05154nam 2201261Ia 450 991077735500332120200520144314.01-282-35669-00-520-91934-397866123566981-59734-592-X10.1525/9780520919341(CKB)1000000000002485(EBL)227293(OCoLC)475933529(SSID)ssj0000279020(PQKBManifestationID)11234772(PQKBTitleCode)TC0000279020(PQKBWorkID)10258338(PQKB)11760384(StDuBDS)EDZ0000084656(OCoLC)70772800(MdBmJHUP)muse30506(DE-B1597)520077(OCoLC)978890346(DE-B1597)9780520919341(Au-PeEL)EBL227293(CaPaEBR)ebr10058567(CaONFJC)MIL235669(MiAaPQ)EBC227293(dli)HEB05548(MiU)MIU01000000000000006856276(EXLCZ)99100000000000248520030128d2003 uy 0engur|n|---|||||txtccrEmblems of eloquence[electronic resource] opera and women's voices in seventeenth-century Venice /Wendy HellerBerkeley University of California Pressc20031 online resource (407 p.)Description based upon print version of record.0-520-20933-8 Includes bibliographical references and index.The emblematic woman -- Bizzarrie femminile : opera and the Accademia degli incogniti -- Didone and the voice of chastity -- 'Disprezzata regina' : woman and empire -- The nymph Calisto and the myth of female pleasure -- Semiramide and the conventions of musical transvestism -- Messalina la meretrice : envoicing the courtesan.Opera developed during a time when the position of women-their rights and freedoms, their virtues and vices, and even the most basic substance of their sexuality-was constantly debated. Many of these controversies manifested themselves in the representation of the historical and mythological women whose voices were heard on the Venetian operatic stage. Drawing upon a complex web of early modern sources and ancient texts, this engaging study is the first comprehensive treatment of women, gender, and sexuality in seventeenth-century opera. Wendy Heller explores the operatic manifestations of female chastity, power, transvestism, androgyny, and desire, showing how the emerging genre was shaped by and infused with the Republic's taste for the erotic and its ambivalent attitudes toward women and sexuality. Heller begins by examining contemporary Venetian writings about gender and sexuality that influenced the development of female vocality in opera. The Venetian reception and transformation of ancient texts-by Ovid, Virgil, Tacitus, and Diodorus Siculus-form the background for her penetrating analyses of the musical and dramatic representation of five extraordinary women as presented in operas by Claudio Monteverdi, Francesco Cavalli, and their successors in Venice: Dido, queen of Carthage (Cavalli); Octavia, wife of Nero (Monteverdi); the nymph Callisto (Cavalli); Queen Semiramis of Assyria (Pietro Andrea Ziani); and Messalina, wife of Claudius (Carlo Pallavicino).ACLS Fellows’ publications.OperaItalyVenice17th centuryWomen in opera17th century.androgyny.antiquity.callisto.carthage.cavalli.chastity.classical.classicism.desire.dido.diodorus siculus.drama.empress.erotic.female characters.female power.female vocality.feminism.gender studies.gender.messalina.monteverdi.music.musicology.mythological women.mythology.nonfiction.nymph.octavia.opera women.opera.ovid.pallavicino.performing arts.purity.semiramis.sexuality.tacitus.theater.transvestism.venetian opera.virgil.women.womens rights.ziani.OperaWomen in opera.782.1/082/094531Heller Wendy Beth1005726MiAaPQMiAaPQMiAaPQBOOK9910777355003321Emblems of eloquence2312895UNINA$140.2509/08/2017Music