Relevant bibliographies by topics / Opera – Italy – History and criticism

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

Academic literature on the topic 'Opera – Italy – History and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Opera – Italy – History and criticism"

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Gilman, Todd S. "Augustan Criticism and Changing Conceptions of English Opera." Theatre Survey 36, no. 2 (November 1995): 1–35. http://dx.doi.org/10.1017/s0040557400001186.

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The love-hate nature of the relations between England and Italy in the seventeenth and eighteenth centuries is well known. Ever since Henry VIII broke with Rome after Pope Clement VII refused to allow his divorce, things Italian were a popular object of satire and general disdain. An ever-increasing British nationalism founded on political, religious, and aesthetic principles during the seventeenth century fanned the flames of anti-Italian sentiment. This nationalism, newly consolidated in the seventeenth century by the ambitions of the Stuart monarchs to destroy Parliament, was intimately connected with English Protestantism. As Samuel Kliger has argued, the triumph of the Goths—Protestant Englishmen's Germanic ancestors—over Roman tyranny in antiquity became for seventeenth-century England a symbol of democratic success. Moreover, observes Kliger, an influential theory rooted in the Reformation, the “translatio imperii ad Teutonicos,” emphasized traditional German racial qualities—youth, vigor, manliness, and moral purity—over those of Latin culture—torpor, decadence, effeminacy, and immorality—and contributed to the modern constitution of the supreme role of the Goths in history. The German translatio implied an analogy between the conquest of the Roman Empire by the Goths (under Charlemagne) and the rallying of the humanist-reformers of northern Europe (e.g., Luther) for religious freedom, understood as liberation from Roman priestcraft; that is, “the translatio crystallized the idea that humanity was twice ransomed from Roman tyranny and depravity—in antiquity by the Goths, in modern times by their descendants, the German reformers…the epithet ‘Gothic’ became not only a polar term in political discussion, a trope for the ‘free,’ but also in religious discussion a trope for all those spiritual, moral, and cultural values contained for the eighteenth century in the single word ‘enlightenment.’”
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Muir, Edward. "Why Venice? Venetian Society and the Success of Early Opera." Journal of Interdisciplinary History 36, no. 3 (January 2006): 331–53. http://dx.doi.org/10.1162/002219506774929854.

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Why did opera first succeed as a public art form in Venice between 1637 and 1650 when all the elements of the new form were fully evident? The answer is to be found in the conjunction between Venetian carnival festivity and the intellectual politics of Venetian republicanism during the two generations after the lifting of the papal interdict against Venice in 1607. During this extraordinary period of relatively free speech, which was unmatched elsewhere at the time, Venice was the one place in Italy open to criticisms of Counter Reformation papal politics. Libertine and skeptical thought flourished in the Venetian academies, the members of which wrote the librettos and financed the theaters for many of the early Venetian operas.
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Batsak, K. Yu. "Italian opera stars of the Kharkiv stage: the 80s of the 19th – early 20th centuries." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 89–119. http://dx.doi.org/10.34064/khnum2-18.06.

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Introduction. The Italian opera in Kharkiv has a long history tradition. Its beginnings date back to the 1850s, when the city became a part of the tour routes of Odesa Italian opera troupes under F. Berger’s, V. Sermattei’s direction (1850s – early 1860s), those of Taganrog – under V. Sermattei’s, Corsi’s and Co (second half of 1860s – 1876). These little provincial troupes with unequal by quality the stuff of singers, with a little choir, usually without their own orchestra, within their possibilities, introduced the popular Italian opera repertoire to the Kharkiv audience. Technical and technological achievements – the development of the rail network, the shipping industry, the telegraph and telephone as the newest means of communication, etc., facilitated communication and, among other things, caused cultural achievements rapid exchange. Those times were marked by increasing of diffusive phenomena (in opera repertoire, in the troupe composition, etc.) in musical and theatrical arts, which, in particular, contributed to the scenic creativity activation of Italian artistes and the extension of the geography of their performances. Outstanding and average singers from the Apennines have travelled to different countries of the world with solo concert programs as part of wandering or stationary opera groups. Artistic tours to Eastern direction – to the European territories of the Russian Empire, along with touring trips to the North and South America countries, – became one of the most prevalent. Kharkiv, being one of the largest industrial and cultural centres in the Russian Empire, as a rule, was included by Italian theatre management in vocal-artistic tour programs. Theoretical background. The problem of the famous Italian opera singers’ activity on the Kharkiv stage in the 80s of the 19th – the beginning of the 20th is poorly investigated. Separate pages of M. Battistini’s, J. Bellinchoni’s, A. Mazini’s, T. Ruffo’s, and E. Tamberlik’s biographies related to Kharkiv were studied by M. Varvartsev (2000) in his historical and biographical work “Italians in the cultural space of Ukraine (the end of 18 – 20s years of the 20th century”, written in the form of a dictionary. The main source for the study of this subject were the local musicologists’ (V. Sokalsky, K. Bych-Lubensky, Yu. Babetsky, etc.) theatrical reviews, published in the Kharkiv regional and city press. Objectives. As the Italian opera art had undeniable influence on the Kharkiv musical culture development, the purpose of the article is to study the scenic activity of the famous Italian opera artistes, which acquainted the local theatrical audience with the assets of the world opera arts in the last decades of the 19th – early 20th century. For this purpose, the following tasks have been outlined: to find out the information potential of music-critical publications, dedicated to the Italian singers’ performances, which were printed in the local press; identify and systematize the facts describing the Italian opera performers’ participation in Kharkiv musical life during that period; to reveal the concert and opera repertoire, to study the evaluations of the Italian singers’ performances by professional criticism, the ways of artistes’ interaction with the audience; to determine the Kharkiv performances position in the famous vocalists’ creative biography, to reconstruct the geography of their tour routes, included performances in Kharkiv. The methodology involves the application of the semiotic-hermeneutic method in order to analyze the phenomena of musical-theatrical life (peculiarities of vocal-stylistic style, specificity of musical-critical thought, reactions and preferences of the audience) as a culture text and their hermeneutical understanding; bio-bibliographic method (to find out and combine facts of life and creative activity of Italian singers in Italy and abroad, in particular, in Kharkiv as well-known culture centre); cultural and historical method (allows to study the Italian singers’ scenic activities as a social phenomenon, to identify social factors contributed to the spread of the Italian opera achievements in the local music and theatre environment). Results and discussion. The study of famous Italian singers’ performances on the Kharkiv stage in the definite period allowed highlighting new facts of their biographies, to analyze the concert and opera repertoire, the features of vocal and performing style, acting specifics. The research revealed the place of Kharkiv concert and opera performances in Italian artistes’ touring programs, analyzed the directions and peculiarities of communicative interactions between performers and spectators, determined the Kharkiv performances place in creative biographies of vocalists who have gained European fame. Conclusions. Italian artistes’ performances had a great influence on local opera singers’ professional growth, the formation of musical tastes and preferences of the educated part of the city residents. The investigation of the repertoire of the Italian singers testifies to their desire to acquaint the listener with the best achievements of European opera art, as well as to present contemporary Russian composers’ operas, which, at the time, were getting popularity in the Western European countries, due, primarily, to Italian performers. Kharkiv performances were usually the part of Italian artistes’ tours, being organized in the largest cities of Ukraine and surrounding regions of former Russian Empire – in Odesa, Kyiv, Mykolayiv, Rostov on Don, which testified, in particular, that the city was transformed into one of the European music culture distribution centres then. The high valuation given by the musical critique of the famous singers artistic talents, the active support of their performances by the audience, attest to the utmost importance of the Italians’ touring activity in the Kharkiv musical culture development.
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Senici, Emanuele. "Delirious Hopes: Napoleonic Milan and the Rise of Modern Italian Operatic Criticism." Cambridge Opera Journal 27, no. 2 (July 2015): 97–127. http://dx.doi.org/10.1017/s0954586715000026.

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AbstractThis article explores the relationship between politics, society and culture in Napoleonic Milan (1796–1814) on the one hand, and opera reviews published in the city’s periodical press at the time on the other. This relationship is worth discussing for two reasons: first, Milan under French rule constituted the earliest, embryonic instance of the modern city in Italy; second, it was there that for the first time in Italy operatic criticism shifted from an undivided focus on the performance, mostly treated as a social occasion, to a prominent concern for the work being performed, which became the object of lengthy critical scrutiny. The article focuses specifically on the function of the periodical press as a crucial link between the discourse of opera and that of the city, exploring the complex ways in which Milanese society, culture and ideology, especially as represented in the city’s newspapers, are connected to the epoch-making shift from performance to work in the opera reviews published there.
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Wilson, Alexandra. "Music, Letters and National Identity: Reading the 1890s' Italian Music Press." Nineteenth-Century Music Review 7, no. 2 (November 2010): 101–18. http://dx.doi.org/10.1017/s1479409800003621.

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Much ink was spilled on the subject of music infin-de-siècleItaly. With the rapid expansion of the bourgeoisie during the last decades of the nineteenth century, opera-going in Italy was at its apogee, and as opera attendance surged so too did the demand for gossip about singers, titbits about the lives of composers and reviews of the latest works. This was a moment at which the booming Italian opera and journalism industries converged, particularly in the large northern cities, to produce an explosion of periodicals devoted to opera, encompassing a range of critical methods. The 1890s, however, also saw the development in Italy of a new branch of criticism devoted to more ‘serious’ types of music, penned by writers explicitly hostile to opera's domination of Italian musical life, who looked to the north as their cultural spiritual home.
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Rabb, Theodore K. "Opera, Musicology, and History." Journal of Interdisciplinary History 36, no. 3 (January 2006): 321–30. http://dx.doi.org/10.1162/002219506774929782.

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The interactions between operas and the societies in which they were composed and first heard are of interest to both historians and musicologists, especially because operas since the seventeenth century have had significant connections with political and social change. The essays in this special double issue of the journal, entitled “Opera and History”, pursue the connection in six settings: seventeenth-century Venice; Handel's London; Revolutionary Europe from 1790 to 1830; Restoration and Risorgimento Italy; Europe during the birth of Modernism from 1890 to 1930; and twentieth-century America.
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GOSSETT, PHILIP. "Source Studies and Opera History." Cambridge Opera Journal 21, no. 2 (July 2009): 111–18. http://dx.doi.org/10.1017/s0954586710000030.

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Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
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Davis, John A. "Opera and Absolutism in Restoration Italy, 1815–1860." Journal of Interdisciplinary History 36, no. 4 (April 2006): 569–94. http://dx.doi.org/10.1162/jinh.2006.36.4.569.

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Opera played an important part in the lives of urban Italians during the decades that followed the fall of Napoleon's European empire and the restoration of the Italian legitimist rulers by the Congress of Vienna. To argue, however, that opera mattered because of its association with nationalism is to get the formula the wrong way around. Nationalists, as well as political authorities, wanted to harness opera to their cause because of its inherent social significance. The theater offered urban, educated Italians the opportunity to be entertained and to congregate lawfully in a public place. The fact that the theaters continued to draw regular audiences, regardless of censorship, would seem a sure indication that politics—at least not in the narrow, nationalist sense—was not the primary reason why opera mattered.
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Davis, John A. "Opera and Absolutism in Restoration Italy, 1815–1860." Journal of Interdisciplinary History 36, no. 4 (March 1, 2006): 569–94. http://dx.doi.org/10.1162/002219506776023208.

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WHITTALL, ARNOLD. "New Opera, Old Opera: Perspectives on Critical Interpretation." Cambridge Opera Journal 21, no. 2 (July 2009): 181–98. http://dx.doi.org/10.1017/s0954586710000078.

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Twenty years of Cambridge Opera Journal: in view of the journal's place in the discipline, the occasion seemed worth marking. When Roger Parker and Arthur Groos founded Cambridge Opera Journal in 1989, it offered the first forum to the musical community for serious opera criticism that took into account changing orientations in literary studies and seriously engaged with ideology, reception history, and representations of race, class and gender. Subsequent editors – Mary Hunter, Mary Ann Smart, and Emanuele Senici – continued to foster this wide intellectual perspective and to engage with an extraordinary variety of methodologies. For the current issue, we gave carte blanche to authors who contributed in the first two years of publication to reflect on their past work, or on opera studies, or on the journal, either informally as an opinion piece or through new scholarship – and so to measure time by developments in the discipline itself.
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Dissertations / Theses on the topic "Opera – Italy – History and criticism"

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Di, Lillo Ivano. "Opera and nationalism in Fascist Italy." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/283883.

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Tse, Hue-ying, and 謝曉瑩. "The inheritance of modern Cantonese opera from traditional Chinese opera." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43085878.

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De, Montigny Michelle C. (Michelle Chantal). "Pleasure, popularity and the soap opera." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56928.

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This thesis uses the concept of pleasure as it has been applied to cultural artefacts in order to give a description of various characteristics of the soap opera genre. The concept of pleasure is applied to soap opera narrative, characters, visual style and viewing attitudes. Three soap operas, The Young and the Restless, General Hospital, and Another World, are described in detail according to these various types of pleasures. The Young and the Restless is a soap that relies largely on visual pleasures and melodrama. General Hospital's strongest pleasures are related to its character development and use of humour. Another World, the most traditional of the three soaps, is best at stimulating the pleasures associated with talk. Through analysis of viewer commentary supplied by letters sent to Soap Opera Weekly and Soap Opera Update and Nielsen ratings, it can be concluded that the pleasures that most soap opera viewers seem to value the most are related to visual style, romance and a delicate balance between realistic characters and fantasy in narrative.
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Mark, Amanda. "Soap opera subculture : emotional realism and empathic identification." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56790.

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Popular feminine narratives, domestic, emotion-based texts through which communities of women have traditionally practiced feminine discourse, have been marginalised by dominant masculine cultures throughout their long history. This continues in the postmodern era, in which the culturally dominant postmodern aesthetic has declared the death of the social, narrative and affect, all intrinsic to the popular feminine narrative. Nevertheless, these narratives persevere in such forms as the daytime television soap opera. Using a reader-oriented model, American soap operas are discussed as a site for the generation of women's pleasure, and as a forum for the raising, sharing and addressing of problems which affect women's lives. Soap opera fan magazines further extend the already social soap opera experience, which celebrates emotion and empathy in a culture which often negates them.
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Montanari, Anna Maria. "'A heart in Egypt' : Cleopatra on the Renaissance stage in Italy and England." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709112.

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Lenar, Richard E. "The Figure of Mary in Italian Opera: Theological Foundations and Technical Analysis." IMRI - Marian Library / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=udmarian1557504767565933.

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Law, Ho-chak, and 羅浩澤. "Kun opera: a study of its notations and instrumental sonority." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46427740.

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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 aspects of each guitar part and how the guitar relates to the libretto and to the other instruments of the orchestra.The study finds that, with some exceptions, the guitar parts are idiomatic and not difficult to execute. There is some need on the part of the guitarist to edit the parts for technical and historical reasons and editorial suggestions are made by the author. The guitar is often related to the libretto and often appears onstage, yet it is almost always used as a prop and the performing guitarist is placed offstage or in the orchestra pit. There are significant problems found concerning the guitar's lack of volume. Composers tend to limit the number of instruments in use with the guitar. They do not, however, tend to give the guitar louder dynamics when other instruments are used at the same time. The guitar is generally used in outdoor scenes, to evoke a folk idiom, or when specifically referred to in the libretto. The use of the guitar is found to be mostly limited to simple accompaniments which do not utilize the full resources of the instrument.
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Bedon, Elettra. "Il filo di Arianna : letteratura in lingua veneta nel XX secolo." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ29888.pdf.

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Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.

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In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.
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Books on the topic "Opera – Italy – History and criticism"

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Not without madness: Perspectives on opera. Chicago: University of Chicago Press, 2012.

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A history of bel canto. Oxford [England]: Clarendon Press, 1991.

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1908-, Fuller Frederick, ed. A history of bel canto. Oxford [England]: Clarendon Press, 1996.

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

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

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

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Hill, John Walter. Roman monody, cantata and opera from the circles around Cardinal Montalto. Oxford: Clarendon Press, 1997.

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Hill, John Walter. Roman monody, cantata and opera from the circles around Cardinal Montalto. Oxford: Clarendon Press, 1997.

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Hill, John Walter. Roman monody, cantata, and opera from the circles around Cardinal Montalto. Oxford: Clarendon Press, 1997.

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Puccini: A listener's guide. New York: Amadeus Press, 2008.

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Book chapters on the topic "Opera – Italy – History and criticism"

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Lockhart, Ellen. "Giuditta Pasta and the History of Musical Electrification." In Animation, Plasticity, and Music in Italy, 1770-1830. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520284432.003.0006.

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Chapter 5 traces the theme of human plasticity into Italian aesthetic discourse and opera of the 1820s and 1830s. The echoes of the musical statues of the late Enlightenment can be heard in the reception of performers of Ottocento opera, especially the women. Figures like Maria Malibran and particularly Giuditta Pasta were construed as living statues or artificially animated interlopers from an ancient past. This quality of animatedness was described with a very new kind of imagery within music criticism, one that drew on well-known developments in the nascent scientific field later known as electrobiology.
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Heyman, Barbara B. "A New Opera House." In Samuel Barber, 470–503. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0018.

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The commission that was one of the greatest tributes to Barber’s career turned out to be his nemesis. Antony and Cleopatra, written for the opening of the new Metropolitan Opera House at Lincoln Center in New York, was handicapped by the inflated Franco Zeffirelli production, with its problematic paraphernalia, including camels and goats and a malfunctioning pyramid, which eclipsed serious evaluation of the music. This chapter narrates how the opera based on Barber’s favorite Shakespeare play came to life, how he handpicked the major characters ̶—Leontyne Price for Cleopatra and Justino Díaz for Antony ̶—and how these artists devoted themselves to the literature and history of their roles. Although Barber’s work here was no less brilliant, the critics felt that the failure of the opera was due to overproduction, with an infusion of mechanical and technical failures. After the premiere, Barber boarded the SS Constitution for Europe. Over the next decade, he devoted his energies intermittently toward a revision of the opera in collaboration with Menotti. In 1975, four performances of the more intimate version with increased lyric meditation were presented at the Juilliard School. Critical reviews of a production at the Spoleto Festival in Italy after Barber died gave much attention to the musical strengths of the opera, with uniform appreciation of Barber as a master of orchestra and choral writing. Performances followed in Chicago, New York, and Philadelphia.
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Wilson, Alexandra. "Music Criticism in Nineteenth-Century Italy." In The Cambridge History of Music Criticism, 190–207. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.011.

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"Chapter 25. Introduction / Opera in France and Italy." In A Short History of Opera, 577–610. Columbia University Press, 2003. http://dx.doi.org/10.7312/grou11958-026.

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Churnside, Carrie. "Musical Discourse in Italy, 1500–1800." In The Cambridge History of Music Criticism, 42–61. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.004.

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Javitch, Daniel. "The assimilation of Aristotle'sPoeticsin sixteenth-century Italy." In The Cambridge History of Literary Criticism, 53–65. Cambridge University Press, 1999. http://dx.doi.org/10.1017/chol9780521300087.006.

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"Chapter 6. Italian Opera in the Later Seventeenth Century in Italy." In A Short History of Opera, 83–106. Columbia University Press, 2003. http://dx.doi.org/10.7312/grou11958-007.

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"Chapter 23. The Later Nineteenth Century: France! Italy! Germany! and Austria." In A Short History of Opera, 473–504. Columbia University Press, 2003. http://dx.doi.org/10.7312/grou11958-024.

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Pozzi, Raffaele. "Music Criticism in Italy in the Twentieth Century." In The Cambridge History of Music Criticism, 609–28. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.032.

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Worth-Stylianou, Valerie. "Translatioand translation in the Renaissance: from Italy to France." In The Cambridge History of Literary Criticism, 127–35. Cambridge University Press, 1999. http://dx.doi.org/10.1017/chol9780521300087.013.

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