Relevant bibliographies by topics / Florence. Teatro della Pergola

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Florence. Teatro della Pergola'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Florence. Teatro della Pergola"

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Mostaço, Edelcio. "Dentes afiados de Vampiro." Urdimento - Revista de Estudos em Artes Cênicas 3, no. 36 (2019): 532–38. http://dx.doi.org/10.5965/1414573103362019532.

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Resenha do livro Aristóteles ou o vampiro do teatro ocidental, da autoria de Florence Dupont. Neste ensaio a autora destaca a imperiosa presença de Aristóteles no campo da ficção e seu tratado Poética como matriz inconteste de um modelo narrativo que continua dominando o teatro e a cena do Ocidente. Ao se contrapor frente à essa hegemonia formal, histórica e ideológica, ela examina outros modelos de cenas não-dramáticas que viabilizam se falar em outros percursos possíveis para a meganarrativa do teatro entre nós.
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Schauer, Sophie, Stefano Bertocci, Federico Cioli, Jürgen Sieck, Natalya Shakhovska, and Olena Vovk. "Auralization of Concert Halls for Touristic Purposes." i-com 21, no. 1 (2022): 95–107. http://dx.doi.org/10.1515/icom-2022-0008.

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Abstract This paper presents the progress implemented during the AURA project, funded by the Creative-Europe program with project partners from Germany, Italy, and Ukraine. The project aims to create auralized applications for three music venues in each of the project countries, namely the Konzerthaus Berlin, the Teatro del Maggio in Florence, and the Opera House Lviv. Each will be digitally recreated and auralized before they are then used to conduct case studies. This paper gives insights into current digitalization and auralization techniques. The results of a digital survey will be laid ou
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Hunter, R. L. "Carlo Ferdinando Russo: Aristofane. Autore di teatro. Second edition. Pp. v + 416. Florence: Sansoni Editore, 1984. Paper, L. 20,000." Classical Review 35, no. 2 (1985): 383. http://dx.doi.org/10.1017/s0009840x00109369.

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Fantazzi, Charles. "Tito Livio Frulovisi, Oratoria., ed., Cristina Cocco. (Teatro umanistico 2.) Florence: SISMEL, Edizioni del Galluzzo, 2010. Pp. lxxxi, 109. €36. ISBN: 9788884503787." Speculum 87, no. 4 (2012): 1198–99. http://dx.doi.org/10.1017/s0038713412003405.

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Sear, Frank. "G. Cateni (ED.) Il Teatro Romano di Volterra. Florence: Octavo, 1993. Pp. 175, 118 illus. ISBN 8-8803-0002-4. L. 130,000." Journal of Roman Studies 86 (November 1996): 217–18. http://dx.doi.org/10.1017/s0075435800057750.

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Sear, Frank. "G. Cateni (ed.) Il Teatro Romano di Volterra. Florence: Octavo, 1993. Pp. 175, 118 illus. ISBN 8-8803-0002-4. L. 130,000." Journal of Roman Studies 86 (November 1996): 217–18. http://dx.doi.org/10.2307/300455.

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Stampino, Maria Galli. "Comoedia Leucasia. Girolamo Morlini. Ed. and trans. Giorgia Zollino. Teatro Umanistico 17. Florence: SISMEL Edizioni del Galluzzo, 2020. lxxxviii + 86 pp. €39." Renaissance Quarterly 76, no. 1 (2023): 205–6. http://dx.doi.org/10.1017/rqx.2023.101.

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Mingardi, Lorenzo. "Aldo Rossi per 'Pitti Uomo'. Il viaggio della 'Cabina dell’Elba': da suggestione sentimentale a elemento dello spazio scenico." Opus Incertum 10 (December 24, 2024): 92–103. https://doi.org/10.36253/opus-15838.

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Many architectures obsessively designed by Aldo Rossi throughout his life exemplify the notion of unexpected journeys. Some of these journeys are tangible, such as the Teatro del Mondo featured in the crossing from Venice to Dalmatia (1980). Other, however, are abstract, existing solely within the imaginative realm of the architect’s design vision. In Rossi’s imaginative formal vocabulary, marked by a rarefaction of elements in favor of an absolute complexity of an intricate compositional complexity, the Cabina dell’Elba is one of his most recurrent subjects. First appearing in a series of dra
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Chekan, Yurii. "Locations of the first opera performances: from elitism to general availability." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 136 (March 28, 2023): 75–86. http://dx.doi.org/10.31318/2522-4190.2023.136.276560.

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Relevance of the study. The object of research in the history of music usually is the spiritual component of artistic culture, it's genre- and style-centric processes of the art itself. Specific conditions of artistic artifacts's existence, locations where the premiere and subsequent performances took place, draw less scientific attention. At the same time, without taking this information into account, the musico-historical aspects of the past appear devalued and deformed; certain things remain not understood completely, certain moments fall out of sight.
 The purpose of the study. It is
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Grund, Gary R. "Ludovico Romani, De casu Caesenae., ed. and trans., Attilio Grisafi. (Teatro Umanistico 13.) Florence: SISMEL Edizioni del Galluzzo, 2014. Paper. Pp. lxxxv, 69. €36. ISBN: 978-88-8450-529-3." Speculum 90, no. 4 (2015): 1145–46. http://dx.doi.org/10.1017/s0038713415001852.

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Dissertations / Theses on the topic "Florence. Teatro della Pergola"

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Chabin, Honorine. "L'histoire de la mutation institutionnelle de l'Académie des Immobili durant le ventennio fascista." Reims, 2009. http://www.theses.fr/2009REIML007.

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En Italie, à la fin du XIXème siècle, les Académies, qui avaient assumé la construction et la gestion de nouveaux théâtres aux XVlème et XVllème siècles, ne survivent pas à la crise structurelle de l'industrie théâtrale. Dès le début des années 20, la concurrence de nouvelles fonnes de loisir comme le cinéma ou le sport, la transfomation du goût du public mais aussi les coûts de gestion et de restauration élevés provoquent la vente ou l'abandon de ces théatres séculaires. A Florence, l'Académie des lmmobili est la dernière à céder le pas et à vendre son théâtre à I'Ente Teatrale ltaliano en oc
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Moscheni, Caterina <1992&gt. "La Fondazione Teatro della Pergola. Verso un modello innovativo di gestione per un Teatro Nazionale." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/9333.

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Il presente lavoro di tesi tratta dell’evoluzione che ha portato il Teatro della Pergola ad acquisire il ruolo e lo status di Teatro Nazionale. Lo storico teatro fiorentino ha infatti subito nel tempo numerose trasformazioni. Da teatro melodrammatico fondato dall’Accademia degli Immobili, a punto di riferimento della prosa italiana dei grandi attori, da palcoscenico gestito dall’ETI e ambito da tutte le più importanti compagnie del Secondo dopoguerra a Fondazione di partecipazione pensata per rinnovare e dare nuova linfa a quella che a Firenze è sempre stata un’istituzione in campo cultur
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Gozzi, Andrea. "Luoghi della spettacolarità a Firenze tra passato e futuro: spazi da comporre, spazi per comporre." Doctoral thesis, 2023. https://hdl.handle.net/2158/1300059.

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Lo spazio destinato alla performance musicale costituisce la cornice e il contenuto dell'esperienza degli ascoltatori. L'ambiente acustico impone continue negoziazioni che differiscono in base al ruolo e alla posizione dell'ascoltatore come compositore, esecutore o membro del pubblico. Obiettivo della mia ricerca è indagare l'acustica di uno spazio performativo, il Teatro del Maggio Musicale Fiorentino di Firenze, seguendo due percorsi complementari, entrambi basati su un modello digitale interattivo. Il primo offre un’esperienza audiovisiva in cui l'utente può esplorare virtualmente la sala g
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PAGNINI, CATERINA. "Gli Infuocati di Firenze: un'Accademia tra i Medici e i Lorena (1664-1748)." Doctoral thesis, 2007. http://hdl.handle.net/2158/1078788.

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DI, CINTIO ELEONORA. "I viaggi di Penelope. Testi e contesti della Penelope di Domenico Cimarosa." Doctoral thesis, 2018. http://hdl.handle.net/11573/1079265.

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Il lavoro ha come oggetto l'opera "Penelope", dramma per musica di Giuseppe Maria Diodati intonato da Domenico Cimarosa in occasione dell'apertura della stagione di Carnevale 1795 del Teatro del Fondo di Separazione di Napoli. Nello specifico, sono state ricostruite le condizioni contestuali in cui il titolo venne alla luce, con particolare riferimento all'ambiente urbano napoletano fin de siécle e alla vocazione del Teatro del Fondo. Sono state altresì formulate alcune riflessioni circa la genesi di "Penelope" e le responsabilità autoriali di Cimarosa e Diodati, nonché del tenore Matteo Babin
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Books on the topic "Florence. Teatro della Pergola"

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Arcidiacono, Giovanni. La mia poltrona alla Pergola, 1965-1991: Avventimenti e note di teatro. Il Fauno, 1991.

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Marcello, De Angelis, Archivio di Stato di Firenze., and Italy. Ufficio centrale per i beni archivistici., eds. Lo "spettacolo maraviglioso": Il Teatro della Pergola : l'opera a Firenze : Archivio di Stato di Firenze, 6 ottobre-30 dicembre 2000. Ufficio centrale per i beni archivistici, 2000.

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Bari, Andrea Di, and Franco Camarlinghi. Quando a Firenze il teatro si chiamava Alfonso: Ricordo di Alfonso Spadoni, direttore del teatro La Pergola, 1961-1993. Nardini editore, 2019.

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Cini, Giuseppe. Tre teatri storici a Firenze: Origini, esegesi, restauro. Scribo, 2021.

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Florence, Hercules, Jorge Coli, Leila Florence, Guilherme Massara Rocha, and Rubens Junqueira Villela. Céus: O teatro pitoresco-celeste de Hercule Florence = Ciels = Skies. Florescer Produções Culturais, 2010.

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Brighenti, Matteo. Pazzi di libertà: Il teatro dei Chille a 40 anni dalla legge Basaglia. Pacini editore, 2018.

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editor, Baldassarri Stefano Ugo, and ISI Florence, eds. Renaissance then and now: Danza, musica e teatro per un nuovo Rinascimento : atti del convegno internazionale di studi : ISI Florence, Palazzo Rucellai, 7-9 maggio 2013. Edizioni ETS, 2014.

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Teatro Niccolini Di Firenze. Polistampa, 2021.

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Il debutto di Amleto: La rassegna, Firenze, Teatro della Pergola, 17/20 aprile 2000. Titivillus, 2000.

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Il Teatro del Cocomero a Firenze (1701-1748): Accademici impresari per due dinastie. Le lettere, 2017.

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Book chapters on the topic "Florence. Teatro della Pergola"

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Guardenti, Renzo, Cristina Iandelli, Mila De Santis, Teresa Megale, Francesca Simoncini, and Caterina Pagnini. "L’Università di Firenze al crocevia delle arti: cinema, musica, teatro, danza." In Dialoghi con la società. Firenze University Press, 2024. http://dx.doi.org/10.36253/979-12-215-0282-4.24.

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The contribution illustrates the relations maintained by the University of Florence with the world of spectacle by the professors of the History of Cinema, Music, Theater and Dance courses. Particularly highlighted are the fruitful relationships with the most important artistic institutions in the Florentine area, such as the Fondazione Sistema Toscana, the Fondazione Teatro del Maggio Musicale Fiorentino, theFondazione Teatro della Toscana, the Centro Nazionale di Produzione della Danza "Virgilio Sieni," and the Fondazione Fabbrica Europa, declined both in terms of educational collaboration a
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Lumini, Andrea. "Multisensory VR Experiences Based on Auralization and HBIM. The Teatro del Maggio in Florence." In Digital Innovations in Architecture, Engineering and Construction. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-62963-1_37.

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Michelassi, Nicola. "Didascalia comica." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.29.

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The first part of this paper consists of a theatre play written specifically for the international congress El teatro Español en Europa and performed on that occasion by the Segugi theatre company. The play stages the generational and poetic conflict between two seventeenth-century Florentine playwrights: the tragedian Girolamo Bartolommei (1584-1662) and his son, the comedian Mattias Maria (1640-1695). Girolamo, contrary to the innovations of modern comedy and the mixture of tragic and comic, dedicated in 1658 a treatise entitled Didascalia comica to Mattias in which he sought to bring his so
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Parker, Roger. "Macbeth." In The New Grove Guide to Verdi and His Operas. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313130.003.0012.

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Abstract Opera in four acts set to a libretto by Francesco Maria Piave (with additional material by Andrea Maffei) after William Shakespeare’s play; first performed in Florence, Teatro della Pergola, on 14 March 1847. The re vised version, with a libretto translated by Charles-Louis-Etienne Nuitter and Alexandre Beaumont, was first performed in Paris, Theatre Lyrique, on 21 April 1865. The cast at the 1847 premiere included Felice Varesi (Macbeth) and Marianna Barbieri-Nini (Lady Macbeth). For the 1865 revised version the cast included Jean Vital Ismael (Macbeth) and Inez Rey-Balla (Lady Macbe
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Holmes, William C. "Vivaldi e il Teatro la Pergola a Firenze: Nuove Fonti." In Vivaldi. Routledge, 2017. http://dx.doi.org/10.4324/9781315084176-8.

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Wilbourne, Emily. "Buonaccorsi Sings on the Florentine Stage." In Voice, Slavery, and Race in Seventeenth-Century Florence. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197646915.003.0011.

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Abstract This chapter provides an analysis of the various roles known to have been played by Black singer Giovannino Buonaccorsi on the Florentine stage at La Pergola theater, noting, in particular, the ways in which they fulfill a comic character type of the Italian vernacular stage. A comparison is made with the standard scene types of the commedia dell’arte. The analysis points up two different approaches to dialect and sound, suggesting that at least one other enslaved Black singer was active in Florentine opera of the period, perhaps one of the young Black men enslaved to Prince Matthias
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Wilbourne, Emily. "Introducing Giovannino Buonaccorsi." In Voice, Slavery, and Race in Seventeenth-Century Florence. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197646915.003.0010.

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Abstract Giovannino Buonaccorsi was an enslaved, Black, male soprano (presumably castrato) singer, active at the Medici court from 1651 until his death in 1674; he was frequently described in contemporary sources with the nickname “Giovannino Moro.” Buonaccorsi sang in a series of operas in the Florentine theater, La Pergola, and, in 1664, at least one season on the Venetian public stage. Details of Buonaccorsi’s life and performances survive in a remarkable number of visual, descriptive, musical, and archival sources. This chapter serves as an introduction to the information known about him (
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Tilmouth, Michael, David Kimbell, and Roger Savage. "Luigi Cherubini (1760-1842)." In The Classics of Music. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0057.

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Abstract Luigi Cherubini, the Italian composer, (was born at Florence on 14 September 1760, and died on 15 March 1842 in Paris. His father was Maestro al Cembalo at the Pergola theatre, and began to teach him music when he was 6. By the time he was 16 he had composed a great deal of church music, and in 1778 he went to Bologna, where for four years he studied under Sarti.) This famous master well earned the gratitude which afterwards impelled Cherubini to place one of his double choruses by the side of his own Et vitam venturi as the crown of his Treatise on Counterpoint and Fugue, though the
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Conference papers on the topic "Florence. Teatro della Pergola"

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Bevilacqua, Antonella, and Lamberto Tronchin. "On the acoustic track of the Teatro del Maggio Musicale of Florence." In 2023 Immersive and 3D Audio: from Architecture to Automotive (I3DA). IEEE, 2023. http://dx.doi.org/10.1109/i3da57090.2023.10289600.

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