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1
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.’”
2
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.
3
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.
4
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.
5
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.
7
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.
8
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.
9
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.
11
Castelvecchi, Stefano. "Commentary: Was Verdi a “Revolutionary”?" Journal of Interdisciplinary History 36, no. 4 (April 2006): 615–20. http://dx.doi.org/10.1162/jinh.2006.36.4.615.
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The recent work of historians and musicologists on Restoration Italy illustrates the complexity of the relationship between opera and society, allowing us to leave behind simplistic claims about either the “revolutionary” role of Italian opera or its political irrelevance. From a perspective closer to that of mentality history, the question to what extent a particular composer was “revolutionary” may take new directions, and even become irrelevant altogether.
12
Lehmann, Caitlyn. "Libertine Intrigues: Opera Girls in Eighteenth-Century British Discourse." Dance Research 37, no. 2 (November 2019): 239–56. http://dx.doi.org/10.3366/drs.2019.0275.
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Throughout the eighteenth century, scandalous literature perpetuated a strongly male-gendered image of dance spectatorship through its preoccupation with the moral and sexual status of female ballet dancers. The frequency with which authors of scandal sheets, novels, satire and political criticism alluded to liaisons involving elite men and dancers was, in part, a reflection of the period's broader fascination with the status of women on the stage. However, this active preoccupation with the sexuality of dancers was also allied to an interrogation of aristocratic and moral codes in Britain and France, and was used to instantiate a performative ideal of elite masculinity. This article focuses on the recurring figure of the opera girl, whose pursuit by aristocratic libertines aroused the contempt, curiosity and envy of readers. Incorporating a critique of extant dance criticism, the article explores the interpretative dilemmas that the opera girl's sensational sexuality has traditionally posed for dance scholarship on account of the tendency for the opera girl's attributes to be mapped onto representations of real-life dancers. Sampling sources as diverse as fashionable periodicals, works of history, sentimental novels and prostitute narratives, this article introduces the singular typology and rhetorical functions of the opera girl that distinguish her as a literary type. In the process, a more nuanced reading of opera girls is offered, one that stresses how opera girls refract the debates and anxieties of the period.
13
McCLARY, SUSAN. "Cambridge Opera Journal at Twenty." Cambridge Opera Journal 21, no. 2 (July 2009): 105–9. http://dx.doi.org/10.1017/s0954586710000029.
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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.
14
Calcagno, Mauro. "Censoring Eliogabalo in Seventeenth-Century Venice." Journal of Interdisciplinary History 36, no. 3 (January 2006): 355–77. http://dx.doi.org/10.1162/002219506774929818.
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Analysis of the opera Eliogabalo in its various incarnations, from the perspective of Venetian society and politics at the time, reveals a veiled story of censorship and dissimulation. The first version of the opera, set by Francesco Cavalli in 1667, was hastily abandoned in favor of a new treatment by Giovanni A. Boretti on a libretto by Aurelio Aureli, which managed to retain telling traces of its predecessor. The subsequent fate of this second version, variously rewritten and performed around Italy until 1687, confirms the ideological controversy that always seemed to surround this opera and the influence of theater owners and others over its content, providing an insight into the nature of Venetian operatic patronage.
15
Wangpaiboonkit, Parkorn. "Rethinking Operatic Masculinity: Nicola Tacchinardi's Aria Substitutions and the Heroic Archetype in Early Nineteenth-Century Italy." Cambridge Opera Journal 32, no. 1 (March 2020): 1–26. http://dx.doi.org/10.1017/s0954586720000099.
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AbstractThis article looks at representations of masculinity in Italian operatic performance in the 1820s and 1830s, with a particular focus on the ways in which male characters were transformed through the practice of aria and scene substitutions. Upon his retirement in 1833, the tenor Nicola Tacchinardi chastised musico performers – women who sang male roles – for their unconvincing portrayal of operatic heroes. Rather than complain about their high-lying voices, he chose to criticise these women's feminine appearance and idiosyncratic stage behaviours as unmasculine. Tacchinardi's criteria for gender performance, then, sidestepped embodied vocality and centred on performer appearance and behaviour in specific narrative situations. My study explores how Tacchinardi and his contemporaries employed aria substitution in heroic roles as a means for plot substitution, forgoing arias of dramatic stasis for dynamic scenes that showcase decisive action and augmented narrative significance. In this pre-Duprez milieu, before the onset of predetermined physiology in operatic discourse, male singers across the 1820s achieved an explicitly masculine self-definition not through voice, but as masters of textual control. Aria substitutions in the operas La Sacerdotessa d'Irminsul, La donna del lago and Norma demonstrate how singers established the components of masculine-heroic conventions through sensitive consideration of dramaturgy. I stress that the singing voice before 1830 was under-assimilated as an index of gender, and that rethinking the history of the ‘rise of the tenor’ may be crucial to understanding the history of the vocalic body.
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ASPDEN, SUZANNE, and STEVEN HUEBNER. "Twenty Years." Cambridge Opera Journal 21, no. 2 (July 2009): 101–3. http://dx.doi.org/10.1017/s0954586710000017.
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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.
17
ROSAND, ELLEN. "Il ritorno a Seneca." Cambridge Opera Journal 21, no. 2 (July 2009): 119–37. http://dx.doi.org/10.1017/s0954586710000042.
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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.
18
KRAMER, LAWRENCE. "Wagner's Gold Standard: Tannhäuser and the General Equivalent." Cambridge Opera Journal 21, no. 2 (July 2009): 139–58. http://dx.doi.org/10.1017/s0954586710000054.
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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.
19
PARLY, NILA. "Flying a Wagner Kite: Subjunctive Performances of a Rheingold Scene Based on a Dramaturgical Sketch by Carolyn Abbate." Cambridge Opera Journal 21, no. 2 (July 2009): 159–80. http://dx.doi.org/10.1017/s0954586710000066.
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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.
20
ABBATE, CAROLYN. "… And in Response." Cambridge Opera Journal 21, no. 2 (July 2009): 199–201. http://dx.doi.org/10.1017/s095458671000008x.
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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.
21
FURNÉE, JAN HEIN. "‘Le bon public de la Haye’. Local governance and the audience in the French opera in The Hague, 1820–1890." Urban History 40, no. 4 (May 1, 2013): 625–45. http://dx.doi.org/10.1017/s0963926813000199.
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ABSTRACT:In nineteenth-century The Hague, the French opera performances in the Royal Theatre were the most important occasions during the winter season at which men and women from almost all social ranks experienced a strong sense of social cohesion in a common leisure pursuit, albeit one in which social hierarchies were clearly demarcated. This article analyses the changing social composition of the opera audience through analysis of subscription and admission records, and evaluates the changing composition of the audience in relation to changes in taste, theatre architecture and policy. Although it was almost impossible to exploit financially and was also a constant object of political, musical and moral criticism, the French opera succeeded in maintaining its central position in The Hague's musical and social life throughout the nineteenth century.
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Zaslaw, Neal. "Scylla et Glaucus: A case study." Cambridge Opera Journal 4, no. 3 (November 1992): 199–228. http://dx.doi.org/10.1017/s0954586700003773.
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The policies of centralisation pursued by Louis XIV and his ministers affected most aspects of French life and culture. From 1645 opera had been imported from Italy by Louis' minister Cardinal Mazarin, originally out of political motives. When it had become ‘naturalised’, assuming its characteristic French guise under the despotic direction of Lully's Académie Royale de Musique, it continued to serve political purposes. In return for a monopoly on theatre music, Lully saw to it that opera served not only as entertainment for the nobility and bourgeoisie, but also as propaganda for the state and for the divine right of the King. An incidental effect of these policies was that the number of French operas produced was small compared to the number in Italy. This was due to the monopoly; to the centralisation, which meant that with few exceptions ‘French’ opera really meant ‘Parisian’ opera; and to the lavishness of the productions, which made frequent changes of repertory impractical even with subsidies. Each première was an event of note, chronicled in official and unofficial sources – the archival documents, mémoires, correspondence, periodicals, pamphlets and books of the day. This profusion of documentation frequently makes possible a degree of precision about the history of early French opera that can rarely be attained for other national schools.
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Ehrlich, Cyril, and John Rosselli. "The Opera Industry in Italy from Cimarosa to Verdi: The Role of the Impresario." Economic History Review 38, no. 2 (May 1985): 319. http://dx.doi.org/10.2307/2597172.
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Maes, Francis. "Mary Ann Smart, Waiting for Verdi: Opera and Political Opinion in Nineteenth-Century Italy, 1815–1848." European History Quarterly 49, no. 3 (July 2019): 533–34. http://dx.doi.org/10.1177/0265691419860743v.
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Rutherford, Susan. "Waiting for Verdi: opera and political opinion in nineteenth-century Italy, 1815–1848." Journal of Modern Italian Studies 25, no. 3 (May 26, 2020): 347–59. http://dx.doi.org/10.1080/1354571x.2020.1754667.
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Mouritsen, Henrik. "Pits and politics: Interpreting colonial fora in Republican Italy." Papers of the British School at Rome 72 (November 2004): 37–67. http://dx.doi.org/10.1017/s006824620000266x.
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POZZI E POLITICA: INTERPRETANDO I FORA DELLE COLONIE NELL'ITALIA REPUBBLICANAL'articolo affronta il rapporto tra Roma e le sue colonie in Italia nel periodo repubblicano attraverso un'analisi dei fora delle colonie e, in particolare, di una serie di pozzi trovati a Cosa, Alba Fucens, Fregellae e Paestum. Le moderne interpretazioni di queste strutture come parte della messa in opera pratica e rituale dei luoghi in cui si tenevano le assemblee popolari viene valutata criticamente e vengono chiariti i problemi metodologici e pratici che riguardano l'applicazione di questa teoria ai resti archeologici. L'esistenza di un modello romano specifico viene messa in discussione, così pure l'applicabilità delle descrizioni antiquarie degli spazi inaugurati (templa) alle strutture coloniali. I pozzi sembrano troppo eterogenei per essere collocati entro un unico modello esplicativo e probabilmente servivano ad un numero vario di attività sia pratiche che rituali.
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Manuwald, Gesine. "Nero and Octavia in Baroque Opera: Their Fate in Monteverdi's Poppea and Keiser's Octavia." Ramus 34, no. 2 (2005): 152–66. http://dx.doi.org/10.1017/s0048671x00000990.
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The imperial history playOctavia, transmitted among the corpus of Senecan drama, has suffered from uncertainty about its date, author, literary genre and intended audience as regards its appreciation in modern criticism. Although the majority of scholars will agree nowadays that the play was not written by Seneca himself, there is still a certain degree of disagreement about its literary genre and date. Anyway, such scholarly quibbles seem not to have affected poets and composers in the early modern era: they recognised the high dramatic potential of the story of Nero and his love relationships in 62 CE along with the involvement of the historical character and writer Seneca.Indeed, this phase in imperial history was apparently quite popular in Italian and German opera of the late 17th and early 18th centuries. The earliest of a number of operatic treatments of the emperor Nero (also the first opera presenting a historical topic) and arguably the best known today is an Italian version:L'incoronazione di Poppea (The Coronation of Poppaea)to a libretto by Giovanni Francesco Busenello (1598-1659) and music attributed to Claudio Monteverdi (1567-1643), first produced in Giovanni Grimani's ‘Teatro di SS Giovanni e Paolo’ in Venice during the carnival season of 1643. Among the latest operas on this subject is a German version, which is hardly known and rarely performed today:Die Römische Unruhe. Oder: Die Edelmütige Octavia. Musicalisches Schau-Spiel (The Roman Unrest. Or: The Magnanimous Octavia. Musical Play)by the librettist Barthold Feind (1678-1721) and the composer Reinhard Keiser (1674-1739), first performed in the ‘Oper am Gänsemarkt’ in Hamburg on 5 August 1705. In this period German opera was generally influenced by Italian opera, but at the same time there were attempts, particularly in Hamburg, to establish a typically German opera.
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Gordon, Robert S. C. "Pasolini contro Calvino: culture, the canon and the millennium." Modern Italy 3, no. 01 (May 1998): 87–99. http://dx.doi.org/10.1080/13532949808454793.
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Summary This article offers an account of a recent debate in the cultural pages of the Italian press on a polemical work of literary criticism entitled Pasolini contro Calvino, in which the two authors are shown to represent emblematically different attitudes towards literature, cultural institutions and the culture industry in post-war Italy. The debate surrounding this claim is examined in substance, but also as an illustration of the workings of culture in 1990s Italy.
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Forsyth, Michael. "Review: Inventing the Opera House: Theater Architecture in Renaissance and Baroque Italy, by Eugene J. Johnson." Journal of the Society of Architectural Historians 79, no. 4 (December 1, 2020): 482–84. http://dx.doi.org/10.1525/jsah.2020.79.4.482.
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Forsyth, Michael. "Review: Inventing the Opera House: Theater Architecture in Renaissance and Baroque Italy, by Eugene J. Johnson." Journal of the Society of Architectural Historians 79, no. 4 (December 1, 2020): 482–84. http://dx.doi.org/10.1525/jsah.2020.79.4.482.
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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (December 31, 2018): 55–64. http://dx.doi.org/10.36744/m.344.
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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially started to promote the Croatian National Revival, setting in motion the process of constituting the Croatian nation in the modern sense of the word. However, those articles cannot be considered musical criticism, at least not in the modern sense of the word, as they never went beyond the level of mere journalistic reports. The first music criticism in the Croatian language in the true sense of the word is generally considered a very comprehensive text by a poet Stanko Vraz (1810-51) about a performance of the first Croatian national opera Ljubav i zloba (Love and malice) by Vatroslav Lisinski (1819-54) from 1846. In terms of its criteria for judgement, that criticism proved to become a model for the majority of 19th-century and later Croatian music criticism. Two judgement criteria are clearly expressed within it: national and artistic.Regardless of whether we are dealing with 1) ideological-utilitarian criticism, which was directed towards promoting the national ideology (Franjo Ksaver Kuhač, 1834-1911; Antun Dobronić, 1878-1955), 2) impressionist criticism based on the critic’s subjective approach to particular work (Antun Gustav Matoš, 1873-1914; Milutin Cihlar Nehajev, 1880-1931; Nikola Polić, 1890-1960), or 3) Marxist criticism (Pavao Markovac, 1903-41), we may observe the above mentioned two basic criteria. Only at the end of the period under consideration the composer Milo Cipra (1906-85) focused his interest on immanent artistic values, shunning any ideological utilitarianism, and insisting on the highest artistic criteria.
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Taylor, Benedict. "Sullivan, Scott andIvanhoe: Constructing Historical Time and National Identity in Victorian Opera." Nineteenth-Century Music Review 9, no. 2 (December 2012): 295–321. http://dx.doi.org/10.1017/s1479409812000316.
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Arthur Sullivan's Walter Scott-based operaIvanhoe, despite attaining great success at its 1891 premiere, has since quickly fallen from musicological grace. Substantive criticism of this work in the twentieth century has concentrated on the static, tableau-like dramaturgy of the opera, a lack of dramatic coherence, and its undeniably conservative musical language. Taking its bearings from such criticisms this paper explores Sullivan's problematicmagnum opusfrom the perspective of its relationship with time, understood from multiple levels – his opera's musical-dramaturgical, historical, and music-historical temporalities. Starting from Michael Beckerman's insightful analysis of what he terms the ‘iconic mode’ in Sullivan's music,Ivanhoecan be viewed as an attempt at creating a different type of dramaturgical paradigm that emphasizes stasis and stability located in the past – highly apt for a work seeking both to crystallize past history and to found a new tradition for future English opera. Moreover, investigating this work and the composer's stated aesthetic concerns more closely reveal a conscious desire to opt out of continental European narratives of musical progress and build a composite, pageant-like vision of English history, therefore inevitably partaking in a process of constructing national identity. These features are teased out in the context of Scott's impact on the Victorian mind and their affinities with other historicist tendencies in the arts such as the Pre-Raphaelite movement.
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Zhumagazin, Zhanbolat. "Evolution of opera at early stages of development as a musical theater." Pedagogy and Psychology 42, no. 1 (March 30, 2020): 230–36. http://dx.doi.org/10.51889/2020-1.2077-6861.29.
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The opera originated in Italy. Researchers, right up to the exact date, say the time, when the first piece of music, called the opera today, was written. Nevertheless, the opera form has its own history, despite the fact that it was still a new art form at that time. The roots of this musical style go back to the musical everyday life of ancient Italian village entertainments, so-called «May» games, accompanied by songs and dramatic performances. Around the middle of the 13th century, in Umbria on the squares, people began to hold lauds, religious chants on the plots of gospel themes, which became in the next two centuries the basis for sacred performances (sacre rappresentazioni), a genre close to the mystery. In it, the music was also closely associated with the dramatic action. Thus, the opera, having arisen at the end of the 16th century as a kind of theatrical performance, accompanied by music, has its roots deep into the centuries of the Italian folk art. So, in the vocal class, it is necessary to acquaint students with the works of great composers, genres of musical art, theatrical productions and acting. At the same time, vocals, plastic, dance, acting – all this should be present in the future specialist at the highest professional level.
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Sorba, Carlotta. "Between cosmopolitanism and nationhood: Italian opera in the early nineteenth century." Modern Italy 19, no. 1 (February 2014): 53–67. http://dx.doi.org/10.1080/13532944.2013.871420.
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The revival of interest in music evident in recent historiography has led to an investigation of the specifically transnational nature of musical languages and practices. This article explores the possibility of re-reading in a transnational perspective the classical theme of the relationship between the Risorgimento and opera. It focuses on two different points of view: on the one hand, the construction of the librettos as a delicate balance between European romantic narratives and dramatic themes evoking nationalistic sentiments; on the other, the fact that ideas and practices of the theatre as a vehicle of political mobilisation developed in a broad international context where Mazzini and many other nationalists found inspiration in multinational political experiences and discourses. The article concludes by saying that the meanings of terms such as cosmopolitanism and nationalism need to be carefully weighed when we look at nineteenth-century opera production. Only in the closing decades of the century did genuine competition between national traditions arise, which led in Italy to a veritable ‘obsession’ with ‘Italianness’ in music.
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Johnson, James H. "Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy. By Martha Feldman. Chicago: University of Chicago Press, 2007. Pp. xxviii+545. $55.00." Journal of Modern History 81, no. 2 (June 2009): 450–52. http://dx.doi.org/10.1086/605177.
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Akopyan, Ovanes. "Praenotio, Prisca Haeresis, and Astrology: Gianfrancesco Pico della Mirandola between Savonarola and Giovanni Pico." Renaissance and Reformation 42, no. 4 (April 9, 2020): 135–58. http://dx.doi.org/10.7202/1068578ar.
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This article considers the place of Gianfrancesco Pico della Mirandola’s ideas within the astrological debates that arose in Renaissance Italy after the publication of the Disputationes adversus astrologiam divinatricem by Giovanni Pico della Mirandola, Gianfrancesco Pico’s famous uncle. Published posthumously in 1496, the Disputationes incited a rigorous discussion of the status of astrology in various intellectual circles in Renaissance Italy. Gianfrancesco Pico was the editor of his uncle Giovanni Pico’s Opera, and the younger Pico was also known as one of Girolamo Savonarola’s most ardent followers. This article will focus on Gianfrancesco’s two main anti-astrological treatises, the De rerum praenotione and the Quaestio de falsitate astrologiae. Gianfrancesco’s writings reveal his own elaborate ideological agenda and the ways in which he used, in a controversial manner, both his uncle’s and Savonarola’s arguments in consequent philosophical and astrological discussions.
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Chiesa, Paolo. "La Filologia mediolatina: una disciplina di frontiera." AION (filol.) Annali dell’Università degli Studi di Napoli “L’Orientale” 42, no. 1 (October 14, 2020): 109–27. http://dx.doi.org/10.1163/17246172-40010033.
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Abstract This article sketches a short history of Latin literature of the Middle Ages (as academic discipline) in Italy; defines its possible boundaries and relationships with other disciplines; lists the peculiarities of textual criticism when applied in the specific field of Latin medieval texts; highlights the methodological contribution brought by the scholars of this discipline, in order to build a ‘global philology’.
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Carlos Magno, Maria Ignês. "QUANDO O BRASIL FICCIONAL FAZ PENSAR O BRASIL REAL. Como a crítica entra nessa história?" Revista Observatório 3, no. 3 (May 1, 2017): 459. http://dx.doi.org/10.20873/uft.2447-4266.2017v3n3p459.
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Esse texto é parte da pesquisa: A telenovela brasileira sob os olhos da crítica nos anos 1970. Considerando a teleficção como objeto de pesquisa dado seu diálogo constante com a realidade brasileira locus dessa relação, a proposta desse artigo é compreender no âmbito da linguagem crítica que relações podemos estabelecer entre a crítica de telenovela com as discussões históricas que ocorriam no Brasil nos anos 1970. A crítica é entendida como parte do processo social e atividade teórica que ao veicular os pensamentos e reflexões sobre televisão e telenovela, exerce uma função cultural e histórica. Para desenvolver o estudo sobre os diálogos existentes entre críticas veiculadas na mídia impressa e as temáticas históricas das telenovelas, escolhi a novela Os Ossos do Barão (1973/74) de Jorge Andrade e as críticas de Helena Silveira e Artur da Távola publicadas nos jornais Folha de S. Paulo e no jornal O Globo. PALAVRAS-CHAVE: Telenovela; Crítica; História; Helena Silveira e Artur da Távola. ABSTRACT This text is part of the research: The Brazilian soap opera under the eyes of criticism in the 1970s. Considering telefiction as an object of research given its constant dialogue with the Brazilian locus of this relationship, the proposal of this article is to understand in the scope of critical language which relations can be established between the soap opera critique and the historical discussions that took place in Brazil in the 1970s. Criticism is understood as part of the social process and theoretical activity that, in the transmission of thoughts and reflections on television and soap operas, exerts a cultural and historical function . In order to develop the study of the dialogues between criticism in the print media and the historical themes of soap operas, I chose Jorge Andrade's novel Os Ossos do Barão (1973/74) and the critiques of Helena Silveira and Artur da Tavola published in Folha de S. Paulo and in the newspaper O Globo. KEYWORDS: Soap opera; Criticism; History; Helena Silveira and Artur da Távola. RESUMEN Este texto es parte de la investigación: La telenovela brasileña bajo los ojos de la crítica en la década de 1970. Teniendo en cuenta la teleficção como objeto de investigación, dada su constante diálogo con la realidad brasileña el locus de esta relación, el propósito de este artículo es entender que relaciones se pueden establecer entre la crítica de telenovela con los debates históricos que tuvieron lugar en Brasil en la década de 1970. La crítica es vista como parte del proceso social y actividad teórica que al transmitir los pensamientos y reflexiones sobre las óperas de televisión y telenovela, desempeña una función cultural e histórica. Para desarrollar el estudio de los diálogos existentes entre la crítica transmitidos en forma impresa y temas históricos de telenovelas, he elegido la novela Os Ossos do Barão (1973/74) de Jorge Andrade y las críticas de Helena Silveira y Artur da Távola publicados en el diario Folha S. Paulo y O Globo. PALABRAS-CLAVE: Telenovela; Crítica; Helena Silveira; Artur da Távola.
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Goethals, Jessica. "The Patronage Politics of Equestrian Ballet: Allegory, Allusion, and Satire in the Courts of Seventeenth-Century Italy and France." Renaissance Quarterly 70, no. 4 (2017): 1397–448. http://dx.doi.org/10.1086/695350.
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AbstractEquestrian ballet was a spectacular genre of musical theater popular in the Baroque court. A phenomenon with military roots, the ballet communicated both the might and grace of its organizers, who often played starring roles. This essay explores the ballet’s centrality by tracing the itinerant opera singer and writer Margherita Costa’s use of the genre as a means of securing elite patronage: from an elegant manuscript libretto presented to Grand Duke Ferdinando II de’ Medici and later revised in print for Cardinal Jules Mazarin in Paris, to occasional poetry written for the Barberini in Rome, and even burlesque caricatures.
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Walton, Benjamin. ""Quelque peu thééââtral": The Operatic Coronation of Charles X." 19th-Century Music 26, no. 1 (2002): 3–22. http://dx.doi.org/10.1525/ncm.2002.26.1.3.
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The intersection of politics and spectacle has a long tradition in French history, from Louis XIV's Versailles to the streets of revolutionary Paris. As a result, Chateaubriand's criticism of the coronation of Charles X in May 1825 as theatrical may at first seem unremarkable. His description of the occasion as a dramatic performance rather than a real event, however, deserves closer examination. In line with Chateaubriand, this article suggests that the anachronistic final Bourbon coronation can best be understood, at the most literal level, as an opera, with music, resplendent costumes, dashes of orientalism (the envoy for the Bey of Tunis provoked much interest), hired claqueurs, and the whole of Rheims turned into a stage set. Conversely, the coronation's reliance on operatic props and aesthetics can shed light on the dramatic crisis that led to the appearance of grand opééra. The largest piece written to celebrate the coronation, the multianchored Pharamond, was performed at the Paris Opééra, but failed to command either critical or popular acclaim, in contrast with Rossini's Il viaggio a Reims at the Thééââtre Italien. Yet Pharamond's troubled negotiation between the demands of historical drama and celebratory Pièèce de circonstance mirrors the logic that underpinned the planning of the coronation: a desire to invoke the authority of French history while bypassing unresolved memories of the Revolution and the Empire. Ultimately, the failure of Pharamond and its selective appropriation of history offer a productive mode for understanding the connections between opera, ceremonial language, and historical precedent, as well as those between musical works and large-scale political events.
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Lozinskaya, Evgeniia. "AFTER WEINBERG. BOOK REVIEW: THE RECEPTION OF ARISTOTLE’S POETICS IN THE ITALIAN RENAISSANCE AND BEYOND. NEW DIRECTIONS IN CRITICISM / ED. BY BRAZEAU B." RZ-Literaturovedenie, no. 1 (2021): 23–52. http://dx.doi.org/10.31249/lit/2021.01.02.
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The book written by an international team of scholars and edited by B. Brazeau explores literary criticism and reception of Aristotle's «Poetics» in early modern Italy. Revisiting the «intellectual history» of Renaissance poetic studies written by Bernard Weinberg in 1960-s, the contributors find its own place whithin the 2000-years long tradition of translations, commentaries and polemic treatises. The authors apply new methods from book history, translation studies, history of emotions and classical reception to early modern Italian texts, placing them in dialogue with 20th-century literary theory, and thus map out avenues for future study.
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Tombesi, Paolo. "Back to the future: the pragmatic classicism of Australia's Parliament House." Architectural Research Quarterly 7, no. 2 (June 2003): 140–54. http://dx.doi.org/10.1017/s1359135503002100.
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Until the launch of Federation Square in Melbourne, in 1997, Australia's contribution to the history of international architectural competitions consisted essentially of two buildings: the Sydney Opera House, won by Jørn Utzon in 1957, and the Federal Parliament House in Canberra, won by Mitchell/Giurgola and Thorp (MGT) in 1980. While Utzon's building is widely acknowledged as a daring piece of innovative design and one of the architectural icons of this century, MGT's winning scheme for Parliament House drew heavy criticism from the moment the proposal was unveiled: neo-Classicist lines, a Beaux-Arts parti, and the building's occupation of Capital Hill – at the top of the Griffins' 1912 scheme for Canberra – were seen by many as displaying a lack of sensibility towards Australian landscape, culture, and ingenuity, and as the result of a conservative approach to contemporary urban design.
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Vasic, Aleksandar. "Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)." Muzikologija, no. 27 (2019): 203–20. http://dx.doi.org/10.2298/muz1927203v.
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Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.
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VanWagenen, Julianne. "Masters vs. Lee Masters: The legacy of the Spoon River author between Illinois and Italy." Forum Italicum: A Journal of Italian Studies 53, no. 3 (May 30, 2019): 679–98. http://dx.doi.org/10.1177/0014585819854046.
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Edgar Lee Masters’ 1915 Spoon River Anthology has been one of the most popular books of foreign poetry in Italy since it was first translated and published there by Fernanda Pivano and Cesare Pavese in 1943. Yet, in the US, Masters is virtually unknown to the public; American scholars find him a problematic figure and his Spoon River only viable in piecemeal form. This article considers the translation and reception history of Spoon River in Italy as well as Masters’ publication and reception history in the US until his death in 1950, to bring to light the reasons for the poet’s differing legacies. It goes on to examine recent scholarly translations of Spoon River, as they at once engage with and neutralize critical American scholarship in order to secure Masters’ status in Italy. Finally, the article suggests a way forward for Italian scholarly work on Masters, which does not attempt to engage American criticism, but, rather, roots itself in the fraught Italian relationship with “agrarian” literature after the ventennio fascista and Mussolini’s rural rhetoric.
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Fossati, Fabio. "Italy and European Union enlargement: A comparative analysis of left and right governments." Modern Italy 13, no. 2 (May 2008): 187–98. http://dx.doi.org/10.1080/13532940801962140.
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This article explores the attitudes of Italy's ruling and opposition parties towards the European Union (EU) enlargement process in Central and Eastern Europe. It shows that during both left (1996–2001) and right (2001–2006) governments there was a convergence between conservative and constructivist political platforms. In the first case, support for the Balkan countries (i.e., Slovenia, Romania, Bulgaria, Croatia) and Turkey was based on their economic (penetration of Italian firms) and political (stabilisation of a difficult area) potential. In the second case, support was justified for both economic (i.e., redistributive policy towards Romania, Bulgaria and Croatia) and cultural (i.e., pursuing a ‘plural’ Europe by including Turkey) reasons. Some liberal criticism based on Turkey's partial compliance with the political requirements for accession were raised by individual politicians of moderate right and left parties, and cultural biases against Islamic Turkey were stressed by the Lega Nord. Neither view, however, had a significant impact on the decision-making process.
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Grab, Alexander. "Waiting for Verdi: Opera and Political Opinion in Nineteenth-Century Italy, 1815–1848 By Mary Ann Smart.Berkeley: University of California Press, 2018. Pp. xvi+236. $60.00." Journal of Modern History 91, no. 4 (December 2019): 953–55. http://dx.doi.org/10.1086/705862.
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Di Giacomo, Michela. "Paradigmi mutevoli. Lavoratori cattolici e immigrazione meridionale a Torino (1955-1969)." MEMORIA E RICERCA, no. 40 (September 2012): 145–62. http://dx.doi.org/10.3280/mer2012-040009.
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This paper aims at chronicle the relations between catholic workers movement and immigration from Southern Italy. The point of view is Turin during the ‘60s. It underlines the interest showed by Cisl and Acli concerning that phenomenon. It underscore evolution in Cisl's interpretative paradigms and Acli's increasing criticism towards consumerism. It shows the relations between action for integration of immigrants, will of attract them and interest in studying factory and urban changes. The thesis of this essay is that different ideological traditions could come closer resting upon the approach of trade unions to inner migration and socio-urban analysis and that the job actions of the '70s will be based on this refreshed unity.
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Weitz, Shaena B. "Propaganda and Reception in Nineteenth-Century Music Criticism: Maurice Schlesinger, Henri Herz, and the Gazette musicale." 19th-Century Music 43, no. 1 (2019): 38–60. http://dx.doi.org/10.1525/ncm.2019.43.1.38.
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In the mid-1830s, Henri Herz (1803–88) was an internationally renowned pianist, but his reputation today, for the most part, is that of a second-rate musician who wrote trivial variations on opera themes. This enduring picture of Herz was painted first in France in 1834 by the Gazette musicale. The Gazette’s campaign has been understood by modern scholars as a conspicuous moment in a broad aesthetic shift away from French salon music and toward high German Romanticism, and the Gazette has garnered praise for its prescience. But a closer examination of the Gazette’s articles, the events surrounding the coverage such as a pistol duel and a libel case, contemporary correspondence, and Herz’s publishing record indicate that the Gazette’s negative treatment of Herz was not an organic assessment of his output, but rather a revenge scheme orchestrated by the Gazette’s owner and Herz’s former publisher, Maurice Schlesinger (1798–1871). As a case study, the Gazette’s Herz campaign exposes the endemic corruption of the nineteenth-century press that has been portrayed as an unseemly rarity rather than a central component of historical criticism’s production. But taken more broadly, the Gazette’s articles on Herz highlight limitations in the history of reception. This article turns to media studies to explore the problematic relationship between propaganda and reception and shows how the Gazette, and other nineteenth-century journals, are still manipulating our cognition.
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Iațeșen, Loredana Viorica. "7. Advocating the Poetics of Sound in the Cycle Les Nuits d´Été by Hector Berlioz." Review of Artistic Education 15, no. 1 (March 1, 2018): 59–73. http://dx.doi.org/10.2478/rae-2018-0007.
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Abstract By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a musicological point of view, despite the fact that it is an important opus, which inaugurates the genre of the orchestral lied at the end of the 19th century and the beginning of last century. In this study, we set out to compose as complete as possible an image of this work, both from an analytic-stylistic point of view by stressing the text-sound correspondences and, above all, from the perspective of its reception at a didactic level, by promoting the score in the framework of listening sessions commented upon as part of the discipline of the history of music. In what follows, I shall argue that the cycle of orchestral lieder Les nuits d´été by Hector Berlioz represents a work of equal importance to established opera.
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Smith, Douglas. "Porosity and the Transnational: Travelling Theory between Naples and Frankfurt (Walter Benjamin, Asja Lacis and Ernst Bloch)." Forum for Modern Language Studies 57, no. 2 (April 1, 2021): 240–59. http://dx.doi.org/10.1093/fmls/cqab001.
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Abstract Since its foregrounding in Walter Benjamin and Asja Lacis’s essay on Naples in 1925, the concept of porosity has become a topos in discussions of that city, of Italy and of urban planning in general, to the point of receiving criticism in some quarters for its imprecision and over-use. The aim of this article is to explore the background to the term and its possible relevance to more recent transnational models of culture. This involves tracing the emergence of porosity in the work of Germanophone intellectuals travelling in Italy in the 1920s and its relation to the paradigm of travelling theory developed by Edward Said, itself one of the precursors of current models of transnationalism. Ultimately, the history of porosity reveals weaknesses and strengths that anticipate some of the problems and opportunities encountered by present attempts to understand cultural identity and interaction in transnational terms.