Disguise, Deception and the Development of Haydn's Dramatic

Total Page:16

File Type:pdf, Size:1020Kb

Disguise, Deception and the Development of Haydn's Dramatic Disguise, Deception and the Development of Haydn’s Dramatic Voice in the Comic Operas of 1766-1777 A Dissertation Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Musicology Michael McGrade, Advisor In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy by Erin Walker Jerome August 2011 The signed version of this form is on file in the Graduate School of Arts and Sciences. This dissertation, directed and approved by Erin Walker Jerome’s Committee, has been accepted and approved by the Faculty of Brandeis University in partial fulfillment of the requirements for the degree of: DOCTOR OF PHILOSOPHY Malcolm Watson, Dean Graduate School of Arts and Sciences Dissertation Committee: Michael McGrade, Department of Music Allan Keiler, Department of Music Peter Hoyt, Department of Music, University of South Carolina Copyright by Erin Walker Jerome 2011 Acknowledgments My entire dissertation writing process would not have been possible without the support of a vast network of friends, colleagues, mentors, and family. I might be the official author of this work, but, as my colleagues have often pointed out, writing a dissertation is a team effort. Unfortunately, I do not have the space to single out every person who merits thanks, but there are a few people who must get special mention. First and foremost, I have to express my gratitude to my dissertation advisor, Michael McGrade. He patiently worked with me as I gradually narrowed my topic from “something to do with the influence of Italian comic opera on Classical style” to “something to do with Haydn’s operas” to the finished product. While his close readings of all of my drafts in their various states of completion were certainly beneficial to the shaping of this work, it was our meetings and discussions that turned this dissertation into what it is today. He never hesitated to ask thought-provoking and often seemingly unanswerable questions that in turn made me return to my analyses and re-think my original hunches. This dissertation would not even be half of what it is today without him. Furthermore, I would not be half the scholar I am today without him. Thank you to my other committee members, Professors Peter Hoyt and Allan Keiler. I had the privilege of working with Peter as an undergraduate at Wesleyan University and he was the one who inspired me to pursue a graduate degree in Musicology. Like Michael, Peter never hesitated to ask me impossible questions that iv have also helped shape the way I think about this topic and about eighteenth-century culture in general. Despite his aversion to Haydn’s operas, I am grateful that Professor Keiler was willing to be my second reader. I hope that this dissertation will make him give these works a second chance. Thanks must also go to Professor Eric Chafe for suggesting that I look at Haydn’s operas when I began to flounder with my original topic. Cheryl Nalbach and Mark Kagan also helped ensure that this entire process proceeded as smoothly as possible. While I opted not to pursue an early music topic, Professor Sarah Mead did not make that decision an easy one. She has profoundly changed the way I think about and the way I perform music. Sarah introduced me to the thriving early music world here in the Boston area and I am grateful for all of the performance and teaching opportunities that she has given me. Not only is she a gifted teacher, but she is also a great friend. Lois Widmer of LTS has gone from being my boss to being a close friend and confidant. She has tirelessly advocated for me, opening new employment opportunities and keeping me gainfully employed along the way. Her generosity never ceases to amaze me. Of course my Brandeis and non-Brandeis friends deserve thanks as well. Alex Ludwig and Georgia Luikens helped with the proofreading of the final draft, unearthing all sorts of embarrassing typos. Rob Pearson proved himself capable of sparking infuriatingly challenging musicological debates, being an excellent running partner, a special friend, and a highly skilled procrastination enabler. Michael Park provided wise counsel – both intellectual and technological. Ian Gendreau supplied the positive energy, new music, new experiences, and, most importantly, fun, during the final few months of v dissertation writing. Simon and Clyde worked tirelessly as my editorial assistants. Jill Rogers, Elizabeth Perten, Deidra Garcia, Rachel Cama, Mu-Xuan Lin, Joanna Fuchs, Jacquelyn Sholes, Amanda Gadrow, Laura Shechter, and Amie Stewart have all been there when I needed them. As for my parents, Ginny and Joel Jerome, I do not know where to begin. Little did we know that my first piano lesson at the age of five would lead to a lifelong study of music. They have been my greatest supporters throughout this entire endeavor. Whether I required some tough love, an outlet to vent, last minute proofreading, or financial support, they were there. I certainly could not have finished this degree without them and I hope that they know that. This dissertation is dedicated to three women who I know would have been thrilled to share in this stage of my life: Aurora Stone, Lee Jerome, and Claudia Kowarsky. vi ABSTRACT Disguise, Deception, and the Development of Haydn’s Dramatic Voice in the Comic Operas of 1766-1777 A dissertation presented to the Faculty of the Graduate School of Arts and Sciences of Brandeis University Waltham, Massachusetts By Erin Walker Jerome In this dissertation, I explore the development of Haydn’s dramatic voice by examining moments of self-conscious performance and deception in four operas: La canterina, Lo speziale, L’incontro improvviso, and Il mondo della luna. These moments of deception shine a spotlight on the artifice of the operatic experience, while also illustrating Haydn’s ability to musically represent a character’s development over the course of an opera. My analyses show that the characters who succeed in their acts of deception are those who are the most self-aware, and this conclusion offers a new approach to ideas surrounding eighteenth-century self-perception. They also give us a new appreciation for the subtlety and sophistication of Haydn’s musical characterizations. vii TABLE OF CONTENTS Acknowledgments iv Abstract vii List of Musical Examples ix Introduction 1 Chapter One Farce, Fraud, and Status Anxiety in Haydn’s La canterina 7 Chapter Two Lo speziale: Unmasking the Fool 40 Chapter Three L’incontro improvviso: Deceitful Dervishes, Hungry Servants, and Seria Characters in Disguise 89 Chapter Four Inner Space as Outer Space: The Imaginary Music of the Moon 137 Chapter Five Casting a Fool’s Utopia in Haydn’s Il mondo della luna 173 Conclusion 211 Bibliography 217 viii LIST OF MUSICAL EXAMPLES 1.1a Haydn's "Io sposar" (mm. 31-37) 21! 1.1b Piccinni's "Io sposar" (mm. 3-6) 21! 1.3 Haydn's "Io sposar" (mm. 42-47) 23! 1.4 Haydn's "Io sposar" (mm. 51-53) 24! 1.5 Haydn's "Io sposar" (mm. 77-85) 26! 1.6 La canterina Act I quartet, (mm. 32-39) 28! 1.7a “Non v’è chi mi aiuta” (mm. 11-17) 33! 1.7b “Non v’è chi mi aiuta” (mm. 22-26) 33! 1.8 “Non v’è chi mi aiuta” (mm. 35-39) 34! 1.9 “Non v’è chi mi aiuta” (mm. 61-75) 37! 2.1a “Caro Volpino amabile” (first version, mm. 24-38) 51! 2.1b “Caro Volpino amabile” (second version, mm. 1-18) 52! 2.2a “Caro Volpino amabile” (first version, mm. 39-47) 54! 2.2b "Caro Volpino amabile" (second version, mm. 18-24), Grilletta's suffering 55! 2.3 Lo speziale Act II finale (mm. 8-11) 63! 2.4 Lo speziale Act II finale (mm. 12-20) 64! 2.5 Lo speziale Act II quartet (mm. 40-46) 66! 2.6 “Salamelica, Semprugna cara” (mm. 1-15) 81! 2.7 “Salamelica, Semprugna cara” (mm. 30-37) 83! 3.1 “Castagno, castagna” (mm. 12-28) 109! 3.2 “Castagno, castagna” (mm. 29-36) 111! 3.3 “Noi pariamo Santarelli” (mm. 1-7) 116! 3.4 “Noi pariamo Santarelli” (mm. 19-27) 121! 3.5 “Castagno, castagna” (duet, mm. 66-67 127! 3.6 “Ecco un splendido banchetto” (mm. 6-12) 132! 4.1 Il mondo della luna Act II sinfonia (mm. 8-10) 153! 4.2a Il mondo della luna Act II sinfonia (mm. 1-15) 154! 4.2b Il mondo della luna Number 25 (mm. 1-8) 155! 4.3 “Che mondo amabile” (mm. 1-4) 165! 4.4 “Che mondo amabile” (mm. 41-43) 166! 4.5 “Che mondo amabile” (mm. 43-49) 167! 4.6 “Che mondo amabile” (mm. 51-55) 168! 4.7 “Che mondo amabile” (mm. 56-61) 169! 5.1 “Begli occhi vezzosi” (mm. 66-74) 187! 5.2 “Se lo comanda” (mm. 66-72) 197! 5.3 “Se lo comanda” (mm. 78-82) 199! 5.4 “Se lo comanda” (mm. 115-131) 202 ix ! INTRODUCTION Eighteenth-century opera buffa plots tend to center around acts of deception in which characters assume disguises or particular idiosyncratic behaviors, ranging from the employment of sentimental or seria “damsel in distress” behavior to dressing up as a Turkish emissary in an attempt to get rid of a romantic rival. These acts of deception are almost always motivated by romantic aims. Haydn’s operas are certainly products of their time, but a close study of his Italian comic stage works introduces us to characters who possess a sophisticated sense of interpersonal discourse.
Recommended publications
  • La Cultura Italiana
    LA CULTURA ITALIANA BALDASSARE GALUPPI (1706–1785) Thousands of English-speaking students are only familiar with this composer through a poem by Robert Browning entitled “A Toccata of Galuppi’s.” Few of these students had an inkling of who he was or had ever heard a note of his music. This is in keeping with the poem in which the toccata stands as a symbol of a vanished world. Although he was famous throughout his life and died a very rich man, soon after his death he was almost entirely forgotten until Browning resurrected his name (and memory) in his 1855 poem. He belonged to a generation of composers that included Christoph Willibald Gluck, Domenico Scarlatti, and CPE Bach, whose works were emblematic of the prevailing galant style that developed in Europe throughout the 18th century. In his early career he made a modest success in opera seria (serious opera), but from the 1740s, together with the playwright and librettist Carlo Goldoni, he became famous throughout Europe for his opera buffa (comic opera) in the new dramma giocoso (playful drama) style. To the suc- ceeding generation of composers he became known as “the father of comic opera,” although some of his mature opera seria were also widely popular. BALDASSARE GALUPPI was born on the island of Burano in the Venetian Lagoon on October 18, 1706, and from as early as age 22 was known as “Il Buranello,” a nickname which even appears in the signature on his music manuscripts, “Baldassare Galuppi, detto ‘Buranello’ (Baldassare Galuppi, called ‘Buranello’).” His father was a bar- ber, who also played the violin in theater orchestras, and is believed to have been his son’s first music teacher.
    [Show full text]
  • What Handel Taught the Viennese About the Trombone
    291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios.
    [Show full text]
  • Sloane Drayson Knigge Comic Inventory (Without
    Title Publisher Author(s) Illustrator(s) Year Number Donor Box # 1,000,000 DC One Million 80-Page Giant DC NA NA 1999 NA Sloane Drayson-Knigge 1 A Moment of Silence Marvel Bill Jemas Mark Bagley 2002 1 Sloane Drayson-Knigge 1 Alex Ross Millennium Edition Wizard Various Various 1999 NA Sloane Drayson-Knigge 1 Open Space Marvel Comics Lawrence Watt-Evans Alex Ross 1999 0 Sloane Drayson-Knigge 1 Alf Marvel Comics Michael Gallagher Dave Manak 1990 33 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 1999 1 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 1999 2 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 1999 3 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 1999 4 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 2000 5 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 2000 6 Sloane Drayson-Knigge 1 Aphrodite IX Top Cow Productions David Wohl and Dave Finch Dave Finch 2000 0 Sloane Drayson-Knigge 1 Archie Marries Veronica Archie Comics Publications Michael Uslan Stan Goldberg 2009 600 Sloane Drayson-Knigge 1 Archie Marries Veronica Archie Comics Publications Michael Uslan Stan Goldberg 2009 601 Sloane Drayson-Knigge 1 Archie Marries Veronica Archie Comics Publications Michael Uslan Stan Goldberg 2009 602 Sloane Drayson-Knigge 1 Archie Marries Betty Archie Comics Publications Michael Uslan Stan Goldberg 2009 603 Sloane Drayson-Knigge 1 Archie Marries Betty Archie Comics Publications Michael Uslan Stan Goldberg 2009
    [Show full text]
  • French Secular Music in Saint-Domingue (1750-1795) Viewed As a Factor in America's Musical Growth. John G
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth. John G. Cale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cale, John G., "French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth." (1971). LSU Historical Dissertations and Theses. 2112. https://digitalcommons.lsu.edu/gradschool_disstheses/2112 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 72-17,750 CALE, John G., 1922- FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH. The Louisiana State University and Agricultural and Mechanical College;, Ph.D., 1971 Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by John G. Cale B.M., Louisiana State University, 1943 M.A., University of Michigan, 1949 December, 1971 PLEASE NOTE: Some pages may have indistinct print.
    [Show full text]
  • André-Ernest-Modeste Grétry
    pour la cour qu’il créée Zemire et Azor en 1771, où Marmontel parodie La Belle et la Bête. Cette nouvelle œuvre dédiée à Madame Du Barry lui vaut l’admiration de la famille royale, des courtisans puis du public, l’aspect fantastique de l’œuvre attisant la curiosité de l’auditoire, confondu par la mystérieuse scène du tableau magique… Triomphe absolu, et là encore Grétry donne le sentiment de proposer un nouveau type de spectacle. 1773 voit le succès du Magnifique écrit avec Sedaine, suivi de La Rosière de Salency, et surtout du premier “Grand Opéra” de Grétry, représenté à l’Opéra Royal de Versailles pour le Mariage du Comte d’Artois : Céphale et Procris. La nouvelle Reine, Marie-Antoinette, s’est tellement entichée de Grétry qu’elle devient la marraine de sa troisième fille en 1774, justement prénommée Antoinette. En six ans à peine, le jeune liégeois arrivé inconnu à Paris en est devenu le principal compositeur, stipendié par la cour… André-Ernest-Modeste Grétry Mais la représentation d’Iphigénie en Aulide de Gluck, au printemps 1774, est une 1741-1813 déflagration de modernité, et lorsque juste après, Céphale et Procris est présenté à l’Académie Royale de Musique, le public est déçu de son manque d’audace. Grétry est éclipsé par le Chevalier Gluck… La fausse magie en 1775, tièdement accueillie, Né à Liège dans une famille de musiciens, il intègre la maîtrise de la Collégiale Saint- est suivie du rebond des Mariages Samnites en 1776, au moment où les œuvres Denis où son père était premier violon.
    [Show full text]
  • A Countertenor's Reference Guide to Operatic Repertoire
    A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources.
    [Show full text]
  • Carlo Goldoni and the Dramma Giocoso Per Musica XXX S
    VI. Goldoni’s Musical Legacy Between 1749 and 1761, Venetian theatres produced a total of 69 new comic operas.181Of these, 44 used libretti by Carlo Goldoni. After he left Venice, Goldoni’s drammi giocosi continued to receive perfor- mance every year until 1768. Over the entire arc of the 18th century, an estimate of nearly 2000 comic operas were produced in all of Italy, of which 283 productions with our author’s texts. Goldoni’s texts began to circulate outside of Italy as early as the 1749, launching the dramma giocoso throughout the whole of Europe. Within his own lifetime, Goldoni’s publication history provides further testimony of the wide circulation of his work. In the preface to the Pasquali edition (one of the last undertaken during his life), Goldoni offers this modest summary: Ecco dunque alla luce del mondo il primo tomo della nuova edizione delle mie Commedie, ed eccolo a fronte di altre dieci edizioni che lo hanno fin’or prevenuto, ed hanno, posso dir senza ostentazione, empito il mondo delle Opere mie (…) Cinque edizioni del Bettinelli, una del Pitteri in Venezia, la mia di Firenze, quan- tunque spacciata prima di terminarla; le ristampe di Pesaro, di Torino, di Napoli, di Bologna; le traduzioni in Francese, in Inglese, in Tedesco(…) etc.182 Goldoni’s comedies and drammi giocosi boast an impressive reach. The vast diffusion of these works has in large part been traced and catalogued 181 As accounted for by by E. Dent & P. Smith, “The Italian libretto to 1800” in New Grove Dictionary of Music and Musicians, 14th Edition, vol.
    [Show full text]
  • Graphic No Vels & Comics
    GRAPHIC NOVELS & COMICS SPRING 2020 TITLE Description FRONT COVER X-Men, Vol. 1 The X-Men find themselves in a whole new world of possibility…and things have never been better! Mastermind Jonathan Hickman and superstar artist Leinil Francis Yu reveal the saga of Cyclops and his hand-picked squad of mutant powerhouses. Collects #1-6. 9781302919818 | $17.99 PB Marvel Fallen Angels, Vol. 1 Psylocke finds herself in the new world of Mutantkind, unsure of her place in it. But when a face from her past returns only to be killed, she seeks vengeance. Collects Fallen Angels (2019) #1-6. 9781302919900 | $17.99 PB Marvel Wolverine: The Daughter of Wolverine Wolverine stars in a story that stretches across the decades beginning in the 1940s. Who is the young woman he’s fated to meet over and over again? Collects material from Marvel Comics Presents (2019) #1-9. 9781302918361 | $15.99 PB Marvel 4 Graphic Novels & Comics X-Force, Vol. 1 X-Force is the CIA of the mutant world—half intelligence branch, half special ops. In a perfect world, there would be no need for an X-Force. We’re not there…yet. Collects #1-6. 9781302919887 | $17.99 PB Marvel New Mutants, Vol. 1 The classic New Mutants (Sunspot, Wolfsbane, Mirage, Karma, Magik, and Cypher) join a few new friends (Chamber, Mondo) to seek out their missing member and go on a mission alongside the Starjammers! Collects #1-6. 9781302919924 | $17.99 PB Marvel Excalibur, Vol. 1 It’s a new era for mutantkind as a new Captain Britain holds the amulet, fighting for her Kingdom of Avalon with her Excalibur at her side—Rogue, Gambit, Rictor, Jubilee…and Apocalypse.
    [Show full text]
  • Sacred Music, 136.4, Winter 2009
    SACRED MUSIC Winter 2009 Volume 136, Number 4 EDITORIAL Viennese Classical Masses? | William Mahrt 3 ARTICLES Between Tradition and Innovation: Sacred Intersections and the Symphonic Impulse in Haydn’s Late Masses | Eftychia Papanikolaou 6 “Requiem per me”: Antonio Salieri’s Plans for His Funeral | Jane Schatkin Hettrick 17 Haydn’s “Nelson” Mass in Recorded Performance: Text and Context | Nancy November 26 Sunday Vespers in the Parish Church | Fr. Eric M. Andersen 33 REPERTORY The Masses of William Byrd | William Mahrt 42 COMMENTARY Seeking the Living: Why Composers Have a Responsibility to be Accessible to the World | Mark Nowakowski 49 The Role of Beauty in the Liturgy | Fr. Franklyn M. McAfee, D.D. 51 Singing in Unison? Selling Chant to the Reluctant Choir | Mary Jane Ballou 54 ARCHIVE The Lost Collection of Chant Cylinders | Fr. Jerome F. Weber 57 The Ageless Story | Jennifer Gregory Miller 62 REVIEWS A Gift to Priests | Rosalind Mohnsen 66 A Collection of Wisdom and Delight | William Tortolano 68 The Fire Burned Hot | Jeffrey Tucker 70 NEWS The Chant Pilgrimage: A Report 74 THE LAST WORD Musical Instruments and the Mass | Kurt Poterack 76 POSTSCRIPT Gregorian Chant: Invention or Restoration? | William Mahrt SACRED MUSIC Formed as a continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gre- gory of America since 1915. Published quarterly by the Church Music Associ- ation of America. Office of Publication: 12421 New Point Drive, Harbour Cove, Richmond, VA 23233. E-mail: [email protected]; Website: www.musicasacra.com Editor: William Mahrt Managing Editor: Jeffrey Tucker Editor-at-Large: Kurt Poterack Editorial Assistance: Janet Gorbitz and David Sullivan.
    [Show full text]
  • Eröffnungsvortrag: Haydns Opern in Ihrer Zeit Und Heute
    ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Wissenschaftliche Arbeiten aus dem Burgenland Jahr/Year: 1992 Band/Volume: 090 Autor(en)/Author(s): Feder Georg Artikel/Article: Haydns Opern in ihrer Zeit und heute. 9-20 Eröffnungsvortrag:© Landesmuseum für Burgenland, Austria, download unter www.biologiezentrum.at Haydns Opern in ihrer Zeit und heute Georg FEDER, Köln “Joseph Haydn und die Oper seiner Zeit” so lautet das Thema unseres Symposions. Haydns Opern in ihrer Zeit und heute sind das Thema dieses ersten Vortrages. Mit ihm möchte ich versuchen, einen kurzen Überblick über Haydns Opernschaffen zu geben, einerseits in historischer Hinsicht, andererseits in Betrachtung der neueren Entwicklungen. Haydns Opernschaffen ist nach den Forschungen und Veröffentlichungen der letzten Jahrzehnte gut überschaubar; Umfang, Gliederung und zeitlicher Verlauf dieses Schaffens lassen sich mit klaren Linien skizzieren. (Vgl. die Tabelle.) Es erstreckte sich über einen Zeitraum von vier Jahrzehnten: von 1751/52 bis 1791. Schauplätze der Uraufführungen waren zuerst Wien, dann Eisenstadt und Esz­ terhäza. Die letzte Oper entstand in London. Den Werkgattungen nach gliedert sich Haydns Opernschaffen in die Gruppe der deutschen Singspiele, mit gespro­ chenen Dialogen, meist in der Sonderform der Marionettenoper, wobei unter lauter heiteren Singspielen ein ernstes vorkommt, und in die Gruppe der italie­ nischen Opern. Zu letzteren gehört zunächst die bei Haydn bald als Opera seria, bald als Dramma eroico oder Dramma per musica bezeichnete ernste Oper, die in kleinerer Form Festa teatrale oder Azione teatrale heißt. Daneben steht die heitere Oper, als Commedia, als Intermezzo, Opera buffa oder Burletta, einmal auch als Dramma giocoso per musica bezeichnet.
    [Show full text]
  • Pimpinone & La Serva Padrona
    © Marc Vanappelghem Pimpinone & La serva padrona opéra de chambre de G.P. Telemann & G.B. Pergolesi par l’Opéra de Lausanne mise en scène Eric Vigié di 9 janvier 17h grande salle Dossier de presse Théâtre du Passage Saison 2010-2011 Chargé de communication: Benoît Frachebourg | 032 717 82 05 | [email protected] DOSSIER DE PRESSE Contact Presse : Elisabeth Demidoff Tel : 079 679 43 90 Email : [email protected] 1 SOMMAIRE LA ROUTE LYRIQUE VAUD 2010 page 3 PIMPINONE page 4 Georg Philipp Telemann LA SERVA PADRONA Giovanni Battista Pergolesi DISTRIBUTION page 5 SYNOPSIS page 6 LA TOURNEE - dates et lieux page 7 BIOGRAPHIES page 9 LES MÉCÈNES DE LA ROUTE LYRIQUE page 15 INFORMATIONS PRATIQUES page 16 2 LA ROUTE LYRIQUE L'Opéra de Lausanne se lance pour la première fois de son histoire, avec l’aide et le soutien du Canton de Vaud (Service des affaires Culturelles) dans une tournée estivale unique en son genre. Nous partons à la rencontre du public, et vous proposons de nous suivre durant le mois de juillet dans les villes qui ont accepté de nous recevoir. Pimpinone (1725) et La serva padrona (1733) constituent deux des chefs-d’oeuvre de l’opéra buffa naissant. Si le premier a été créé à Hambourg, par LE compositeur allemand le plus important du début du XVIIIe siècle (Telemann) abordant un thème bien osé pour l’époque, le second est d’une veine toute napolitaine et donnera naissance à la comédie bouffe dans toute sa splendeur. Il est intéressant de vous les présenter ensemble, dans une atmosphère proche de ce que l’on attend
    [Show full text]
  • CINDERELLA Websites
    GIOACHINO ROSSINIʼS CINDERELLA Links to resources and lesson plans related to Rossiniʼs opera, Cinderella. The Aria Database: La Cenerentola http://www.aria- database.com/search.php?sid=e2dbb31103303fb8f096f9929cf13345&X=1&dT=Full&fC=1&searching=yes&t0=all &s0=Cenerentola&f0=keyword&dS=arias Information on 9 arias for La Cenerentola, including roles, voice parts, vocal range, synopsisi, with aria libretto and translation. Great Performances at the Met: La Cenerentola http://www.pbs.org/wnet/gperf/gp-at-the-met-la-cenerentola/3461/ Joyce DiDonato sings the title role in Rossiniʼs Cinderella story, La Cenerentola, with bel canto master Juan Diego Flórez as her dashing prince. The Guardian: Glyndebourne: La Cenerentola's storm scene - video http://www.theguardian.com/music/video/2012/jun/18/glyndebourne-2012-la-cenerentola-video Watch the storm scene in this extract from Glyndebourne's 2005 production of Rossini's La Cenerentola, directed by Peter Hall. IMSLP / Petrucci Music Library: La Cenerentola http://imslp.org/wiki/La_cenerentola_(Rossini,_Gioacchino) Read online or download full music scores and vocal scores for La Cenerentola, music by Gioacchino Rossini. Internet Archive: La Ceniecineta: opera en tres actos https://archive.org/details/lacenicientaoper443ferr Spanish Translation of La Cenerentola, 1916. Internet Archive: La Cenerentola: Dramma Giocoso in Due Atti (published 1860) https://archive.org/stream/lacenerentoladra00ross_0#page/n1/mode/2up Read online or download .pdf of libretto for Rossiniʼs opera, La Cenerentola. In Italian with English Translation. The Kennedy Center: Washington National Opera: La Cenerentola https://www.kennedy-center.org/events/?event=OPOSD Francesca Zambello discusses Rossiniʼs opera, Cinderella. Lyric Opera of Chicago: Cinderella Backstage Pass! https://www.lyricopera.org/uploadedFiles/Education/Children_and_Teens/2011- 12%20OIN%20Backstage%20Pass%20color.pdf Cinderella is featured in Backstage Pass, Lyric Opera of Chicagoʼs student magazine.
    [Show full text]