Opera and the Enlightenmentby Thomas Bauman
Pub. Date: 05/28/1995
Publisher: Cambridge University Press
This is the first collection of essays to explore the wide dimensions and influence of eighteenth-century opera. In a series of fresh articles by leading scholars in the field, new perspectives are offered on the important figures of the day, including Handel, Vivaldi, Gluck, Rameau and Mozart, and on the fundamental problems of creation, revision, borrowing,… See more details below
This is the first collection of essays to explore the wide dimensions and influence of eighteenth-century opera. In a series of fresh articles by leading scholars in the field, new perspectives are offered on the important figures of the day, including Handel, Vivaldi, Gluck, Rameau and Mozart, and on the fundamental problems of creation, revision, borrowing, influence and intertextuality. Allied arts, notably painting, the novel, ballet, and the spoken stage are also examined in their relationship to the development of opera. The book contains numerous rare illustrations, and will be of interest to scholars and students of opera and theater history.
- Cambridge University Press
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Table of ContentsList of plates; Library abbreviations; Introduction Thomas Bauman; Part I. Prologue: 1. Pastoral and musical magic in the birth of opera Gary Tomlinson; Part II. Opera and the Visual Arts: 2. Moralizing at the tomb: Poussin's Arcadian shepherds in eighteenth-century England and Germany Thomas Bauman; 3. Dr Burney, the bear, and the knight: E. F. Burney’s Amateurs of Tye-Wig Music Kerry S. Grant; 4. New light(s) on Weber’s Wolf’s Glen scene Anthony Newcomb; Part III. Serious Opera: 5. Sinfonia and drama in early eighteenth-century opera seria Reinhard Strohm; 6. The dramatic role of the chorus in French opera: evidence for the use of gesture, 1670–1770 Mary Cyr; 7. Transforming opera seria: Verazi’s innovations and their impact on opera in Italy Marita Petzoldt McClymonds; Part IV. Handel and Gluck: 8. Handel’s Serse Winton Dean; 9. The ‘sweet song’ in Demofoonte: a Gluck borrowing from Handel John H. Roberts; 10. Zéphire et Flore: a ‘galant’ early ballet by Angiolini and Gluck Bruce Alan Brown; 11. Gluck’s Iphigenia operas: sources and strategies Julie E. Cumming; Part V. Concerning Mozart: 12. The ‘storm’ music of Beaumarchais’ Barbier de Séville Walter E. Rex; 13. On Don Giovanni, No. 2 Joseph Kerman; 14. Leopold II, Mozart, and the return to a Golden Age John A. Rice; Part VI. Epilogue: 15. From fairy tale to opera in four moves (not so simple) Richard Taruskin; Index.
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