Essays on Handel and Italian OperaCUP Archive, 20/06/1985 - 303 páginas In this valuable collection of essays, published to coincide with the tercentenary of Handel's birth, Reinhard Strohm examines the relationship between Handel's great operas and the earlier European Baroque tradition, focusing on the Italian school, to which they are so crucially indebted. Handel's immediate heritage included the figures of Scarlatti, Gasparini and Vivaldi; this book establishes that context, concentrating on contemporary operatic practice, and proceeds to analyse three of Handel's best-known works. It shows how they elaborate and develop the style and method of the Italian operatic theatre, embracing previous traditions and synthesizing them with a new and exciting accentuation. |
Índice
| 15 | |
| 34 | |
| 80 | |
Operatic practice | 93 |
An opera autograph of Francesco Gasparini? | 106 |
Vivaldis career as an opera producer | 122 |
Handels pasticci | 164 |
Answers to the past | 213 |
Metastasios Alessandro nellIndie and its earliest settings | 232 |
Comic traditions in Handels Orlando | 249 |
Notes | 271 |
Bibliography | 289 |
Outras edições - Ver tudo
Palavras e frases frequentes
Alessandro Scarlatti Angelo Antonio Antonio Salvi Arbace arias Artaserse artistic Astianatte audience autograph bass Bernacchi Bologna Bononcini Bordoni cantatas Capeci Carestini Carnival castrato Catone Celestina character Chrysander composer conducting score court Deutsch Dorinda drama dramma per musica Dresden Example Ezio Fabricio fact Faramondo Farinelli Farnace Florence Francesco Gasparini Giacomelli Giovanni Gismondi Giustino Grisostomo Hamburg Handel Handel's opera Hasse Hasse's Haym impresario intermezzi Italian opera Italy La Celestina later Leonardo Vinci librettist libretto libretto & score London Lucio Papirio Mantua Maria Merighi Metastasio Milan Montagnana Naples Neapolitan Negri opera seria oratorio original Orlandini Orlando Orlando furioso Ormisda Paolo Rolli pasticcio performance Pollarolo Poros Porpora probably production recitatives replaced roles Rolli Roman Rome Rosmira Salvi sang Scalzi scene Scritture season seems Semiramide Senesino sinfonia singers Siroe soprano Strada Strohm style sung Teatro theatre theatrical tradition Venceslao Venetian Venice Vinci Vivaldi Zeno Zoroastro
Passagens conhecidas
Página 30 - Scarlatti, and several other masters, who entreated him to play some of his concertos before the King; this he for some time declined, on account of his whole band not being with him, and there was no time, he said, for a rehearsal. At length, however, he consented; and in great fear performed the first of his concertos. His astonishment was very great to find that the Neapolitan band executed his concertos almost as accurately at sight, as his own band, after repeated rehearsals, when they had almost...
Página 30 - (let us begin again), said Scarlatti, good-naturedly. Still, Corelli persisted in the major key, till Scarlatti was obliged to call out to him, and set him right. So mortified was poor Corelli with this disgrace, and the deplorable figure...
Página 98 - What was clearly fixed and predetermined about any production in those days had so little to do with the score and so much to do with the presentation of the drama by a single, individual singer that a revival of an opera seria today should really concentrate less on what Handel or Hasse wrote than on what Senesino or Farinelli did with the chief role ... it might not matter that some of his arias were by Harnoncourt and not by Handel.
Página 30 - King found one of the adagios so long and dry, that being tired, he quitted the room, to the great mortification of Corelli. Afterwards, he was desired to lead in the performance of a masque composed by Scarlatti, which was to be executed before the King; this he undertook, but from Scarlatti's little knowledge of the violin, the part was somewhat awkward and difficult...
Página 30 - Scarlatti, which was to be executed before the King; this he undertook, but from Scarlatti's little knowledge of the violin, the part was somewhat awkward and difficult: in one place it went up to F; and when they came to that passage, Corelli failed, and was unable to execute it; but he was astonished beyond measure to hear Petrillo, the Neapolitan leader, and the other violins, perform that which had baffled his skill. A song succeeded this, in C minor, which Corelli led off in C major; "ricomminciamo",...
Página 30 - King found one of the adagios so long and dry that, being tired, he quitted the room, to the great mortification of Corelli. Afterwards, he was desired to lead in the performance of a masque composed by Scarlatti, which was to be executed before the King; this he undertook, but from Scarlatti's little knowledge of the violin, the part was somewhat awkward and difficult: in one place it went up to F; and when they came to that passage, Corelli failed, and...
Página 30 - At the time that Corelli enjoyed the highest reputation, his fame having reached the court of Naples, and excited a desire in the King to hear him perform; he was invited, by order of his Majesty, to that capital. Corelli, with some reluctance, was at length prevailed on to accept the invitation : but, lest he should not be well accompanied, he took with him his own second violin and violoncello.
Página 30 - After this, being again admitted in to his Majesty's presence, and desired to perform one of his sonatas, the King found one of the adagios so long and dry, that being tired, he quitted the room, to the great mortification of Corelli. Afterwards, he was desired to...
Página 66 - [The story] tends to demonstrate the imperious Manner in which Love insinuates its Impressions into the Hearts of Persons of all Ranks, and likewise how a wise Man should be ever ready with his best Endeavours to reconduct into the Right Way, those who have been misguided from it by the Illusion of their Passions.
Página 30 - Naples, -.ud excited a desire in the king to hear him perform, he was invited, by order of his majesty, to that capital. Corelli, with some reluctance, was at length prevailed on to accept the invitation : but lest he should not be well accompanied, he took with him his own second violin and violoncello. At...
Referências a este livro
Handel's Muse: Patterns of Creation in His Oratorios and Musical Dramas ... David Ross Hurley Pré-visualização indisponível - 2001 |