Donizetti and the World of Opera in Italy, Paris and Vienna in the First Half of the Nineteenth Century


Book Description

This book is the first full-length biography in English of the composer of Don Pasquale and Lucia di Lammermoor. It is based on first-hand research in archives and libraries at the scenes of Donizetti's widespread activities. Operatically speaking, Gaetano Donizetti shared the first half of the Italian nineteenth century with Rossini and Bellini. Long active throughout Italy, he later turned his talents to the benefit of audiences in Pairs and Vienna. Attractive, humorous and enormously energetic, he won the affectionate regard of his colleagues and the intense devotion of numerous women, including his beautiful, but unfortunate wife. The story of Donizetti's life is worth telling for the illumination it sheds on operatic history and on the whole world of opera. He bridged the interval between the classical opera, with its rigid division into opera seria and opera buffa, and the romantic, dramatic operas of Verdi's middle period. His personal story of success that turned into final tragedy is an enthralling human document in itself. The reader meets the great, the well-remembered and the fascinatingly obscure in music, literature, politics and society. Among a total of nearly seventy operas which Donizetti composed, Lucia di Lammermoor, Don Pasquale and L'Elisir d'Amore have remained in the active repertoires of opera houses everywhere. His works were composed for a dazzling constellation of singers, including Grisi, Malibran, Pasta, Lablache, Mario, Ronconi and Rubini. Born into a poor artisan family in Bergamo, he ended his days laden with decorations and honors, a member of the legion d'honneur and the Academie des Beaux-Arts and an Aulic Councillor to the Emperor of Austria. Appendices include a complete annotated list of Donizetti's operas (with brief histories of their performances) and of his non-operatic compositions. They also offer a mass of other information, including a side glance at Giuseppe Donizetti, the composer's brother, who became musical director of Sultans and died at a pasha at Constantinople.













Donizetti and His Operas


Book Description

The series will include both new and recent titles drawn from the whole range of the Press's very substantial publishing programs.




Orientalism and the Operatic World


Book Description

Western opera is a globalized and globalizing phenomenon and affords us a unique opportunity for exploring the concept of “orientalism,” the subject of literary scholar Edward Said’s modern classic on the topic. Nicholas Tarling’s Orientalism and the Operatic World places opera in the context of its steady globalization over the past two centuries. In this important survey, Tarling first considers how the Orient appears on the operatic stage in Britain, France, Germany, Russia, and the United States before exploring individual operas according to the region of the “Orient” in which the work is set. Throughout, Tarling offers key insights into such notable operas as George Frideric Handel’s Berenice, Giuseppe Verdi’s Aida, Giacomo Puccini’s MadamaButterfly, Pietro Mascagni’s Iris, and others. Orientalism and the Operatic World argues that any close study of the history of Western opera, in the end, fails to support the notion propounded by Said that Westerners inevitably stereotyped, dehumanized, and ultimately sought only to dominate the East through art. Instead, Tarling argues that opera is a humanizing art, one that emphasizes what humanity has in common by epic depictions of passion through the vehicle of song. Orientalism and the Operatic World is not merely for opera buffs or even first-time listeners. It should also interest historians of both the East and West, scholars of international relations, and cultural theorists.




Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris


Book Description

Nineteenth-century Paris attracted foreign musicians like a magnet. The city boasted a range of theatres and of genres represented there, a wealth of libretti and source material for them, vocal, orchestral and choral resources, to say nothing of the set designs, scenery and costumes. All this contributed to an artistic environment that had musicians from Italian- and German-speaking states beating a path to the doors of the Académie Royale de Musique, Opéra-Comique, Théâtre Italien, Théâtre Royal de l'Odéon and Théâtre de la Renaissance. This book both tracks specific aspects of this culture, and examines stage music in Paris through the lens of one of its most important figures: Giacomo Meyerbeer. The early part of the book, which is organised chronologically, examines the institutional background to music drama in Paris in the nineteenth century, and introduces two of Meyerbeer's Italian operas that were of importance for his career in Paris. Meyerbeer's acculturation to Parisian theatrical mores is then examined, especially his moves from the Odéon and Opéra-Comique to the opera house where he eventually made his greatest impact - the Académie Royale de Musique; the shift from Opéra-Comique is then counterpointed by an examination of how an indigenous Parisian composer, Fromental Halévy, made exactly the same leap at more or less the same time. The book continues with the fates of other composers in Paris: Weber, Donizetti, Bellini and Wagner, but concludes with the final Parisian successes that Meyerbeer lived to see - his two opéras comiques.




Opera in Paris from the Empire to the Commune


Book Description

Studies in the history of French nineteenth-century stage music have blossomed in the last decade, encouraging a revision of the view of the primacy of Austro-German music during the period and rebalancing the scholarly field away from instrumental music (key to the Austro-German hegemony) and towards music for the stage. This change of emphasis is having an impact on the world of opera production, with new productions of works not heard since the nineteenth century taking their place in the modern repertory. This awakening of enthusiasm has come at something of a price. Selling French opera as little more than an important precursor to Verdi or Wagner has entailed a focus on works produced exclusively for the Paris Opéra at the expense of the vast range of other types of stage music produced in the capital: opéra comique, opérette, comédie-vaudeville and mélodrame, for example. The first part of this book therefore seeks to reintroduce a number of norms to the study of stage music in Paris: to re-establish contexts and conventions that still remain obscure. The second and third parts acknowledge Paris as an importer and exporter of opera, and its focus moves towards the music of its closest neighbours, the Italian-speaking states, and of its most problematic partners, the German-speaking states, especially the music of Weber and Wagner. Prefaced by an introduction that develops the volume’s overriding intellectual drivers of cultural exchange, genre and institution, this collection brings together twelve of the author’s previously published articles and essays, fully updated for this volume and translated into English for the first time.




A Short History of Opera


Book Description

When first published in 1947, A Short History of Opera immediately achieved international status as a classic in the field. Now, more than five decades later, this thoroughly revised and expanded fourth edition informs and entertains opera lovers just as its predecessors have. The fourth edition incorporates new scholarship that traces the most important developments in the evolution of musical drama. After surveying anticipations of the operatic form in the lyric theater of the Greeks, medieval dramatic music, and other forerunners, the book reveals the genre's beginnings in the seventeenth century and follows its progress to the present day. A Short History of Opera examines not only the standard performance repertoire, but also works considered important for the genre's development. Its expanded scope investigates opera from Eastern European countries and Finland. The section on twentieth-century opera has been reorganized around national operatic traditions including a chapter devoted solely to opera in the United States, which incorporates material on the American musical and ties between classical opera and popular musical theater. A separate section on Chinese opera is also included. With an extensive multilanguage bibliography, more than one hundred musical examples, and stage illustrations, this authoritative one-volume survey will be invaluable to students and serious opera buffs. New fans will also find it highly accessible and informative. Extremely thorough in its coverage, A Short History of Opera is now more than ever the book to turn to for anyone who wants to know about the history of this art form.




Song


Book Description

Carol Kimball's comprehensive survey of art song literature has been the principal one-volume American source on the topic. Now back in print after an absence of several years this newly revised edition includes biographies and discussions of the work of