Opera and Vivaldi / / ed. by Elise K. Kirk, Michael Collins.

• Superior document: Title is part of eBook package: De Gruyter University of Texas Press Complete eBook-Package Pre-2000
• MitwirkendeR: Barcham, William L.,; Brand, C. Peter,; Brown, Howard Mayer,; Collins, Michael,; Covell, Roger,; Cross, Eric,; Cyr, Mary,; Hansell, Sven,; Harris, Ellen T.,; Hill, John Walter,; Holmes, William C.,; Kirk, Elise K.,; Kropfinger, Klaus,; McClymonds, Marita P.,; Porter, Andrew,; Rosand, Ellen,; Schmidgall, Gary,; Selfridge-Field, Eleanor,; Wynne, Shirley,
• HerausgeberIn: Collins, Michael,; Kirk, Elise K.,
• Place / Publishing House: Austin : : University of Texas Press, , [2021]; ©1984
• Year of Publication: 2021
• Language: English
• Physical Description: 1 online resource (408 p.)

From the New York Times review of the Dallas Opera's performance of Orlando furioso and the international symposium on Baroque opera: ". . . it was a serious, thoughtful, consistent and imaginative realization of a beautiful, long-neglected work, one that fully deserved all the loving attention it received. As such, the production and its attendant symposium made a positive contribution to the cause of Baroque opera . . . . " Baroque opera experienced a revival in the late twentieth century. Its popularity, however, has given rise to a number of perplexing and exciting questions regarding literary sources, librettos, theater design, set design, stage movement, and costumes—even the editing of the operas. In 1980, the Dallas Opera produced the American premier of Vivaldi's Orlando furioso, which met with much acclaim. Concurrently an international symposium on the subject of Baroque opera was held at Southern Methodist University. Authorities from around the world met to discuss the operatic works of Vivaldi, Handel, and other Baroque composers as well as the characteristics of the genre. Michael Collins and Elise Kirk, deputy chair and chair of the symposium, edited the papers to produce this groundbreaking study, which will be of great interest to music scholars and opera lovers throughout the world. Contributors to Opera and Vivaldi include Shirley Wynne, John Walter Hill, Andrew Porter, Eleanor Selfridge-Field, Howard Mayer Brown, William Holmes, Ellen Rosand, and the editors.

Table of Contents

Frontmatter -- Contents -- INTRODUCTION -- PART I. Literary Sources and Their Transformation into Opera -- Dramatic Theory and the Italian Baroque Libretto -- Mythological Subjects in Opera Seria -- Ariosto and the Oral Tradition -- Ariosto's Orlando and Opera Seria -- Orlando in Seicento Venice: The Road Not Taken -- Eighteenth-Century Orlando: Hero5 Satyr, and Fool -- PART II. Venetian Opera in Its Cultural Milieu -- Venetian Theaters during Vivaldi's Era -- Costume in the Frescoes of Tiepolo and Eighteenth-Century Italian Opera -- Baroque Manners and Passions in Modern Performance -- Opera Criticism and the Venetian Press -- PART III. The Practice of Opera Seria -- Voice Register as an Index of Age and Status in Opera Seria -- Cadential Structures and Accompanimental Practices in Eighteenth-Century Italian Recitative -- Declamation and Expressive Singing in Recitative -- Embellishing Eighteenth-Century Arias: On Cadenzas -- PART IV. Vivaldi as Dramatic Composer -- The Relationship between Text and Music in the Operas of Vivaldi -- Vivaldi as Self-Borrower -- Vivaldi's Orlando: Sources and Contributing Factors -- PART V. Baroque Opera Today -- Preparing the Critical Edition: An Interview with Alan Curtis -- Opera Seria Today: A Credo -- APPENDIX -- Contributors -- Index