01272nam 2200373 450 00000126920050718115000.0--------d--------km-y0itay0103----baitaIT<<La>> presunta congiura dei fratelli de La Salandra a Gioacchino MuratGuido Bustico[s. l.][s. d]p. 119-12624 cmSenza front.Sulla cop. autografo del possessore: "Sergio de Pilato"NapoliStoria19. sec.Bustico,Guido438590ITUniversità della Basilicata - B.I.A.RICAunimarc000001269Presunta congiura dei fratelli de La Salandra a Gioacchino Murat70213UNIBASMONLETMONOGRLETTEREGINO0119990712BAS01114220000920BAS01182820001010BAS01163120050601BAS011752batch0120050718BAS01104720050718BAS01110620050718BAS01113620050718BAS011150BAS01BAS01BOOKBASA1Polo Storico-UmanisticoFDEPFondo De PilatoFD/16281628D16281999071252Rari03291nam 22004213u 450 991046563040332120210114014712.0(CKB)2560000000149283(EBL)1686933(MiAaPQ)EBC1686933(EXLCZ)99256000000014928320140512d2014|||| u|| |eng"Music's Obedient Daughter"[electronic resource] The Opera Libretto from Source to ScoreAmsterdam Editions Rodopi20141 online resource (505 p.)Description based upon print version of record.90-420-3808-X Cover; Tittle Page; Copyright Page; Table of Contents; Introduction; The Power of Music: Striggio and Monteverdi's L'Orfeo; Octavia Reincarnated:Busenello's and Monteverdi's L'incoronazione di Poppea; In the Operatic Workshop:The Case of Varesco's and Mozart's Idomeneo; The Librettist's Dilemma in London:Badini's and Haydn's Orfeo ed Euridice; "But There Is another Intrigue and a Comic Element PlacedAlongside":Hans Sachs - the Relation of Lortzing's Opera to Deinhardstein'sDrama; "Ce bal est original!":Classical Parody and Burlesque in Orphée aux enfers by Crémieux,Halévy and OffenbachBurning the Heretics and Saving Don Carlos: Méry's, Du Locle's and Verdi's Don Carlos Tracing Wotan's Incendiary Past:The Evolution of Storms and Fire in Wagner's Der Ring des Nibelungen; Manon at the Opera:From Prévost's Manon Lescaut to Auber's Manon Lescaut andMassenet's Manon; "Closed, Efficient, Terrible!":Reflections on the Genesis and Dramaturgy of Illica's, Giacosa's and Puccini's Madama Butterfly; The End of a Line:Strauss' and Hofmannsthal's Elektra; "Something Uncommonly German":Hans Pfitzner's Palestrina, Eine Musikalische LegendeThe Musical Personality of Don Quixote:Manuel de Falla's El Retablo de Maese Pedro Transformations of the Killing of a Boy:Weill's and Brecht's Der Jasager; A Theological Midrash in Search of Operatic Action:Moses und Aron by Arnold Schoenberg; The Making of a Victim:From Crabbe's The Borough to Slater's and Britten'sPeter Grimes; Opera on Opera:Luciano Berio's Opera; Notes on Contributors; IndexA libretto is an indispensable part of an opera as a musical genre: with few exceptions, operas have been the subject of musicological studies, and instrumental versions of sung or unsung opera numbers may be heard, but we never listen to libretto texts being performed without the music. Thus as a literary form the libretto is a highly specific genre with its own particular attributes. This volume offers an approach to the libretto through the discussion of these attributes in many different examples. It explores what may be expected of a librettist in response to the demands of the genre'sMusic industryOpera -- HistoryOperaElectronic books.Music industry.Opera -- History.Opera.782.104Lichtenstein Sabine940825AU-PeELAU-PeELAU-PeELBOOK9910465630403321"Music's Obedient Daughter"2121592UNINA