Seventeenth-Century Opera and the Sound of the Commedia dell'Arte / / Emily Wilbourne

• Autore: Wilbourne Emily
• Pubblicazione: Chicago : , : University of Chicago Press, , [2016]; ©2016
• Descrizione fisica: 1 online resource : illustrations (black and white)
• Disciplina: 782.109032
• Soggetto topico: Opera - Italy - 17th century; Commedia dell'arte - History and criticism; Commedia dell'arte - Influence; Commedia dell'arte - Characters
• Soggetto non controllato: Claudio Monteverdi; Francesco Cavalli; Virginia Andreini; aria; commedia dell'arte; lament; listening; opera; recitative; sound
• Note generali: Previously issued in print: 2016.
• Nota di bibliografia: Includes bibliographical references and index.
• Nota di contenuto: Frontmatter -- Contents -- Note to the Reader -- Introduction. "The Tragedies and Comedies Recited by the Zanni" -- Chapter one. The Commedia dell'Arte as Theater -- Chapter two. "Ma meglio di tutti Arianna comediante" -- Chapter three. The Serious Elements of Early Comic Opera -- Chapter four. Penelope and Poppea as Stock Figures of the Commedia dell'Arte -- Conclusion. Seventeenth- Century Opera and the Sound of the Commedia dell'Arte -- Acknowledgments -- Notes -- Selected Bibliography -- Index
• Sommario/riassunto: In this book, Emily Wilbourne boldly traces the roots of early opera back to the sounds of the commedia dell'arte. Along the way, she forges a new history of Italian opera, from the court pieces of the early seventeenth century to the public stages of Venice more than fifty years later. Wilbourne considers a series of case studies structured around the most important and widely explored operas of the period: Monteverdi's lost L'Arianna, as well as his Il Ritorno d'Ulisse and L'incoronazione di Poppea; Mazzochi and Marazzoli's L'Egisto, ovvero Chi soffre speri; and Cavalli's L'Ormindo and L'Artemisia. As she demonstrates, the sound-in-performance aspect of commedia dell'arte theater-specifically, the use of dialect and verbal play-produced an audience that was accustomed to listening to sonic content rather than simply the literal meaning of spoken words. This, Wilbourne suggests, shaped the musical vocabularies of early opera and facilitated a musicalization of Italian theater. Highlighting productive ties between the two worlds, from the audiences and venues to the actors and singers, this work brilliantly shows how the sound of commedia performance ultimately underwrote the success of opera as a genre.
• Titolo autorizzato: Seventeenth-Century Opera and the Sound of the Commedia dell'Arte
• ISBN: 0-226-40160-X
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Lingua di pubblicazione: Inglese
• Record Nr.: 9910136122903321
• Lo trovi qui: Univ. Federico II