Operatic Pasticcios in 18th-Century Europe : : Contexts, Materials and Aesthetics.

• Superior document: Mainzer Historische Kulturwissenschaften ; v.45
• Author: Over, Berthold.
• TeilnehmendeR: Nieden, Gesa zur.
• Place / Publishing House: Bielefeld : : transcript,, 2021.; ©2021.
• Year of Publication: 2021
• Edition: 1st ed.
• Language: English
• Series: Mainzer Historische Kulturwissenschaften
• Physical Description: 1 online resource (799 pages)

Table of Contents

• Cover
• Content
• Introduction
• The World of Pasticcio: Reflections on Pre-Existing Text and Music
• Italian Pasticcio Opera, 1700-1750: Practices and Repertoires
• 1. Pasticcio Principles in Different Arts
• Antoine Watteau's pasticci
• Pasticcio Practice in 18th-Century German Theater
• Adaptations of Stage Directions and Stage Designs in Pietro Metastasio's drammi per musica
• Between Dwarfs and Giants. Aesthetics of the Pasticcio Between London and Hamburg
• 2. Pasticcio vs. Pastiche
• The Musical pasticcio: A Plea for a Readymade Ontology for the Musical Work
• Pasticcio en littérature?
• On the New Significance of the Pastiche in Copyright Law
• 3. Traveling Musicians - Traveling Music?
• A Voice of Two Cities: Francesco Borosini Between the Habsburg Court and the Royal Academy
• Debts and Destiny: New Findings on Antonio Maria Peruzzi and the Origin of His Opera Touring Business
• Italian operisti, Repertoire and the aria da baule: Insights from the Pirker Correspondence
• Dido Abandoned? Shifts of Focus and Artistic Choices in Didone Pasticcios of the Mingotti Opera Troupe
• Palladio as a Tool for opera buffa Research. Mapping Opera Troupes and opera buffa Outside of Italy (1745-1765)
• 4. Local Conditions of Pasticcio Production and Reception
• Collaboration, Arrangement, 'Dressing': The Different Recipes for the pasticcio alla napoletana in the First Half of the 18th Century
• Production of Opera Pasticcios in Venice in the Early 18th Century. The Impresario's Role
• Artaserse (Rome, 1721), Nicola Porpora's First Pasticcio
• Singers of the Viennese Kärntnertortheater in the 1730s in the Light of Aria Substitutions and Pasticcios
• The Book of Pasticcios: Listening to Ormisda's Material Texts
• Borrowed Voices. Legal Ownership of Insertion Arias in 18th-Century London.
• Local Conditions of Pasticcio Production and Reception: Between Prague, Wrocław and Moravia
• The Graz 1740 Pasticcio Amor, odio e pentimento: A Special Case or Mingottis's Common Practice?
• A Granted Royal Wish, or Carlo Goldoni's La buona figliuola with Music by Niccolò Piccinni and Il mercato di Malmantile with Music by Domenico Fischietti, Staged in Warsaw in 1765
• 5. Pasticcio Practices Beyond Opera
• Bad Habits in Theater - Late Forms of Operatic Pasticcios in Vienna Around 1800
• Dance in Pasticcios - Pasticcios in Dance
• Ballet Performance as Motivation for Pasticcio Practices - Gluck's and Berton's Cythère assiégée (1775)
• The Use of Extracts of Mozart's Operas in Polish Sacred Music
• Pasticcio da Chiesa: Transforming Opera Arias into an Oratorio. The Case of Contrafacted Oratorios in Wrocław and Żagań from the Mid-18th Century
• 6. Pasticcio Between Philology and Materiality
• Apostolo Zeno's Venceslao (Venice 1703) and its Pasticcio Version Vincislao re di Polonia (London 1717). A Case Study with Stops in Florence, Milan and Naples
• The Musical and Physical Mobility of Material in Handel Sources
• Pasticcios in Darmstadt? Christoph Graupner and the Use of Non-domestic Librettos in the Early 18th Century
• Gluck's Contribution to the Pasticcios Arsace and La finta schiava
• Digital Music Editions Beyond [Edited] Musical Text
• The pasticci Tree: Manual and Computing Solutions
• Ways of Replacement - Loss and Enrichment
• Epilogue
• List of Contributors
• Index of Persons
• Index of Places.