DOCSLIB.ORG

Italian Opera in Paris and London in the 1830S and 1840S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Italian Opera in Paris and London in the 1830S and 1840S Repetitive Novelty: Italian Opera in Paris and London in the 1830s and 1840s By Eleanor Clare Cloutier A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mary Ann Smart, Chair Professor James Davies Professor Nicholas Mathew Professor Carla Hesse Fall 2016 Abstract Repetitive Novelty: Italian Opera in Paris and London in the 1830s and 1840s by Eleanor Clare Cloutier Doctor of Philosophy in Music University of California, Berkeley Professor Mary Ann Smart, Chair My dissertation connects music, politics, and society by focusing on the cultural life of the Théâtre Italien in Paris and the King’s Theatre in London. I claim that a culture of “repetitive novelty” emerged at the Italian opera houses as a means of managing the gap between the reality of a fractured, rapidly changing society and the ideals of a stable political and social situation. I argue that the need to stabilize rapid change was a particular civic imperative in Paris after the July Revolution and in London after the Reform Act of 1832. The worrying success of a repetitive work, the proliferation of ways to enjoy a celebrity, or the struggle of audience members to belong to an elite crowd all required people in Paris and London to reconcile their experiences of disorienting pace and change. My dissertation explores the ways in which politics pervaded social and fashionable life and the ways elite opera goers experienced, celebrated, and resisted change. The first chapter addresses the composition of the audience at the Théâtre Italien, drawing on archival documents written by opera-goers in combination with newspaper articles written about opera-goers. In the following chapter, I examine what these audiences listened to and saw in order to explore what the experience of repeated spectacles meant to them. My third chapter concerns the sheet music and objects that people bought to remember performances, which I use to open up the range of meaning that one opera singer could have in a burgeoning celebrity culture. Each of these chapters draws on a broad understanding of politics, which I treat as more than mere state governance and top-down official policy, but as something lived and experienced. I argue that the politics of intimate relations and the politics of music must be examined through texts and objects that provide glimpses into everyday life: letters bargaining for better seats, gifts between friends, gossip columns, and reviews of the twentieth performance of an opera. These ephemera, far from eschewing politics, supply the key to understanding a new and quietistic kind of modern political life. 1 For Bernard H. Mangelsdorf and Tili Boon Cuillé i Acknowledgments This dissertation would not have been possible without the support and love of friends, family, archivists, librarians, institutions, mentors, colleagues, and all the people who refuse to stay neatly within those boundaries. Thank you for combining scholarship and pleasure. At UC Berkeley, the Music Department, Graduate Division, Berkeley Connect, and the Undergraduate Research Apprentice Program all supported me institutionally or financially as I worked and traveled. Thanks especially to my research assistants: Simrath Matharu, David Pankratz, Bret Hart, Catherine Swaidan, Elodie Yuan, Jacob Bjorseth, Jacob Barczak, Frank Yu, Kelly Dell, Yida Wang, Adela Waton, and Jeremy Lam - you made data a lot more fun. My grateful thanks to the librarians and archivists at Berkeley and abroad who helped me find and reproduce the content necessary for this enterprise: Susan Powell in the UC Berkeley maps library, and all the people at the British Library, John Rylands Library, Bodleian Library, Bibliothèque Nationale, and Archives Nationales. The D-Lab at Berkeley provided a wonderful second home for me, and I’m so grateful to those who collaborated and commiserated, including Camille Villa, Cindy Nguyen, Brendan Mackie, Brooks Ambrose, and Janet Torres. Thank you to those who have helped me work through ideas, whether at conferences or in seminars. I presented excerpts from Chapter One at the Digital Humanities Faire in April 2015 and 2016 and at “EZ Music” in March 2016, all at UC Berkeley. Parts of Chapter Two were presented at “Consuming Passions,” a conference organized by the French department at Washington University in St Louis (October 2013). Special thanks to the participants in Mary Ann Smart’s seminar on Italian Opera who workshopped Chapter Three in the fall of 2014, and to Ben Walton and the anonymous reviewers at the COJ who strengthened that chapter’s arguments and footnotes. The Music Department at UC Berkeley has been a welcoming home for scholarship and teaching. Thank you to all the staff, and especially to Jim Coates and Lisa Robinson, for making our work possible. I’ve been lucky enough to have wonderful mentors and colleagues who generously shared with me: thanks to James Davies for his wit and his dog, Nick Mathew for advice and his family, Richard Taruskin for office hours al fresco, and Carla Hesse for her valuable time. Mary Ann Smart was there from day one, asking questions, finding insights that I’d inadvertantly written, and bringing out the best, both in prose and personal development. Her belief in this project and unflagging energy improved my ideas and my life immeasurably. This work was supported by the generousity of friends and family. Thanks to the IPH crew, who has been there since the beginning: Ben Sales with his irreverance and Emma Cohen with her incisive questions and unwavering support made the best cohort I could ask for. Joe Loewenstein, Jamie Ake, Amy Lehman, Deva Estin, and Shelby Carptenter (who added Caitlin Brown to the mix) got us all through. At UC Berkeley, Melanie Gudesblatt and Jamie Apgar proofed both bread and drafts, while Anicia Chung Timberlake guided, supported, and humored me. I was also lucky enough to have the company of Emily Frey, who is a master of well-timed jokes, Alexandra Pressman, who makes everything better with her sense of perspective and fun, and Linda Louie, who is the best companion for cozy nights and train rides. Jen Wang provided very necessary “real talk,” while Rachel Vandagriff and Rachana Vajjhala went on countless walks with me. You’ve all made this chapter of my life much more enjoyable. ii My parents and siblings (both by birth and by marriage) encouraged me, buoyed me, and shared their love of words and playing with ideas. Thanks especially to Lory for setting my musical examples, to Mom for opera dates, and to Dad for reading aloud the good bits from Opera News. Regards to all. Noah Bronstein has supported me in so many ways and has been a stalwart companion in dealing with the vicissitudes of married and academic life. Thank you. My grandfather, Bernard Mangelsdorf, bought me my first cassette tape—a recording of Madama Butterfly, one of his favorite opera--when I was little. This dissertation is dedicated to the person who started my love of opera, and to the person who encouraged me to see opera as a viable course of study: Tili Boon Cuillé (with assistance from Herbert Lindenberger, tea and cookies, and her wonderful family). Thanks to both of them for sharing their love with me. All translations and errors are my own, unless otherwise marked. iii Table of Contents Acknowledgments ii Introduction 1 Chapter 1. Musical Chairs 9 Chapter 2. The Queen of Elegance and Ennui 36 Chapter 3. How to Possess a Singer (Appropriately) 52 Works Cited 72 Figures 80 iv Introduction: Three Ways of Looking This dissertation asks who these people were, who went to the opera in Paris and London night after night, and what Italian opera meant to the different factions of society in the 1830s. Whether singing, spectating, or socializing, people at the opera mattered. They mattered socially: who met with whom, how they were dressed, and how they listened could determine where someone fell in the social hierarchy. They mattered politically: the rising middle class was not just a social issue, but one with practical and political consequences. Finally, people mattered musically and materially, as they sang, bought souvenirs, and sang again. At its most basic level, my argument is that Italian opera was central to the lives of the elite (and aspiring elite) in both cities, and that by examining relationships fostered at the theater from multiple angles, we can gain insight into the political and social situation of the 1830s. The political ramifications of music and theater are generally considered in terms of revolutionary change. Did theatergoers riot during the French Revolution? Did Verdi cause the Risorgimento? I consider instead the role music played during the relative peacetime of the July Monarchy and of the transition from late Georgian to early Victorian England. With Napoleon safely defeated, travel and relations could resume between the two countries, and the two Italian opera houses I examine entered into an agreement to share singers between them. This relative stability, and the singers who returned year after year to theaters in both capitals, allows for a different kind of inquiry. My study proceeds not from a theory of opera as a political catalyst or incendiary force, but from a conception of opera as both entertainment and social glue. Thus, the kinds of questions that ground these chapters are those that interrogate such concepts as stability, musical sociability, celebrity, and consumption. What happens, for example, when people see the same shows and the same performers night after night? How did impresarios, composers, and singers create the impression of novelty? and what was the value of boredom? In a static world, the smallest differences become noticeable.
Load more

Recommended publications
  • The Socialist Minority and the Paris Commune of 1871 a Unique Episode in the History of Class Struggles
    THE SOCIALIST MINORITY AND THE PARIS COMMUNE OF 1871 A UNIQUE EPISODE IN THE HISTORY OF CLASS STRUGGLES by PETER LEE THOMSON NICKEL B.A.(Honours), The University of British Columbia, 1999 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of History) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 2001 © Peter Lee Thomson Nickel, 2001 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Hi'sio*" y The University of British Columbia Vancouver, Canada Date AkgaS-f 30. ZOO I DE-6 (2/88) Abstract The Paris Commune of 1871 lasted only seventy-two days. Yet, hundreds of historians continue to revisit this complex event. The initial association of the 1871 Commune with the first modern socialist government in the world has fuelled enduring ideological debates. However, most historians past and present have fallen into the trap of assessing the Paris Commune by foreign ideological constructs. During the Cold War, leftist and conservative historians alike overlooked important socialist measures discussed and implemented by this first- ever predominantly working-class government.
    [Show full text]
  • Pacini, Parody and Il Pirata Alexander Weatherson
    “Nell’orror di mie sciagure” Pacini, parody and Il pirata Alexander Weatherson Rivalry takes many often-disconcerting forms. In the closed and highly competitive world of the cartellone it could be bitter, occasionally desperate. Only in the hands of an inveterate tease could it be amusing. Or tragi-comic, which might in fact be a better description. That there was a huge gulf socially between Vincenzo Bellini and Giovanni Pacini is not in any doubt, the latter - in the wake of his highly publicised liaison with Pauline Bonaparte, sister of Napoleon - enjoyed the kind of notoriety that nowadays would earn him the constant attention of the media, he was a high-profile figure and positively reveled in this status. Musically too there was a gulf. On the stage since his sixteenth year he was also an exceptionally experienced composer who had enjoyed collaboration with, and the confidence of, Rossini. No further professional accolade would have been necessary during the early decades of the nineteenth century On 20 November 1826 - his account in his memoirs Le mie memorie artistiche1 is typically convoluted - Giovanni Pacini was escorted around the Conservatorio di S. Pietro a Majella of Naples by Niccolò Zingarelli the day after the resounding success of his Niobe, itself on the anniversary of the prima of his even more triumphant L’ultimo giorno di Pompei, both at the Real Teatro S.Carlo. In the Refettorio degli alunni he encountered Bellini for what seems to have been the first time2 among a crowd of other students who threw bottles and plates in the air in his honour.3 That the meeting between the concittadini did not go well, this enthusiasm notwithstanding, can be taken for granted.
    [Show full text]
  • Sounding Nostalgia in Post-World War I Paris
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing.
    [Show full text]
  • La Dimora Milanese Di Giuditta Pasta Giovanni Truglia
    III, 2017 La dimora milanese di Giuditta Pasta Giovanni Truglia Tra i capitoli meno noti della vita di Giuditta Pasta (1797-1865)1 vi è probabilmente quello legato alle vicende della residenza milanese che la cantante acquistò intorno al 1829 nella centralissima Contrada del Monte al numero 1275 – l’attuale via Monte Napoleone 14 – (fig. 1), e fece decorare secondo il gusto di un neoclassicismo tardo, non pienamente aggiornato rispetto alle tendenze artistiche della Restaurazione.2 Oggi non rimane più nulla dei fasti di Casa Pasta, andata irrimediabilmente perduta in seguito ai bombardamenti che colpirono la città nell’estate del 1943; poche sono le informazioni giunte sino a noi e che permettono di ricostruire un quadro completo di come la dimora dovesse apparire ai tempi della sua realizzazione.3 Unica fonte visiva per il piccolo ciclo sono alcune fotografie conservate nelle collezioni del Civico Archivio Fotografico del Castello Sforzesco4 1 Giuditta Pasta può vantare una consistente letteratura critica, caratterizzata spesso da un taglio eccessivamente elogiativo; si è scelto così di non tracciarne un profilo biografico, rimandando invece a testi dedicati:M ARIA FERRANTI GIULINI, Giuditta Pasta e i suoi tempi: memorie e lettere, Milano, Sormani, 1935; Giuditta Pasta e i suoi tempi e Saronno, catalogo della mostra a cura di Vittorio Pini, Saronno, Comune di Saronno, 1977; GIORGIO APPOLLONIA, Giuditta Pasta. Gloria del bel canto, Torino, EDA, 2000. 2 Il contributo nasce come estratto della mia tesi di laurea triennale in Scienze dei Beni Culturali dal titolo La dimora milanese di Giuditta Pasta, discussa al termine dell’anno accademico 2015/2016 nell’Università degli Studi di Milano con relatore Giovanni Agosti.
    [Show full text]
  • 'Henley' Fits Perfectly in Turf Trinity
    THURSDAY, AUGUST 1, 2019 ‘HENLEY’ FITS PERFECTLY BROMANS TO OFFER A DOZEN YEARLINGS AT SARATOGA IN CHANGE OF TACTICS IN TURF TRINITY by Christie DeBernardis Chester and Mary Broman have dedicated 22 years to the New York breeding program and have enjoyed quite a bit of success with the likes of GI Breeders’ Cup F/M Sprint winner Bar of Gold (Medaglia d’Oro), MGISW Artemis Agrotera (Roman Ruler) and GI Florida Derby hero Friends Lake (A.P. Indy), among others. The couple spent the first 20 years racing everything they produced on their 300-acre farm in Chestertown, N.Y., but starting last term, they began selling off their crops in what Chester Broman refers to as estate planning. Buyers at Fasig- Tipton’s upcoming yearling sales will have a chance to acquire some of New York’s finest with five Broman-bred yearlings in the Saratoga Selected Yearling Sale and an additional seven in the NY-Bred Yearling Sale. Cont. p5 Henley’s Joy | Sarah Andrew IN TDN EUROPE TODAY by Joe Bianca TOO DARN HOT ADDS SUSSEX TO RESUME SARATOGA SPRINGS, NY--Back when the New York Racing Too Darn Hot (GB) (Dubawi {Ire}) made it two Group 1 victories Association announced its bold new initiative for 3-year-old turf on the bounce, taking the G1 Qatar Sussex S. at Goodwood on horses in the summer, a trio of big-money events dubbed the Wednesday after winning the G1 Prix Jean Prat on July 7. Click “Turf Trinity,” many quipped that it would quickly be or tap here to go straight to TDN Europe.
    [Show full text]
  • November Ebn Mon
    WEDNESDAY, 7TH OCTOBER 2020 ALL EYES ON KEENELAND NOVEMBER EBN MON. 9 - WED. 18 EUROPEAN BLOODSTOCK NEWS FOR MORE INFORMATION: TEL: +44 (0) 1638 666512 • FAX: +44 (0) 1638 666516 • [email protected] • WWW.BLOODSTOCKNEWS.EU TODAY’S HEADLINES TATTERSALLS EBN Sales Talk Click here to is brought to contact IRT, or you by IRT visit www.irt.com PANTILE’S BEAUTY SNAPPED UP BY BAHRAIN Bahrain’s intent as a growing power within European racing was clearly signalled when Book 1 of the Tattersalls October Yearling Sunday’s Gr.1 Prix de l’Arc de Triomphe is won by Sottsass Sale opened in Newmarket yesterday, writes Carl Evans. (Siyouni), who has been retired to join the stallion roster Operating for a member of the Gulf state’s royal family, at Coolmore. See story on page 17. bloodstock agent Oliver St Lawrence was underbidder on a 2,000,000gns half-sister to Golden Horn and then secured the session’s top lot, a son of Kingman (Lot 174), whose sale for 2,700,000gns was a windfall of epic size for breeder Colin Murfitt. IN TODAY’S ISSUE... It was also the best ring result for consignor Robin Sharp of Houghton Bloodstock, whose previous auction high was one of Steve Cargill’s Racing Week p20 500,000gns. Racing Round-up p21 The jewel which generated such a sum is a half-brother to the Gr.1 2,000 Guineas winner and sire Galileo Gold, who was First Crop Sire Maidens p26 produced by the Galileo mare Galicuix. She was bought by Pinhooking Tables p28 Murfitt for 8,000gns at the 2013 December Sale, having earlier See pages 3 & 5 – October Yearlings
    [Show full text]
  • THE ECONOMY of CANADA in the NINETEENTH CENTURY Marvin Mcinnis
    2 THE ECONOMY OF CANADA IN THE NINETEENTH CENTURY marvin mcinnis FOUNDATIONS OF THE NINETEENTH- CENTURY CANADIAN ECONOMY For the economy of Canada it can be said that the nineteenth century came to an end in the mid-1890s. There is wide agreement among observers that a fundamental break occurred at about that time and that in the years thereafter Canadian economic development, industrialization, population growth, and territorial expansion quickened markedly. This has led economic historians to put a special emphasis on the particularly rapid economic expansion that occurred in the years after about 1896. That emphasis has been deceptive and has generated a perception that little of consequence was happening before 1896. W. W. Rostow was only reflecting a reasonable reading of what had been written about Canadian economic history when he declared the “take-off” in Canada to have occurred in the years between 1896 and 1913. That was undoubtedly a period of rapid growth and great transformation in the Canadian economy and is best considered as part of the twentieth-century experience. The break is usually thought to have occurred in the mid-1890s, but the most indicative data concerning the end of this period are drawn from the 1891 decennial census. By the time of the next census in 1901, major changes had begun to occur. It fits the available evidence best, then, to think of an early 1890s end to the nineteenth century. Some guidance to our reconsideration of Canadian economic devel- opment prior to the big discontinuity of the 1890s may be given by a brief review of what had been accomplished by the early years of that decade.
    [Show full text]
  • Kenneth E. Querns Langley Doctor of Philosophy
    Reconstructing the Tenor ‘Pharyngeal Voice’: a Historical and Practical Investigation Kenneth E. Querns Langley Submitted in partial fulfilment of Doctor of Philosophy in Music 31 October 2019 Page | ii Abstract One of the defining moments of operatic history occurred in April 1837 when upon returning to Paris from study in Italy, Gilbert Duprez (1806–1896) performed the first ‘do di petto’, or high c′′ ‘from the chest’, in Rossini’s Guillaume Tell. However, according to the great pedagogue Manuel Garcia (jr.) (1805–1906) tenors like Giovanni Battista Rubini (1794–1854) and Garcia’s own father, tenor Manuel Garcia (sr.) (1775–1832), had been singing the ‘do di petto’ for some time. A great deal of research has already been done to quantify this great ‘moment’, but I wanted to see if it is possible to define the vocal qualities of the tenor voices other than Duprez’, and to see if perhaps there is a general misunderstanding of their vocal qualities. That investigation led me to the ‘pharyngeal voice’ concept, what the Italians call falsettone. I then wondered if I could not only discover the techniques which allowed them to have such wide ranges, fioritura, pianissimi, superb legato, and what seemed like a ‘do di petto’, but also to reconstruct what amounts to a ‘lost technique’. To accomplish this, I bring my lifelong training as a bel canto tenor and eighteen years of experience as a classical singing teacher to bear in a partially autoethnographic study in which I analyse the most important vocal treatises from Pier Francesco Tosi’s (c.
    [Show full text]
  • Mapping Topographies in the Anglo and German Narratives of Joseph Conrad, Anna Seghers, James Joyce, and Uwe Johnson
    MAPPING TOPOGRAPHIES IN THE ANGLO AND GERMAN NARRATIVES OF JOSEPH CONRAD, ANNA SEGHERS, JAMES JOYCE, AND UWE JOHNSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Kristy Rickards Boney, M.A. ***** The Ohio State University 2006 Dissertation Committee: Approved by: Professor Helen Fehervary, Advisor Professor John Davidson Professor Jessica Prinz Advisor Graduate Program in Professor Alexander Stephan Germanic Languages and Literatures Copyright by Kristy Rickards Boney 2006 ABSTRACT While the “space” of modernism is traditionally associated with the metropolis, this approach leaves unaddressed a significant body of work that stresses non-urban settings. Rather than simply assuming these spaces to be the opposite of the modern city, my project rejects the empty term space and instead examines topographies, literally meaning the writing of place. Less an examination of passive settings, the study of topography in modernism explores the action of creating spaces—either real or fictional which intersect with a variety of cultural, social, historical, and often political reverberations. The combination of charged elements coalesce and form a strong visual, corporeal, and sensory-filled topography that becomes integral to understanding not only the text and its importance beyond literary studies. My study pairs four modernists—two writing in German and two in English: Joseph Conrad and Anna Seghers and James Joyce and Uwe Johnson. All writers, having experienced displacement through exile, used topographies in their narratives to illustrate not only their understanding of history and humanity, but they also wrote narratives which concerned a larger global ii community.
    [Show full text]
  • Paris Convention and Visitors Bureau | January 2017 01 PRESS RELEASE PARIS 2017 PARIS, the PLACE to BE
    PRESS RELEASE PARIS 2017 2017 In 2017, Paris is full of appeal and surprises! Ever more welcoming, innovative, greener and live- lier, it is a vibrant and changing 21st century capital. An exceptional cultural calendar is without doubt the destination’s greatest a raction – blockbuster exhibitions, the opening of new presti- gious or original venues … Plus, museums and trendy bars, a galleries and design hotels, outs- tanding monuments and renowned restaurants all make Paris an ever more prominent capital, with multiple facets, always ready to surprise Parisians and visitors. PARIS CREATES A BUZZ. Some 300 events take place every day in Paris. Top events open to everyone include the Fête de la Musique (Music Day) , the Nuit des Musées (Museums at Night), Heritage Days, the Bastille Day fireworks display on July 14th, Paris Plages, Nuit Blanche and its a pe ormance, not forge ing the sparkling Christmas illuminations and New Year’s Eve celebrations on the Champs-Élysées. In 2017, Paris will be hosting some prominent exhibitions: Vermeer at the Musée du Louvre, Pissarro at the Musée Marmo an − Monet, and at the Musée du Luxembourg, Rodin at the Grand Palais, Picasso at the Musée du Quai Branly − Jacques Chirac, Balthus, Derain and Giacome i at the city’s Musée d’A Moderne, Cézanne at the Centre Pompidou, Rubens at the Musée du Luxembourg and © Musée du Louvre Gauguin at the Grand Palais … Modern and contemporary a enthusiasts will also be able to see the works of key international a ists such as David Hockney and Anselm Kiefer, and a end land- mark a shows Fiac and A Paris A Fair.
    [Show full text]
  • I Puritani a Londra: Rassegna Stampa (Maggio - Ottobre 1835) Alice Bellini - Daniela Macchione*
    i, 2015 issn 2283-8716 I Puritani a Londra: rassegna stampa (maggio - ottobre 1835) Alice Bellini - Daniela Macchione* Si pubblica qui di seguito una raccolta di recensioni relative alla prima stagione dei Puritani1 di Vincenzo Bellini al King’s Theatre di Londra (21 maggio-15 agosto 1835). Le fonti utilizzate comprendono un’ampia varietà di periodici, senza tuttavia alcuna pretesa di completezza. I due omaggi alla memoria di Bellini aggiunti alla fine della rassegna, espressione di due differenti correnti critiche, sono stati scelti tra i vari articoli pubblicati a Londra alla notizia della morte del compositore; essi riassumono i primi sei anni di presenza belliniana sulle scene inglesi e illustrano la controversa recezione critica dell’opera italiana a Londra. I documenti sono presentati in ordine alfabetico per testata e cronologico per data di pubblicazione. L’ordine cronologico qui adottato ha il vantaggio di mettere in evidenza la particolarità delle somiglianze tra articoli pubblicati in diverse testate, dovute plausibilmente soprattutto all’autoimprestito, una pratica comune nella pubblicistica musicale londinese del tempo, così spiegata da Leanne Langley: Music journalists were obliged to be neither thorough nor objective; literary recycling and self-borrowing (often without acknowledgment) were common practices; most London music journalists, then as now, were freelancers working for more than one periodical, often anonymously and perhaps shading the tone and content of their writing to suit a given journal’s market profile;
    [Show full text]
  • Ilidaile De SEVIGNE and the INTELLECTUAL LIFE of HER
    UNIVERSITY OF LONDON. BEDFORD COLLEGE ILiDAIlE de SEVIGNE AND THE INTELLECTUAL LIFE OF HER TIIIES A Thesis submitted for the degree of Master of Arts. AIRIL 1956. L.M.B.Cuming, ProQuest Number: 10097228 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10097228 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ACmOWLEDGE«NTS. Ko student can fail be to conscious that every piece of research involves the participation of a great many people. The present study is no exception, and the writer welcomes this opportunity of expressing her gratitude to all those who have contributed their share of help in the work involved. First of all I would like to thank my Religious Superiors for having made possible to me a further period of study, involving among other things a long delay in taking up the teaching activities of the Congregation, and the University of London for the financial assistance which has enabled me to continue academic work. Ly thanks are also due to the staffs of the British Museum and Senate House libraries: to the French staff of Bedford College, whose help during my undergraduate days first prepared me for the work in­ volved in research; and most of all to Professor Spink, for his help in pointing out possible avenues of exploration, and for his generous assistance with books, time and not least, encouragement during the two years spent on this study.
    [Show full text]