Log in

Relevant bibliographies by topics / Pietro Mascagni / Journal articles

To see the other types of publications on this topic, follow the link: Pietro Mascagni.

Journal articles on the topic 'Pietro Mascagni'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 21 journal articles for your research on the topic 'Pietro Mascagni.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Ashbrook, William. "Lodoletta. Pietro Mascagni." Opera Quarterly 8, no. 4 (1991): 147–49. http://dx.doi.org/10.1093/oq/8.4.147.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Baxter, R. "Isabeau Pietro Mascagni." Opera Quarterly 13, no. 2 (January 1, 1996): 163–67. http://dx.doi.org/10.1093/oq/13.2.163.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Drake, J. A. "Silvano. Pietro Mascagni." Opera Quarterly 13, no. 3 (January 1, 1997): 202–6. http://dx.doi.org/10.1093/oq/13.3.202.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Mattock, A. "Amica. Pietro Mascagni." Opera Quarterly 14, no. 1 (January 1, 1997): 179–82. http://dx.doi.org/10.1093/oq/14.1.179.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Fregosi, W. "Parisina. Pietro Mascagni." Opera Quarterly 17, no. 4 (January 1, 2001): 775–77. http://dx.doi.org/10.1093/oq/17.4.775.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Mallach, Alan. "Nerone. Pietro Mascagni." Opera Quarterly 8, no. 2 (1991): 163–67. http://dx.doi.org/10.1093/oq/8.2.163.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Mallach, Alan. "Le maschere. Pietro Mascagni." Opera Quarterly 11, no. 3 (1995): 186–90. http://dx.doi.org/10.1093/oq/11.3.186.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Mallach, A. "Two by Pietro Mascagni." Opera Quarterly 12, no. 3 (January 1, 1996): 147–51. http://dx.doi.org/10.1093/oq/12.3.147.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

McKee, D. "Cavalleria rusticana. Pietro Mascagni." Opera Quarterly 14, no. 4 (January 1, 1998): 146–48. http://dx.doi.org/10.1093/oq/14.4.146.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Baxter, R. "Guglielmo Ratcliff. Pietro Mascagni." Opera Quarterly 16, no. 2 (January 1, 2000): 316–18. http://dx.doi.org/10.1093/oq/16.2.316.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Graeme, Roland. "Cavalleria rusticana. Pietro Mascagni." Opera Quarterly 7, no. 1 (1990): 231–37. http://dx.doi.org/10.1093/oq/7.1.231.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Baxter, R. "Pietro Mascagni: A Bio-Bibliography." Opera Quarterly 18, no. 1 (January 1, 2002): 78–81. http://dx.doi.org/10.1093/oq/18.1.78.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Baxter, R. "Pietro Mascagni and His Operas." Opera Quarterly 19, no. 1 (January 1, 2003): 104–9. http://dx.doi.org/10.1093/oq/19.1.104.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Cochran, Zoey M. "Virile Condottieri On-screen and Emasculated Heroes on the Operatic Stage: Portraying Male Protagonists in Fascist Italy (1931-1937)." Revue musicale OICRM 5, no. 1 (April 9, 2018): 63–91. http://dx.doi.org/10.7202/1044444ar.

Full text

Abstract:

Virility was central to Italian fascist ideology and yet the operas composed and performed in Italy during the 1930s systematically subvert the virility of their heroes both dramatically and musically, revealing a more fraught relationship with fascist ideology than has been suggested until now. A comparison between operas by Gian Francesco Malipiero, Ottorino Respighi, Pietro Mascagni, Ildebrando Pizzetti, and Alfredo Casella on the one hand and films by Alessandro Blasetti, Mario Camerini, and Carmine Gallone on the other, all produced in Italy during the mid-1930s, shows that the absence of male protagonists embodying fascist ideals of virility is confined to opera. I suggest that the failure of these operas to present virile male protagonists partly stems from a confrontation between opera and film. Indeed, the emergence of sound films and cinema’s privileged position within the Fascist regime forced opera to redefine itself as an art form in relationship to film.

APA, Harvard, Vancouver, ISO, and other styles

15

Woźniak, Katarzyna. "Ku teatrowi agonistycznemu. Pippa Delbona Waleczność rycerska w Teatrze San Carlo." Przestrzenie Teorii, no. 36 (December 15, 2021): 151–60. http://dx.doi.org/10.14746/pt.2021.36.9.

Full text

Abstract:

The author aims to outline the dramatic work of the Italian director Pippo Delbon as establishing a theater of agon. From the state of research, she analyzes the staging of Pietro Mascagni’s Cavalleria rusticana and formulates the theory of Delbonos’s theater of agon based on M. de Certeau’s and W. Świątkowska’s papers and the theories of dramaturgy of Anna Krajewska and Dariusz Kosiński.

APA, Harvard, Vancouver, ISO, and other styles

16

Nikolaidis, Matthias. "„Ricomincio a respirare l’aria di quei paesi“. Zu einem ‚russischen‘ Naturalismus und seiner ästhetischen Entgrenzung in Opern von Umberto Giordano und Franco Alfano (1898–1904)." Studia Musicologica 52, no. 1-4 (March 1, 2011): 271–309. http://dx.doi.org/10.1556/smus.52.2011.1-4.21.

Full text

Abstract:

The unexpected success of Pietro Mascagni’s Cavalleria rusticana (1890) gave the starting signal for a turn of Italian opera to naturalism. The problematic integration of naturalistic plots into the melodramma was approached in part by means of musical exoticism. The recently started reception of Lev Tolstoy’s and Fyodor Dostoyevsky’s novels could serve as basis for a re-evaluation of Russian subjects in fin de siècle Italian opera.Since the beginning of the 19th century, the Western image of Russia had been stamped by the contrast of tsarist glamour and the penal camps of Siberia. Umberto Giordano’s Fedora displays this dichotomy from a Parisian point of view. For Siberia, Luigi Illica contributed a libretto based on Dostoyevsky’s House of the Dead, in the composition of which Giordano sought to amalgamate the notions of naturalism, Russian exoticism and tragic love. With Risurrezione, Franco Alfano expanded in this direction by creating a powerful Russian atmosphere. His formal solution for the opera’s finale uses a juxtaposition of disparate material which evolves as a hallmark of musical realism.

APA, Harvard, Vancouver, ISO, and other styles

17

"Pietro Mascagni: a bio-bibliography." Choice Reviews Online 38, no. 11 (July 1, 2001): 38–5900. http://dx.doi.org/10.5860/choice.38-5900.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

"Pietro Mascagni and his operas." Choice Reviews Online 40, no. 03 (November 1, 2002): 40–1443. http://dx.doi.org/10.5860/choice.40-1443.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Corazzol, Adriana Guarnieri. "Músicos italianos na América Latina entre os séculos XIX e XX: lembranças e testemunhos." Estudos Ibero-Americanos, December 31, 2012. http://dx.doi.org/10.15448/1980-864x.2012.s.12458.

Full text

Abstract:

Este texto destaca as memórias de experiências pessoais deixadas por uma dúzia de músicos italianos na América do Sul, nos anos 1880-1920 (período em que o fenômeno da emigração italiana para a região alcançou o seu auge), associada a informações fornecidas por familiares e colegas. Literatura biográfica secundária é também levada em conta. As questões que aparecem com maior frequência nestas notas pessoais e memórias são as condições da viagem, os contratos, os teatros, a acolhida da plateia e as atividades de lazer. O texto investiga as experiências destes trabalhadores da música como cantores de ópera, diretores de orquestra, compositores e maestros em sua busca de sucesso. No texto, são discutidas as experiências das seguintes personalidades: Francesco Tamagno, Gemma Bellincioni, Arturo Toscanini, Giacomo Puccini, Michele Puccini, Ada Giachetti, Enrico Caruso, Nazzareno De Angelis, Luigi Mancinelli, Pietro Mascagni, Gino Marinuzzi, Beniamino Gigli.

APA, Harvard, Vancouver, ISO, and other styles

20

Rüth, Axel. "Von sizilianischer Archaik zu modernistischer Ästhetik. Aktualisierungen der Cavalleria rusticana bei Verga, Mascagni und Coppola." Romanistisches Jahrbuch 67, no. 1 (January 1, 2016). http://dx.doi.org/10.1515/roja-2016-0006.

Full text

Abstract:

AbstractWhile Verga’s novella Cavalleria rusticana (1880) can be called a veristic tale about an archaic rural Sicilian world, based on the principles of honour and revenge, later adaptations replace the archaic character of the action by sentiment and melodrama. This holds true for Verga’s own play (1884) and even more for Pietro Mascagni’s famous opera (1890). In 1990, Francis Ford Coppola makes extensive use of the opera in the ending of The Godfather Part III, in order to provide Michael Corleone with the qualities of a tragical hero, qualities he actually does not have, given his brutal character in The Godfather Part I and II. Bymaking the opera a mise en abyme of the Godfather Part III-plot, Michael Corleone’s individual guilt is reduced to the effect of the archaic rules of rural Sicily, the land of his father and grandfather. In fact, he himself becomes a victim of a culture he wants to overcome. This strategy constrains Coppola to foreground, through the opera, the archaic world of the novella that had actually been abolished in the drama and the opera. Thus, the Godfather Part III takes up the veristic determinism of Verga’s novella.

APA, Harvard, Vancouver, ISO, and other styles

21

Hiller, Jonathan. "Verismo Through the Genres, or "Cavallerie rusticane"- The Delicate Question of Innovation in the Operatic Adaptations of Giovanni Verga's Story and Drama by Pietro Mascagni (1890) and Domenico Monleone (1907)." Carte Italiane 2, no. 5 (2009). http://dx.doi.org/10.5070/c925011375.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!