Opera's Orbit

Erscheinungsjahr 2011
ISBN: 978-0-521-11665-7
Verlag: Cambridge University Press

Buch, Englisch, 334 Seiten, Format (B × H): 175 mm x 250 mm, Gewicht: 760 g

Exploring the dynamic yet problematic context of musical drama in Rome, this study probes opera's relationship to modernity during the late seventeenth and early eighteenth century. Opera instigated a range of discourses, most notably among Rome's Academy of Arcadians, whose apprehension towards opera refracted larger aesthetic and cultural debates, and socio-political tensions. Tcharos presents a unique perspective, engaging opera as a historical force that established a sphere of influence across several genres and matrices of culture. The juxtaposition of opera against the prominent forms of the oratorio, serenata and cantata illustrates opera's constitutive role in a trans-genre cultural matrix, where the dialogical connections between musico-dramatic forms vividly capture the historicism, nostalgia, contradiction and cultural reform that opera inspired. By illuminating other genres as reactionary sites of music and drama, Opera's Orbit boldly reconstructs opera's eighteenth-century critical turn.

Autoren/Hrsg.

Tcharos, Stefanie

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Geschichte der Musik Geschichte der Musik: Barock (ca. 1600-1750)
• Geisteswissenschaften Musikwissenschaft Musikgattungen Opernmusik

Inhaltsverzeichnis

Introduction. Opera's orbit; 1. Enclosures, crises, polemics: opera production in 1690s Arcadian Rome; 2. Disrupting the oratorio; 3. The serenata's discourses of duality; 4. The cantata, the pastoral, and the ideology of nostalgia; 5. Epilogue.

Über Autor(innen)

Tcharos, Stefanie
Stefanie Tcharos is Associate Professor of Musicology at the University of California, Santa Barbara, where she specializes in early modern Italian opera and related dramatic vocal music, issues of aesthetics, cultural history, and genre theory. She has published articles and reviews in the Journal of Musicology, the Cambridge Opera Journal, and Music and Letters, and was a contributor to The Cambridge History of Eighteenth-Century Music (2009).