[PDF / Epub] ☉ Opera in Seventeenth-Century Venice: The Creation of a Genre (Centennial Books) By Ellen Rosand – Dailytradenews.co.uk

Opera in Seventeenth-Century Venice: The Creation of a Genre (Centennial Books) chapter 1 Opera in Seventeenth-Century Venice: The Creation of a Genre (Centennial Books), meaning Opera in Seventeenth-Century Venice: The Creation of a Genre (Centennial Books), genre Opera in Seventeenth-Century Venice: The Creation of a Genre (Centennial Books), book cover Opera in Seventeenth-Century Venice: The Creation of a Genre (Centennial Books), flies Opera in Seventeenth-Century Venice: The Creation of a Genre (Centennial Books), Opera in Seventeenth-Century Venice: The Creation of a Genre (Centennial Books) 923fd3cd64aee Ellen Rosand Shows How Opera, Born Of Courtly Entertainment, Took Root In The Special Social And Economic Environment Of Seventeenth Century Venice And There Developed The Stylistic And Aesthetic Characteristics We Recognize As Opera Today With Ninety One Music Examples, Most Of Them Complete Pieces Nowhere Else In Print, And Enlivened By Twenty Eight Illustrations, This Landmark Study Will Be Essential For All Students Of Opera, Amateur And Professional, And For Students Of European Cultural History In GeneralBecause Opera Was New In The Seventeenth Century, The Composers Most Notably Monteverdi And Cavalli , Librettists, Impresarios, Singers, And Designers Were Especially Aware Of Dealing With Aesthetic Issues As They Worked Rosand Examines Critically For The First Time The Voluminous Literary And Musical Documentation Left By The Venetian Makers Of Opera She Determines How These Pioneers Viewed Their Art And Explains The Mechanics Of The Proliferation Of Opera, Within Only Four Decades, To Stages Across Europe Rosand Isolates Two Features Of Particular Importance To This Proliferation The Emergence Of Conventions Musical, Dramatic, Practical That Facilitated Replication And The Acute Self Consciousness Of The Creators Who, In Their Scores, Librettos, Letters, And Other Documents, Have Left Us A Running Commentary On The Origins Of A Genre

9 thoughts on “Opera in Seventeenth-Century Venice: The Creation of a Genre (Centennial Books)

  1. says:

    This was one of the most enjoyable books I ever had to read while studying Musicology I was supposed to only skim the book in order to write a summary, but I ended up so engaged with the writing and the rich content that I read it in its entirety and it wasn t anywhere close to my usual research interests.

  2. says:

    Ellen Rosand does good ole fashioned musicology she s primarily concerned with questions of compositional techniques, formal conventions, style change over time, taxonomies of genre, etc etc These are not sexy or exciting questions for many younger musicologists, but facility with that old school formal analysis is still invaluable in developing new readings of The Great Baggage, and that s what makes this book important It s an exhaustive and sometimes exhausting I m looking at you, catalogue of aria forms account of opera in its first century, when the public theaters of Venice took the handful of recitative heavy, experimental favole from Florence and Mantua and spun them into the theatrical form still recognizable today as opera The poetic choices these librettists and composers made and the generic conventions that ultimately resulted from their decisions continue to influence how we perceive the relationship of text to music, the relationship between speech and song, and the verisimilitude or lack thereof of presenting drama in music In other words, it s a vitally important subject, and Rosand is unquestionably one of the foremost scholars of the literature in question she s certainly the foremost among such scholars writing in English Her writing is accessible in style but somewhat dry I found the chapters focusing on librettos the most challenging to finish, since they involve detailed dissection of seicento Italian poetic conventions Given that the repertory is largely unfamiliar to a modern audience of all the composers surveyed and excepting the always exceptional Monteverdi , only Cavalli has received any scant measure of attention and recording the heavy emphasis on the poetic texts themselves seems tedious and irrelevant Apparently Venetian audiences agreed by the 1670s, the dominance of singers and their arias made dramatic plot a flimsy pretext for vocal showboating Rosand, who wears her biases a bit on her sleeve than she might think, laments this imbalance, and her implicit criticisms are my other contention with this work Aspiring to objective historicism, she forgoes the self reflexive Airing of Baggage we expect in the introductions of contemporary musicology By making her aesthetic of tightly integrated poetry and music, or formal cohesion, the measure of opera s merit, she forestalls alternative readings of this history Thankfully, that bias should be apparent from miles away to anyone familiar with contemporary media and spin Although its effect is quite lascivious, the Nerone Lucano duet does not legitimate the interpretation of this scene perpetrated by at least one notorious stage director as a debauched homosexual orgy Oh, honey Who do you think is reading books about Baroque Italian opera

  3. says:

    This book is a extremely interesting and detailed look at the development of opera in Venice during the early Baroque era Rosand looks at everything from the philosophical ruminations on genre of the early scholarly librettists to the different types of arias and other musical forms that developed and became standard features of opera over the course of the century Although some of the detail can be a bit of a slog to get through, Rosand is a good enough writer to keep it all from becoming tedious and to keep it all well worth the effort Her clarity and insight keep everything interesting and compelling.

  4. says:

    Don t worry, it s actually only about 400 pages, the last 300 are appendices and musical examples

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