Italian Opera Research: An Annotated Bibliography
Primary Sources
Davis, John A. "Opera and Absolutism in Restoration Italy, 1815–1860." Journal of Interdisciplinary History 36.3: 569-94. Academic Search Premier. Web. 8 Nov. 2015.
In the journal above, the text explains that Opera played an important part on lives of urban Italians during the times that followed the fall of Napoleon's European empire and the restoration of the Italian legitimist rulers by the Congress of Vienna. People all over wanted to use Opera, for it's social impact on others, in order to portray their messages. Even so, theaters continued to draw regular audiences, thus proving that politics from different nationalities didn't matter to whoever saw and wrote an Opera. I'll be using this source in my
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The article also explains what happened to Opera during the French Revolution and how it was able to recover and improve. Not only that, but it also explains the impact Opera had on society, such as it's importance to the people, and the effects it had on the public. An example is how one Opera, Daniel Auber's La Muette de Portici, lead to a revolution to free Naples from Dutch rule. The article gives background information about the origins of Opera in Venice.
This article contributed to my project by giving an example of the impact of Opera on the public, and the importance it had in Italy. The article was able to specify certain events that Opera was apart of, whether it was the cause or the victim of a punishment from the invaders. Not only that, but the article also explains the improvement of Opera after the French Revolution. This source is reliable, because it was an official journal that was written long ago and was digitized for the public.
Rinuccini, Ottario. Euridice. Composed by Peri, Jacopo. 1600. L' Euridice. Cosimo Giunta. Web. 12 Dec.
In his day, Johann Adolph Hasse was at the forefront of Italian opera. Although he composed a fair amount of sacred works, he is best known for his operatic output. He was widely popular throughout Italy and Germany, and was commissioned by courts and opera houses throughout Europe. His performances were attended by cultural figures at the time, as well as some of the biggest names in common-era music today. In his later life, styles changed and so Hasse’s acclaim diminished after his death. But generations later, he was re-established as a figurehead and icon of classic ancient Italian opera, a designation he possesses even today.
"History of Castrati in the Opera." By Irini Kotroni. N.p., n.d. Web. 06 Feb. 2014
Daum, Gary. "Chapter 12 The Baroque Era (1600-1750)." Georgetown Prep. 1994. Georgetown University. 12 July 2005 .
Until the nineteenth century, music was generally regarded as an international language. Folk music had always been in place and linked directly with particular regions. On a larger scale though, European music was a device for expression through the application of Italian techniques and styles. In other words, its technical vocabulary was Italian, and from the time of the early baroque, European music, in general, had evolved its styles and technical devices from the developments of Italian composers. Furthermore, court opera was nearly always performed in Italian, whether in Dresden or in London, no matter who composed it or where it was performed. For example, in 1855, Queen Victoria suggested to Richard Wagner that he translate his opera Tannhauser into Italian so that it could secure a production in London. Thus, European music, regardless of where it was composed could be (and was) performed throughout Europe and understood through the common Italian commands, descriptions, and styles. It was unacceptable for most to compose in any other way. The international idea began to collapse in the early nineteenth century as embattled nations or nations subjugated by a foreign invader began to think of music as an expression of their own national identity, personality, or as a way of voicing national aspirations.
Harman, Alec, and Anthony Milner. Late Renaissance and Baroque Music. London: Barrie Books LTD., 1959. ML193.H37
Najemy, John M. Italy in the Age of the Renaissance. New York: Oxford University Press, 2004.
Musical performances are evaluated on many different aspects, including if the performance is historically accurate. The Eightieth century Opera was an up and coming genre that was spreading its way through Europe. Opera’s style and aesthetics in the baroque period could always be traced back to its Italian roots. In Ryszard Daniel Golianek’s article In Search of a Perfect Performance of the 18th Century Opera; Johann George Silzer’s Lexicon as an Aesthetic Guide he states “three general conditions of a good performance are mentioned: Deutlichkeit(Thoroughness), Ausdruck (expression) and Schönbeit(beauty)”. (p.150) Castrati were often used in lead roles of baroque opera. When performing baroque opera today, conductors are left with a difficult descion on how to replace the castrato while still attempting to remain historically true to the values of the composition.
Christmas and Opera did not merely seem to correlate, but understanding where the two events derived from can help one to understand the similarities and differences between them. The development of Christmas was different from the creation of opera because the working class was controlling the other social classes for profit. Whereas for opera, the different social classes unified to keep opera as entertainment and not a social event. Another difference came within the writing and context throughout the article and the presentation of information conveyed by the author. Yet the events share the similarity of both being refined and reinvented.
For the musical composer essay, I have chosen to write about a man who I felt made the greatest impact on Romantic opera in the 19th century this master of a man was given the name Giuseppe Fortunio Francesco Verdi but was commonly known as Giuseppe Verdi by all who knew and loved him. This great man was born on either October 9, or 10 in the year 1813 in the community of Le Roncole, near a small town called Busseto in the province of Parma, Italy his astrological sign is that of a Libra. His mother and father were both of Italian descent and their names were Carlo and Luigia Verdi respectively. Now this is where it gets complicated Verdi told every person that talked to him about his background that his parents were illiterate peasants. Despite this lie that Verdi told them they later discovered that his parents were not illiterate peasants as he had claimed but were very smart individuals tha...
Before discussing the opera setting of The Marriage of Figaro more in depth, it is important to note the changes and important ideals of its music period. The classical period of music was a result of many changes as the Baroque period style started to fade from popularity. The most important transformation, however, was the result of a revolution in the way people began to view themselves and others. Brought about in this period was the Enlightenment: the idea of promoting the welfare of humankind. The leaders of the Enlightenment were mainly French poets and philosophers, namely Rousseau, Voltaire, and Montesquieu, and were strong revolutionaries of social reform in favor of the common people of the time. This idea of the lower class becoming equal in social status to their rich counterparts became a very common theme of drama in the classical period, especially the genre of opera buffa.
At the age of the Enlightenment, Antonio Salieri becomes the most triumphant musician in the city of Vienna, however, without any warning his harmonious universe comes to an utter halt. Salieri’s absolute faith in the world, in himself, and in God is all at once diminished by this spontaneous child composer. When the two opposite ends meet, there emerges a fury, a rage, and a passion in Salieri to sabotage the boy that has secured Salieri’s deserved God given talent; to destroy the one pubescent child that has made him so mute and naked now in a world of discordance. Salieri’s entire reputation and boyhood prayer to attain fame thus rests on his ability to annihilate that child prodigy, Wolfgang Amadeus Mozart.In analyzing the two composers, Salieri and Mozart, there is a distinct line that clearly divides them. Salieri’s operas receive astounding receptions, making them the “talk of the city,'; shaking the roofs, buzzing the cafes, and even the name Salieri “sounds throughout all of Europe'; (2,3). The reason for Salieri’s success, as well as many musicians of the eighteenth century, is because they have become enslaved by the well-to-do and hence are “no better than servants'; (1,3). This applies especially to the king. For example, in Amadeus, His Majesty forbid any ballet in his operas. Imperial commands such as this are not to be interpreted in any way, in other words, they are to be merely obeyed without any dispute. Since operas tend to the needs of the high society in order to obtain recognition, the operas must communicate through the language of the nobility, that is, Italian. In addition, since the majority of the audience is made up of the upper class, the subject matter of the operas must consist of elevated themes. Such as, mythological heroes, kings, and queens, and so forth. According to the eighteenth century view, operas are supposed to be a sublime and an aggrandizing art. The elevated subject matter is then chosen in order to venerate and honor the nobility. It’s purpose is to “celebrate the eternal in man'; says Van Swieten (2,4). Meaning that there is an element in a noble person that lasts without any end, like God who is immortal. God represents the everlasting and the eternality of existence, thus God gives inspiration to operas that...
Although the castrato maintained a 100 year long infamy, transition was bound to happen. The phenomenon was splendid and served well in the upbringing of opera through the eighteenth century, but various European events (i.e. French Revolutionary and Napoleon wars) changed the course of history for good. If not for those wars, women might still be sitting silently in the audience. However, opera really owes credit to the “barber surgeons” of Italy for disobeying the law and continuing their practice despite all consequences against their actions. Without their bravery, castrati may never have existed along with the moving operatic compositions of the early seventeenth century to the nineteenth century.
Chinese Opera is one of the “three oldest dramatic art forms in the world” , along with “Greece tragic-comedy and Indian Sanskrit” (China). From Chinese Opera comes many forms of opera, over 300 types , but the most well known is the Peking Opera (China). The Peking Opera is known by many names, like “Eastern Opera” (history), and “jingqiang” (Xu), but the most common name in the Western world is the “Beijing Opera” (Wertz).
As a Chinese international student in Western Michigan University, it is a great opportunity for me to give the presentation to talk about the music – the Beijing Opera, which comes from my own country. The Beijing Opera has existed for over 200 years. It is widely regarded as the highest expression of the Chinese culture. It is known as one of the three main theatrical systems in the world. Although it is called Beijing Opera, its origins are not in Beijing but in the Chinese provinces of Anhui and Hubei province. Beijing Opera got its two main melodies, Xi Pi and Er Huang, from Anhui and Hubei operas. It then absorbed music and arias from other operas and musical arts in China. However, during the Cultural Revolution (1966-1976), Beijing Opera suffered along with other kinds of operas in China. All the traditional pieces reflecting the Old Societies were banned from performance. The famous Eight Model Plays, featuring the communist activities during the anti-Japanese war and the civil war with the Nationalists, as well as the class struggles after the founding of the People's Republic. In this presentation, I am going to talk about the features of both traditional and revolutionary Beijing Opera, and also some main differences between traditional and revolutionary opera.
Harr, James. Essays on Italian Poetry and Music in the Renassisance: 1350-1600. Berkeley: University of California Press, 1986.