Relevant bibliographies by topics / Opera – 19th century

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

Academic literature on the topic 'Opera – 19th century'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Opera – 19th century"

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Seidel, G. "Mad scenes in 19th century opera." Australian and New Zealand Journal of Psychiatry 34, s1 (2000): A61. http://dx.doi.org/10.1080/000486700763.

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Erfurth, A., and P. Hoff. "Mad scenes in early 19th-century opera." Acta Psychiatrica Scandinavica 102, no. 4 (2000): 310–13. http://dx.doi.org/10.1034/j.1600-0447.2000.102004310.x.

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Christoforidis, Michael. "Georges Bizet’s Carmen and Fin-de-Siècle Spanish national opera." Studia Musicologica 52, no. 1-4 (2011): 419–28. http://dx.doi.org/10.1556/smus.52.2011.1-4.29.

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At the end of the 19th century, Georges Bizet’s Carmen was the most performed opera with a Spanish theme in the Iberian peninsula. It had made its breakthrough into the Spanish repertoire in the late 1880s, just as debates over the state and future of Spanish opera had intensified and were tied to emerging questions of national identity. In a period when full-length Spanish works (zarzuela grande and opera) were struggling to maintain a foothold in the repertoire, Carmen received numerous operatic productions and several adaptations into the Spanish lyric genre of the zarzuela, accelerating th
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D’Orazio, Dario, and Sofia Nannini. "Towards Italian Opera Houses: A Review of Acoustic Design in Pre-Sabine Scholars." Acoustics 1, no. 1 (2019): 252–80. http://dx.doi.org/10.3390/acoustics1010015.

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The foundation of architectural acoustics as an independent science is generally referred to Sabine’s early studies and their application. Nevertheless, since the 16th Century, a great number of authors wrote essays and treatises on the design of acoustic spaces, with a growing attention to the newborn typology of the Opera house, whose evolution is strongly connected to the cultural background of the Italian peninsula. With roots in the Renaissance rediscovery of Vitruvius’s treatise and his acoustic theory, 16th- to 19th-Century Italian authors tackled several issues concerning the construct
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Piperno, Franco. "Music and Italian National Identity: Mme de Staël’s Corinne ou l’Italie." Studia Musicologica 52, no. 1-4 (2011): 231–40. http://dx.doi.org/10.1556/smus.52.2011.1-4.18.

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Mme De Staël’s Corinne ou l’Italie (1807) offered the most influential statement on Italy and the Italians by a foreign writer in 19th-century Europe. It gives a fruitful opportunity to investigate what a 19th-century foreign writer thought both of Italian music and of music as a symbol of the Italian national identity. The overview of the Italian operatic repertoire and opera productions leads to the conclusion that Italy as a nation was substantially absent from the operatic scene while, on the contrary, the Italian society made of opera the most typical entertainment and of the ‘palchetto’
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Barlow, Jill. "London, Royal Opera House: ‘The Blackened Man’." Tempo 57, no. 223 (2003): 87–89. http://dx.doi.org/10.1017/s004029820327008x.

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Will Todd, born in Durham in 1970, has an extensive output of compositions to his credit, including highly-charged operas and oratorios, largely centred around themes from northeastern England, notably the workers' struggle against early 19th and 20th-century injustice and oppression. I had heard his emotive cantata The Burning Road performed at St Albans Cathedral in February 2002 – it depicts the relentless, footsore Jarrow Marchers of 1936 who stopped in the city en route to London – and was interested to hear the follow-up in his new opera on an allied theme: The Blackened Man.
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Katalinić, Vjera. "Staging History: The 1566 Siege of Siget and 19th Century Opera." Journal of Croatian Studies 42 (2001): 43–52. http://dx.doi.org/10.5840/jcroatstud2001423.

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Khamidova, Marfua Azizovna. "OPERA OF THE 19TH CENTURY IN THE ASPECT OF STYLISTIC TRANSFORMATIONS." Theoretical & Applied Science 33, no. 01 (2016): 149–53. http://dx.doi.org/10.15863/tas.2016.01.33.26.

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Tedesco, Anna. "National identity, national music and popular music in the Italian Music Press during the long 19th century." Studia Musicologica 52, no. 1-4 (2011): 259–70. http://dx.doi.org/10.1556/smus.52.2011.1-4.20.

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Discusses the notions of national identity, national music and popular music as they emerged in Italian music periodicals during the years 1840–1890, in relation to the process of Italy’s political unification and the dissemination of foreign operas such as French grands opéras in the years 1840–1870 and Wagner’s Musikdramen from 1871 on. Essays and articles by relevant critics and musicians, such as Abramo Basevi and Francesco D’Arcais are discussed. Articles by lesser known journalists such as Pietro Cominazzi and Mattia Cipollone are also taken into account. The use of words like “national”
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Ander, Owe. "„The Wealth of the Nations“. Die Stockholmer Oper und die Entwicklung einer nationalen Identität in Schweden." Studia Musicologica 52, no. 1-4 (2011): 443–55. http://dx.doi.org/10.1556/smus.52.2011.1-4.31.

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The changes the Swedish state and the concept of the nation went through during the period 1770–1920 influenced in a number of ways the organization and functioning of the Stockholm Opera. From its beginnings in the 1770s, the Opera rapidly developed into being one of the country’s biggest enterprises. It came to have a long-lasting national importance, and to enjoy a broad social and political support. Political discussions about the Stockholm Opera during the 19th century were characterized by changes of opinion from liberal views favouring its self-financing and privatization, to more natio
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Dissertations / Theses on the topic "Opera – 19th century"

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Stanek, Mark C. "Guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285408.

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This dissertation is a study of the use of guitar in opera. Ten operas were chosen from the early nineteenth century to the middle of the twentieth century as a representative cross section of operas that use the guitar. The operas studied are: The Barber of Seville by Gioachino Rossini, Oberon by Carl Maria von Weber, Don Pasquale by Gaetano Donizetti, Beatrice and Benedict by Hector Berlioz, Otello and Falstaff by Giuseppe Verdi, La vida breve by Manuel de Falla, The Nightingale by Igor Stravinsky, Wozzeck by Alban Berg, and Paul Bunyan by Benjamin Britten. The study examines the technical a
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Del, Cueto Carlos. "Opera in 1860s Milan and the end of the Rossinian tradition." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609744.

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Tallián, Tibor. "Bemerkungen zur frühen Geschichte der städtisch-intstitutionellen Oper in Ungarn." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222153.

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Der Anfang der ungarischen Operngeschichte wird in der Literatur generell mit dem Jahr 1837 angesetzt. In diesem Jahr erfolgte in Pest die Eröffnung des ständigen Ungarischen Theaters, welches seit 1840 den stolzen Namen "Ungarisches Nationaltheater" führt. Für fast ein halbes Jahrhundert sollte dieses Haus neben dem Drama und dem Lustspiel auch der Oper als Heimstätte dienen.
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McDaniel, Jan (Pianist). "Die Opernprobe by Albert Lortzing: a Critical Edition." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc503969/.

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The purpose of the present edition of Albert Lortzing's Die Opernprobe is to restore and clarify the composer's original intentions, which were often obscured or altered by the first published version, which appeared in 1899. This thesis is divided into two parts. Part One contains an introduction which discusses Lortzing's place in the history of German opera, the details surrounding the composition of Die Opernprobe, the musical and dramatic structure of the opera, and the sources used in the preparation of this edition. Part Two consists of a critical edition of the orchestral score, with t
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Kuret, Primož. "Das Ständische Theater in Ljubljana / Laibach." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222196.

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In meinem Beitrag werde ich mich hauptsächlich auf die italienische Oper in Ljubljana konzentrieren, obwohl auch deutsche Theatergruppen, die ich am Rande erwähnen werde, ebenfalls interessante Opernvorstellungen in dieser Zeit nach Ljubljana gebracht haben.
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Póspiech, Remigiusz. "Die Bedeutung der "Ratiborer Singakademie" für Operaufführungen in Ratibor im 19. Jahrhundert." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221408.

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Das Neben- und Miteinander geistlicher und weltlicher Traditionen haben das Leben der Stadt geprägt. Das hat sich auch auf die in Ratibor gepflegte Musik ausgewirkt. Die Vielfalt und der Reichtum des Kulturlebens dieser Stadt sind jedoch immer noch zu wenig bekannt.
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Andraschke, Peter. "Das Theaterleben in Bielitz in der Zeit der Habsburger Monarchie." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222065.

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Abbott, Carol A. "A 21st Century Investigation of the Historical, Musical and Acoustical Contexts of a 19th Century Comic Opera, Schermania in America, Composed by Dr. Gabriel Miesse, Jr." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1303937248.

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Tallián, Tibor. "Bemerkungen zur frühen Geschichte der städtisch-intstitutionellen Oper in Ungarn." Musikgeschichte in Mittel- und Osteuropa ; 4 (1999), S. 39-45, 1999. https://ul.qucosa.de/id/qucosa%3A14497.

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Der Anfang der ungarischen Operngeschichte wird in der Literatur generell mit dem Jahr 1837 angesetzt. In diesem Jahr erfolgte in Pest die Eröffnung des ständigen Ungarischen Theaters, welches seit 1840 den stolzen Namen "Ungarisches Nationaltheater" führt. Für fast ein halbes Jahrhundert sollte dieses Haus neben dem Drama und dem Lustspiel auch der Oper als Heimstätte dienen.
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Ekstrum, Dave. "Naples and the Emergence of the Tenor as Hero in Italian Serious Opera." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157563/.

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The dwindling supply of castrati created a crisis in the opera world in the early 19th century. Castrati had dominated opera seria throughout the 18th century, but by the early 1800s their numbers were in decline. Impresarios and composers explored two voice types as substitutes for the castrato in male leading roles in serious operas: the contralto and the tenor. The study includes data from 242 serious operas that premiered in Italy between 1800 and 1840, noting the casting of the male leading role for each opera. At least 67 roles were created for contraltos as male heroes between 1800 and
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Books on the topic "Opera – 19th century"

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Amadeus, Mozart Wolfgang. Don Giovanni in New York: Lorenzo da Pontes italienisch-englisches Libretto für die US-Erstaufführung von Mozarts Oper (1826) : mit dem Libretto der Oper "Mozart in New York" von Herbert Rosendorfer/Helmut Eder (1991). U. Müller-Speiser, 1991.

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Kramer, Ursula. --richtiges Licht und gehörige Perspektive--: Studien zur Funktion des Orchesters in der Oper des 19. Jahrhunderts. H. Schneider, 1992.

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Maretzek, Max. Further revelations of an opera manager in 19th century America: The third book of memoirs. Harmonie Park Press, 2006.

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Verdi and the French aesthetic: Verse, stanza, and melody in 19th-century opera. Cambridge University Press, 2008.

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Abbate, Carolyn. Unsung voices: Opera and musical narrative in the nineteenth century. Princeton University Press, 1991.

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Castellani, Giuliano. Ferdinando Paer: Biografia, opere e documenti degli anni parigini. P. Lang, 2008.

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Ferdinando Paer: Biografia, opere e documenti degli anni parigini. P. Lang, 2008.

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Schiller und die italienische Oper: Das Schillerdrama als Libretto des Belcanto. P. Lang, 1989.

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Die Huldigungschöre in russischen Opern des 19. Jahrhunderts. P. Lang, 1992.

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Balestrini, Nassim Winnie. From fiction to libretto: Irving, Hawthorne, and James as opera. Peter Lang, 2006.

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Book chapters on the topic "Opera – 19th century"

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Cotticelli, Francesco. "Burladores e Convitati a Napoli tra Sei e Settecento, da Perrucci ad Abri (e oltre)." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.14.

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This essay provides a comparison of select testimonies of the enduring tradition of Convitato di pietra (The Stone Guest) in Central and Southern Italy from the late 17th to the early 19th century. The text by Perrucci, the scenario from the Casamarciano collection, the anonymous revision located in the Italian Castle Archive at the Beinecke Library at Yale, and Abri’s opera tragica (which relies significantly on Perrucci’s setting) testify to the longevity of this plot – as well as of the Spanish repertoire – on the stage, in spite of notable changes, which reveal dramatic transformations in taste and sensitivity on the part of theatre practitioners and the audience.
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"Opera and National Consciousness." In Staging the Nation: Opera and Nationalism in 19th-Century Hungary. BRILL, 2018. http://dx.doi.org/10.1163/9789004347229_002.

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"National Opera as a Political Force." In Staging the Nation: Opera and Nationalism in 19th-Century Hungary. BRILL, 2018. http://dx.doi.org/10.1163/9789004347229_003.

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"Taking the Stage: Opera in the Hungarian Theater." In Staging the Nation: Opera and Nationalism in 19th-Century Hungary. BRILL, 2018. http://dx.doi.org/10.1163/9789004347229_005.

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"The Opera Chorus and the Voice of the People." In Staging the Nation: Opera and Nationalism in 19th-Century Hungary. BRILL, 2018. http://dx.doi.org/10.1163/9789004347229_008.

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"The Struggle for a National Theater." In Staging the Nation: Opera and Nationalism in 19th-Century Hungary. BRILL, 2018. http://dx.doi.org/10.1163/9789004347229_004.

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"Hunyadi László." In Staging the Nation: Opera and Nationalism in 19th-Century Hungary. BRILL, 2018. http://dx.doi.org/10.1163/9789004347229_006.

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"Bánk Bán." In Staging the Nation: Opera and Nationalism in 19th-Century Hungary. BRILL, 2018. http://dx.doi.org/10.1163/9789004347229_007.

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Xepapadako, Avra. "European Itinerant Opera and Operetta Companies Touring in the Near and Middle East." In The Music Road. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0016.

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Τ‎his chapter focuses on the activity of musical theatre companies touring in south-eastern Europe, the Near East, the Caucasus and Central Asia during the 19th and early 20th centuries. It investigates cultural transfer and amalgamation between the metropolitan culture of the West and the Orient in the domain of opera and operetta. Greece, in particular, functioned as a cultural crossroads between East and West. From 1840 onwards, Italian opera companies began to tour in Greece and its new theatres, and even further towards the Near East; they were followed, from 1870 onwards, by French operetta and vaudeville companies. In the last decades of the 19th century, these French artists expanded their itineraries towards the East, beyond familiar geographical boundaries, tracing their own small odysseys on the map. The chapter charts and presents these traces, attempting to shed light on an unexplored area of the world history of music and theatre.
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Biggi, Maria Ida. "I teatri a Venezia nel 1868." In Venezia 1868: l’anno di Ca’ Foscari. Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-294-9/005.

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In 1868 the theatrical context in Venice was affected by local abut also statal economic situation, due by the development of the new Italian State, formed after the Peace of Vienna that, signed on 23 October 1866, marked the end of the Third War of Independence and the annexation of Venice to the unitary state. Venice therefore became less important for theatrical production, and the city was no longer among the capitals of theatre and music, as it could have been considered until in the first half of 19th century. A new trend throughout Europe was moreover the ‘grand opera’, while in Venice the dominant show was still the traditional musical opera, in addition to opera and ‘opera buffa’, created by great Italian composers. The theatres active in 1868 in the city are La Fenice, Teatro San Benedetto then called Rossini, Teatro Apollo, Teatro Malibran and Teatro San Samuele. Through the reviews of the Gazzetta di Venezia and documents such as sketches of the scene made by famous set designers, that interesting moment is reconstructed.
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Conference papers on the topic "Opera – 19th century"

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Coroiu, Petruta. "THE EXPRESSION OF RELIGIOUS SPIRITUALITY THROUGH THE OPERA GENRE OF THE 19TH CENTURY." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/61/s16.065.

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Zunno, Antonio. "La fortezza e il suo giardino: uno sguardo dal mare." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11368.

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The fortress and its garden: a view from the seaThe Fortress was built from 1554, on the ruins of an ancient convent, at the behest of Philip of Austria, and it was completed in about 55 years under the direction of Giulio Cesare Falco, knight of the Order of Malta and Captain General against the Turks. The maine structure, called Forte a Mare, was joined with the Opera a Corno, a mighty rampart with the function of enclosure of the intermediate island, separated from the other island in 1598 by the construction of the Angevin canal: here were arranged the lodgings of the troops and garrisons.
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