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Seriale, Immersivo, Industriale. Il Barocco E L'invenzione Del
Mediascapes journal 7/2016 Seriale, immersivo, industriale. Il barocco e l’invenzione del melodramma* Donatella Capaldi** Sapienza Università di Roma Giovanni Ragone*** Sapienza Università di Roma Archetypes of modernity are to be recognized in serial media developed during the first half of XVII century, when a proto-metropolitan social universe was evolving. According to a mediological standpoint, the case study of baroque opera allows to identify the basic characters of consumer genres, and to define connections among serialization, immersivity, virtualization, polisensoriality, hypertextuality, ibridation, chain and work organization, with a special focus on mass audience and on creative reuse of collective imaginary and metaphors. Baroque opera, created for public theatre with admission ticket, was the second pole of an entertainment integrated system consisting of the romance, with its “horizontal” and hypertextual attitude, and of the melodrama, with its immediate and fusional setup: i.e. romance and opera like the ancestors of radio-television fiction and cinema. The birth and rise of the medium “opera” needs to be historicized in the frame of a complex environment study: Venice, as the Italian capital of a cultural proto-industry; the Incogniti Academy as the most important European publishing and entertainment laboratory; and finally, the situation of freedom from censorship, which permitted to libertine network, with its special European relations, to produce new experimental genres often being heterodox on ethical and religious grounds. Keywords: Series. Immersivity. Baroque. Opera. Cultural Industry Primo scenario: il barocco seriale e immersivo La mediamorfosi procede per ibridazioni, conflitti, egemonie e instabili equilibri tra ambienti di vita, soggettività, tecnologie, mitologie, e potere. -
Incoronazione Di Poppea *
B USENELLO’ S S ECRET H ISTORY: An allegorical reading of L’incoronazione di Poppea * By Magnus Tessing Schneider The 1623 publication of Procopius’ Secret History shocked the scholarly world. The ancient historian’s rejection of his official account of the reign of Justinian I forced humanists to reflect on the general reliability of historical sources. The article suggests that Giovan Francesco Busenello’s libretto L’incoronazione di Poppea (1643) reflects the challenge posed by Procopius’ book. Though its portrayal of historical figures adheres to Tacitus’ Annals, it plays with the possibility that even Tacitus himself was deceived by Machiavellian rulers. Did he, for example, condemn Nero and Poppaea while praising Octavia because this was the truth, or because Octavia was, in fact, a superior politician who had managed to craft a favourable epitaph for herself? Nerone innamorato di Poppea, ch’era moglie di Ottone, lo mandò sotto pretesto d’ambasciaria in Lusitania per godersi la cara diletta, così rappresenta Cornelio Tacito. Ma quì si rappresenta il fatto diverso. Ottone, disperato nel vedersi privo di Poppea, dà nei deliri e nelle esclamazioni. Ottavia, moglie di Nerone, ordina ad Ottone che sveni Poppea. Ottone promette farlo; ma non bastandogli l’animo di levar la vita all’adorata Poppea, si traveste con l’abito di Drusilla ch’era innamorata di lui. Così travestito entra nel giardino di Poppea. Amore disturba e impedisce quella morte. Nerone ripudia Ottavia, nonostante i consigli di Seneca, e prende per moglie Poppea. Seneca more, e Ottavia vien discacciata da Roma.1 Nero, in love with Poppaea, Otho’s wife, sent the latter to Lusitania under the pretext of an ambassadorship in order to enjoy his dearly beloved. -
The Possibility of Opera
7 The Possibility of Opera In the performances of the Prologue of Orfeo, as staged by Luca Ronconi (see chapter 3), and of Combattimento, as staged by Pierre Audi (chapter 6), a char- acter at first represents the narrator — La Musica in the former case, Testo in the latter one. Both characters assert their presences through musical, verbal, and scenic effects. At a later phase — respectively, in the third and seventh strophes of their settings — La Musica and Testo also emerge as focalizing agents, their func- tion as narrators gradually receding into the background in order to “give life” to focalized characters — respectively, Orpheus and Tancredi/Clorinda. Clorinda becomes so autonomous a character as to herself become a focalizer at the end. Under this perspective, both performances can be said to stage the birth of musi- cal theater, and in the second case, we might add, out of the spirit of the madrigal. The madrigal is traditionally dominated by the narrator’s voice, diffused into the polyphonic concentus. But in the hands of Monteverdi, particularly in his Books V to VIII, the madrigal becomes the privileged site for the performance of a plurality of points of view. Characters come to life intermittently even despite their absence from the verbal text as such, thanks, for example, to the focalizing role played by instruments in concertato madrigals. Still, the narrator remains the ever-present voice (in narrative terms) that is audible and visible mostly in the continuo line, but also intermittently in individual voices (in physical terms) such as the bass — this was a traditional conduit of the “speaker” since Arcadelt. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera Permalink https://escholarship.org/uc/item/9mj7d63c Author Richter, Terri Lynn Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera A dissertation submitted in partial satisfaction of the Requirements for the Degree Doctor of Musical Arts in Music by Terri Lynn Richter 2017 Copyright by Terri Lynn Richter 2017 ABSTRACT OF THE DISSERTATION Witches, Whores, and Virgin Martyrs: Female Opera Roles in Seventeenth Century Opera by Terri Lynn Richter Doctor of Musical Arts in Music University of California, Los Angeles, 2017 Professor Juliana K. Gondek, Chair The fictional women presented to the public on the opera stages and in the noble houses of Italy during the seventeenth century did not resemble the societal feminine ideal of chastity, silence, obedience, and humility; on the contrary, they were strong-willed, eloquent, powerful, and sexually sentient. This dissertation will examine a few of the principal female characters from a selected number of early seventeenth-century operas and explore what these women represented in context of the patriarchal, highly misogynistic societies in which they were constructed. Furthermore, I will consider the implications of this information for issues of modern performance practice, and for the representation of these female characters in modern reproductions of the operas. Finally, I will discuss the influences of this research on my final DMA recital, a program of seventeenth-century arias and songs which personified the female stereotypes presented in this dissertation. -
L'amante Segreto Parole D'incerto Barbara Strozzi (1619-1677) Ed
Buyer: Ricardo Niño Rosales ([email protected]) Transaction ID: 6XY74315JM4571126 BARBARA STROZZI The Complete Works L’Amante Segreto Opus 2.16 Cantate, Ariette, e Duetti. for soprano and continuo Edited by Richard Kolb Cor Donato Editions Candace A Magner, general editor ST2.16d © 2014 ISMN - 979-0-3016-0019-1 Buyer: Ricardo Niño Rosales ([email protected]) Transaction ID: 6XY74315JM4571126 2.16. L’Amante Segreto The Secret Lover Voglio, voglio morire, I want to die, Piutosto ch’il mio mal venga à scoprire. rather than have my distress discovered. O disgrazia fatale, Oh, fatal misfortune, Quanto più miran gl’occhi il suo bel volto the more my eyes see her beautiful face, Più tien la bocca il mio desir sepolto; the more I must keep my desire hidden: Chi rimedio non hà taccia il suo male. one who has no remedy must remain silent about his distress. Non resti di mirar chi non ha sorte, One with no luck can only look, Nè può da sì bel ciel venir la morte. nor could death come from such a clear sky. La bella donna mia sovente miro, I look at my beautiful lady, Ed ella à mè volge pietoso il guardo, and she looks on me with compassion, Quasi che voglia dire: as if to say: Palesa il tuo martire, “Reveal your torment,” Che ben s’accorge che mi struggo e ardo. for she is well aware that I'm consumed and burn. Mà io voglio morire... But I want to die... L’erbetta, ch’al cader di fredda brina The grasses and herbs, that bow their Languida il capo inchina; languishing heads when comes the cold frost, All’apparir del sole, when the sun appears Lieta verdeggia più di quel che suole: joyfully become more verdant than ever: Tal io, s’alcun timor mi gela il core, thus I, when fear chills my heart, All’apparir di lei prendo vigore. -
Giulio Strozzi, La Venetia Edificata
GIULIO STROZZI: La Venetia edificata … Poema eroico (Venedig 1624). Das 11. Kapitel zur Personifikation der ‚Kunst’ und zur Galleria del Cielo herausgegeben und eingeleitet von ULRICH PFISTERER FONTES 10 [1. August 2008] Zitierfähige URL: http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2008/449 Aus Liebe zu Venedig lebte und starb Giulio Strozzi (1583 – 31. März 1652) nicht nur in dieser seiner Wahlheimat, sondern verfaßte auch ein „wohlgefälliges Gedicht“ über die Ursprünge der Lagungenstadt, ihre Erbauung, Bedrohung durch den Einfall der Hunnen unter Attila und den folgenden Aufstieg zu ungeahnter Größe – so die abschließende Würdigung Strozzis in der kurzen Lebensbeschreibung, die Gian Vittorio Rossi im dritten Teil seiner Pinacotheca Imaginum Illustrium 1648 mitteilte.1 Sieht man von der bereits ein Jahr zuvor erschienen Vita Strozzis im Rahmen der Zusammenstellung aller Huomini illustri dell’Accademia dei Signori Incogniti ab2, ist danach zu Strozzi und seinem Versepos La Venetia edificata erst wieder in jüngster Zeit vor allem von Massimiliano Rossi geschrieben worden.3 Giulio wurde als unehelicher Sohn des (ebenfalls unehelich geborenen) Florentiner Bankiers Roberto Strozzi geboren, vom Vater anerkannt und in der Kindheit mit nach Venedig genommen, wo sich der Vater aus Geschäftsgründen aufhielt. Nach einem Jura-Studium an der Universität Pisa lebte Giulio als junger Mann in Rom, übersetzte dort erstmals 1608 den Lazarillo de Tormes ins Italienische, wurde im Laufe der Zeit Mitglied „aller berühmten Akademien Italiens“ und -
UNIVERSITY of CALIFORNIA Los Angeles Witches
UNIVERSITY OF CALIFORNIA Los Angeles Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera A dissertation submitted in partial satisfaction of the Requirements for the Degree Doctor of Musical Arts in Music by Terri Lynn Richter 2017 Copyright by Terri Lynn Richter 2017 ABSTRACT OF THE DISSERTATION Witches, Whores, and Virgin Martyrs: Female Opera Roles in Seventeenth Century Opera by Terri Lynn Richter Doctor of Musical Arts in Music University of California, Los Angeles, 2017 Professor Juliana K. Gondek, Chair The fictional women presented to the public on the opera stages and in the noble houses of Italy during the seventeenth century did not resemble the societal feminine ideal of chastity, silence, obedience, and humility; on the contrary, they were strong-willed, eloquent, powerful, and sexually sentient. This dissertation will examine a few of the principal female characters from a selected number of early seventeenth-century operas and explore what these women represented in context of the patriarchal, highly misogynistic societies in which they were constructed. Furthermore, I will consider the implications of this information for issues of modern performance practice, and for the representation of these female characters in modern reproductions of the operas. Finally, I will discuss the influences of this research on my final DMA recital, a program of seventeenth-century arias and songs which personified the female stereotypes presented in this dissertation. ii The dissertation of Terri Lynn Richter -
Fundraising and Publicity for Operas in Seventeenth-Century Venice Sandy Thorburn
Document generated on 10/02/2021 3:36 p.m. Canadian University Music Review Revue de musique des universités canadiennes What News on the Rialto? Fundraising and Publicity for Operas in Seventeenth-Century Venice Sandy Thorburn Volume 23, Number 1-2, 2003 Article abstract Commercial operas of seventeenth-century Venice, the earliest public operas, URI: https://id.erudit.org/iderudit/1014523ar are generally described as rigorously literary from 1637-1660. Various tools, DOI: https://doi.org/10.7202/1014523ar including sets, machines, and musical forms helped audiences from various classes and places understand this Venetian Carnevale entertainment. The See table of contents goal—to create a commercial entertainment industry that reflected and highlighted the wonders of Venice—was identified early in the history of Venetian commercial opera. This paper seeks to define the extent to which Publisher(s) nascent commercial enterprises like newspapers, the mail, publishing, and advertising defined the content and nature of these early operatic works. Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Thorburn, S. (2003). What News on the Rialto? Fundraising and Publicity for Operas in Seventeenth-Century Venice. Canadian University Music Review / Revue de musique des universités canadiennes, 23(1-2), 166–200. https://doi.org/10.7202/1014523ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 2004 (including reproduction) is subject to its terms and conditions, which can be viewed online. -
Gupea 2077 25514 1.Pdf
“LASCIATEMI MORIRE” o farò “LA FINTA PAZZA" !esis for the degree of Doctor of Philosophy in Performance in !eatre and Music Drama at the Academy of Music and Drama, Faculty of Fine, Applied, and Performing Arts, University of Gothenburg. ArtMonitor dissertation No. "# ArtMonitor is a publication series from the Board for Artistic Research (NKU), “LASCIATEMI MORIRE” Faculty of Fine, Applied, and Performing Arts, University of Gothenburg o farò A list of publications is added at the end of the book. ArtMonitor “LA FINTA PAZZA” University of Gothenburg Faculty O$ce of Fine, Applied and Performing Arts Storgatan %& PO Box '%' Embodying vocal NOTHINGNESS on stage SE-%(# &( Gothenburg in Italian and French 17th century operatic Sweden www.konst.gu.se LAMENTS and MAD SCENES Translation of data excerpts: Lynn Preston Odengård, Anna Helander, Amanda Petrie and Annika Beijbom in cooperation with the author BY Graphic production: Daniel Flodin Elisabeth Belgrano Cover & layout: Elisabeth Belgrano Cover illustration: Detail from La Reunion de La Famille or La reunion musicale by Antoine Le Nain, c.')%( A Music Research Drama Thesis Back photo: La Finta Pazza, "('(, Photo: Per Buhre in a Prologue and 3 acts Printed by: Intellecta Infolog AB, Kållered "('' PART I © Elisabeth Belgrano "('' LIBRETTO ISBN: *+,-*'-*+,%++-%-" PART II IL CANNOCCHIALE per “LASCIATEMI MORIRE” o farò “LA FINTA PAZZA” (A descriptive text following the contents of the Libretto) Academy of Music and Drama Faculty of Fine, Applied and Performing Arts University of Gothenburg, Sweden Abstract Contents !is music research drama thesis explores and presents a singer’s artistic research process from the -rst meeting with a musical score until the -rst steps of the performance on stage. -
La Finta Pazza Di Venexia: Masking, Performance and Identity in Seventeenth Century Venice
la finta pazza di Venexia: Masking, performance and identity in Seventeenth century Venice. 2010 Renaissance Society of America Annual Meeting Venice, Italy 10 April 2010 Marc J Neveu Introduction [slide 1] This paper briefly explores the relationship between the theatricality of Venice and the expression of Venice in the theatre. I will do so by focusing on the wildly popular performances in 1641 of La Finta Pazza and the architecture of the Teatro Novissimo in which the opera was performed. The masking of identities, a central theme in the original story on which the opera is based, was given a particularly Venetian twist in the operatic re- telling. Essential to the performance was the double entendre of the character Deidama who, feigning madness, performed both as a masked actor on the stage and as a Venetian in the audience. Giacomo Torelli’s set design further blurred distinctions between the world of the stage and the city of Venice. Concurrent to the production of La Finta Pazza was the unprecedented construction of new theatres and specifically the development of palchi, or theater boxes, in the Teatro Novissimo. Such boxes, rented out for the season and occupied by masked Patricians and foreigners, allowed conversation between the two groups that was forbidden by law. It is my wager that the nature of identity and participation shifts within a context that is simultaneously both theater and city. Theater of the City That Renaissance Venice might be compared to a theater is not shocking. [slide 2] Indeed, many historians of Venice note the analogy between city and theater. -
Readying Cavalli's Operas for the Classroom
Musica Docta. Rivista digitale di Pedagogia e Didattica della musica, pp. 13-23 ROBERT R. HOLZER New Haven READYING CAVALLI’S OPERAS FOR THE CLASSROOM: TEXTBOOKS, EDITIONS, AND THE TEACHING OF A NON-CANONIC COMPOSER My title pays homage to a recent volume of essays edited by Ellen Rosand and devoted to the scholarship and performance of Francesco Cavalli’s operas. 1 Yet if love of wordplay inspired it, coincidence confirmed it. The volume appeared in print just months after my own foray into editing, albeit of a very different kind. I had been asked to prepare one of the volumes of The Oxford Anthology of Western Music , specifically the part that deals with Baroque music. 2 As its title suggests, the anthology accompanies The Oxford History of Western Music: College Edition , the one-volume abridgement of Richard Taruskin’s five-volume behemoth prepared by Christopher H. Gibbs. 3 I was charged with assembling scores of the works discussed therein and writing commentary on them, based on Taruskin’s own in the larger text. While I was left free to do as I pleased with the latter, such was not the case with the former. Thus music after 1700 occupies more pages than that before 1700, and the earlier repertory features some notable lacunae. That one of the biggest is Francesco Cavalli comes as no surprise, for in the course of the more than 3,800 pages of Taruskin’s original the composer receives exactly three sentences. Cavalli scholars are keenly aware of this lapsus : Álvaro Torrente noted it in his contribution to the volume cited above. -
2019 Concert 1 Program Final.Pages
Kansas City Baroque Consortium WOmenWOmen ofof NNoteote Saint Cecilia by NICOLAS POUSSIN (ca.1635) The Woman’s Voice as Composer, Patron, and Performer concert I: The Donne, the Dueling, and the Divine Friday, June 21 • 7:30 p.m. St. Paul’s Episcopal Church WELCome Dear Friends, Welcome to our third summer season of music from Kansas City Baroque, our city’s premiere Early Music ensemble. We’re pleased to be back and we’re even happier that you’re here to share in this wonderful music. Shortly after we wrapped up last summer’s offerings, we commenced planning this season. Lots of ideas, lots of discussion but we kept coming back to a theme suggested by Dr. Alison DeSimone, a UMKC musicologist and a member of our board. Dr. DeSimone noted that 2019 marks a century since women in this country forced their way into the voting booth and that, serendipitously, we also celebrate the 400th anniversary of Barbara Strozzi, a groundbreaking composer/performer of the early 17th century. And so, KC Baroque sounds The Woman’s Voice, bringing to light composers and performers slighted in their day and ignored since. She had and has something to say and to sing—we ask that you sit up and take note. Our first concert ranges over the entire 150 years of the Baroque era, highlighting not only Strozzi’s music but also works written for the female voice. It includes solos, trios and duos that showcase the compositional and performance skills of Strozzi and the virtuosity of the women who performed the works of Monteverdi and Handel.