic. Anthony R. DelDonna is Assistant Professor of Musicology at Georgetown University. Pierpaolo Polzonetti is Assistant Professor in the Program of Liberal Studies at the University of Notre Dame. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-69538-1 - The Cambridge Companion to Eighteenth-Century Opera Edited by Anthony R. DelDonna and Pierpaolo Polzonetti Frontmatter More information The Cambridge Companion to EIGHTEENTH- CENTURY OPERA ............ EDITED BY Anthony R. DelDonna and Pierpaolo Polzonetti © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-69538-1 - The Cambridge Companion to Eighteenth-Century Opera Edited by Anthony R. DelDonna and Pierpaolo Polzonetti Frontmatter More information CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521695381 © Cambridge University Press 2009 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2009 Printed in the United Kingdom at the University Press, Cambridge A catalogue record for this publication is available from the British Library Library of Congress Cataloguing in Publication data The Cambridge companion to eighteenth-century opera / edited by Anthony R. DelDonna and Pierpaolo Polzonetti. p. cm. Includes bibliographical references and index. ISBN 978-0-521-87358-1 (hardback) – 978-0-521-69538-1 (paperback) 1. Opera – 18th century. I. DelDonna, Anthony. II. Polzonetti, Pierpaolo. III. Title. ML1704.C36 2009 782.1090033–dc22 2009008250 ISBN 978-0-521-87358-1 hardback ISBN 978-0-521-69538-1 paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-69538-1 - The Cambridge Companion to Eighteenth-Century Opera Edited by Anthony R. DelDonna and Pierpaolo Polzonetti Frontmatter More information Contents List of music examples page vii List of illustrations and tables x Notes on contributors xi Preface and acknowledgments xv Chronology of eighteenth-century operas and select events xviii List of abbreviations xxii Part I. The making of opera 1 1 Opera as process Pierpaolo Polzonetti 3 2 Aria as drama James Webster 24 3 Ensembles and finales Caryl Clark 50 4 Metastasio: the dramaturgy of eighteenth-century heroic opera Francesco Cotticelli and Paologiovanni Maione 66 5 Roles and acting Gianni Cicali 85 6 Ballet Rebecca Harris-Warrick 99 7 Orchestra and voice in eighteenth-century Italian opera John Spitzer 112 8 To look again (at Don Giovanni) Alessandra Campana 140 Part II. National styles and genres 153 9 Genre and form in French opera David Charlton 155 10 Genre and form in German opera Estelle Joubert 184 11 Opera in eighteenth-century England: English opera, masques, ballad operas Michael Burden 202 12 Opera in Naples Anthony R. DelDonna 214 [v] © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-69538-1 - The Cambridge Companion to Eighteenth-Century Opera Edited by Anthony R. DelDonna and Pierpaolo Polzonetti Frontmatter More information vi Contents 13 Portugal and Brazil Manuel Carlos De Brito 233 14 Opera, genre, and context in Spain and its American colonies Louise K. Stein and José Máximo Leza 244 Notes 270 Bibliography 292 Index 308 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-69538-1 - The Cambridge Companion to Eighteenth-Century Opera Edited by Anthony R. DelDonna and Pierpaolo Polzonetti Frontmatter More information Music examples Example 1.1 Vivaldi, Motezuma, Act 3, scene 10, “Dov’èlafiglia” (Motezuma), mm. 1–17 page 18 Example 1.2 Vivaldi, Motezuma, Act 3, scene 10, “Dov’èlafiglia” (Motezuma), mm. 44–5 19 Example 2.1 Handel, Agrippina, Act 2, “Pensieri” (Agrippina) 39 Example 2.2 Handel, Agrippina, Act 2, “Pensieri” (Agrippina), mm. 19–32, harmonic and voice-leading outline 43 Example 2.3 Piccinni, La buona figliuola, Act 1, “Che piacer” (Cecchina), mm. 25–47 46 Example 2.4 Piccinni, La buona figliuola, Act 1, “Una povera ragazza” (Cecchina), mm. 1–11 48 Example 6.1a Jean-Philippe Rameau, Hippolyte et Aricie, Act 2, scene 3, “2e air infernal,” mm. 389–95 101 Example 6.1b Jean-Philippe Rameau, Hippolyte et Aricie, Act 2, scene 3, chorus “Pluton commande,” mm. 426–32 101 Example 7.1a Domenico Sarri, Didone abbandonata, “Son regina e son amante,” mm. 6–14 115 Example 7.1b Domenico Sarri, Didone abbandonata, “Son regina e son amante,” mm. 21–3 116 Example 7.1c Domenico Sarri, Didone abbandonata, “Son regina e son amante,” mm. 37–42 116 Example 7.2 Tommaso Traetta, Didone abbandonata, “Son regina e son amante,” mm. 21–8 117 Example 7.3a Antonio Sacchini, Didone abbandonata, “Son regina e son amante,” mm. 1–5 118 Example 7.3b Antonio Sacchini, Didone abbandonata, “Son regina e son amante,” mm. 24–31 118 Example 7.4 Domenico Sarri, Didone abbandonata, “Se resto sul lido,” mm. 13–25 119 Example 7.5 Baldasarre Galuppi, Didone abbandonata, “Se resto sul lido,” mm. 9–30 121 [vii] © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-69538-1 - The Cambridge Companion to Eighteenth-Century Opera Edited by Anthony R. DelDonna and Pierpaolo Polzonetti Frontmatter More information viii Music examples Example 7.6a Tommaso Traetta, Didone abbandonata, “Ah, non lasciarmi,” mm. 1–5 123 Example 7.6b Tommaso Traetta, Didone abbandonata, “Ah, non lasciarmi,” mm. 21–7 124 Example 7.6c Tommaso Traetta, Didone abbandonata, “Ah, non lasciarmi,” mm. 27–32 124 Example 7.7a Giovanni Paisiello, Didone abbandonata, “Ah, non lasciarmi,” mm. 1–10 125 Example 7.7b Giovanni Paisiello, Didone abbandonata, “Ah, non lasciarmi,” mm. 60–2 126 Example 7.8 David Perez, Didone abbandonata, “Ah, non lasciarmi,” mm. 1–8 126 Example 7.9 Niccolò Jommelli, Didone abbandonata, “Esoffrirò che sia,” mm. 1–9 128 Example 7.10a Leonardo Vinci, Didone abbandonata, “Esoffrirò che sia,” mm. 12–15 130 Example 7.10b Leonardo Vinci, Didone abbandonata, “Esoffrirò che sia,” mm. 19–25 131 Example 7.11a Johann Adolf Hasse, Didone abbandonata, “Esoffrirò che sia,” mm. 12–18 133 Example 7.11b Johann Adolf Hasse, Didone abbandonata, “Esoffrirò che sia,” mm. 23–30 134 Example 7.12 Niccolò Piccinni, Didone abbandonata, “Esoffrirò che sia,” mm. 1–11 137 Example 9.1 Jean Joseph Cassanea de Mondonville, Titon et l’Aurore, Act 3, scene 1, mm. 32–41 162 Example 9.2 Jean-Philippe Rameau, Zoroastre, tragédie mise en musique, Act 1, scene 2, mm. 97–106 164 Example 9.3 Christoph Willibald Gluck, Alceste, Act 2, scene 2, mm. 21–7 165 Example 10.1 Carl von Dittersdorf, Doktor und Apotheker, Act 1, Finale, Section B (Rosalie) 196 Example 10.2 Carl von Dittersdorf, Doktor und Apotheker, Act 1, Finale, Section E (Rosalie) 196 Example 10.3 Carl von Dittersdorf, Doktor und Apotheker, Act 1, Finale, Section J (Stössel) 197 Example 10.4 Carl von Dittersdorf, Doktor und Apotheker, Act 1, Finale, Section K 198 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-69538-1 - The Cambridge Companion to Eighteenth-Century Opera Edited by Anthony R. DelDonna and Pierpaolo Polzonetti Frontmatter More information ix Music examples Example 12.1 Leonardo Vinci, Li zite ’ngalera, “Ammore dimme tu,” Act 1, scene 5, mm. 12–21 221 Example 12.2 Leonardo Vinci, Li zite ’ngalera, “N’ommo attempato,” Act 1, scene 6, mm. 11–21 222 Example 12.3 Francesco Mancini, Il zelo animato, “Forza del cielo,” Act 1, scene 4, mm. 15–28 224 Example 12.4a Giovanni Paisiello, Nina o sia la pazza per amore, Act 1, Finale, Motive “a,” mm. 17–24 231 Example 12.4b Giovanni Paisiello, Nina o sia la pazza per amore, Act 1, Finale, Motive “b,” mm. 33–40 231 Example 12.4c Giovanni Paisiello, Nina o sia la pazza per amore, Act 1, Finale, Motive “c,” mm. 67–74 231 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-69538-1 - The Cambridge Companion to Eighteenth-Century Opera Edited by Anthony R. DelDonna and Pierpaolo Polzonetti Frontmatter More information Illustrations and tables Illustrations Illustration 5.1 A caricature of Francesco Baglioni by Pier Leone Ghezzi (1738) page 96 Illustration 10.1 “Alceste experiences a fantasy,” in Johann J.
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