Operatic Pasticcios in 18th-Century Europe : Contexts, Materials and Aesthetics / Berthold Over, Gesa zur Nieden
In Early Modern times, techniques of assembling, compiling and arranging pre-existing material were part of the established working methods in many arts. In the world of 18th-century opera, such practices ensured that operas could become a commercial success because the substitution or compilation o...
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HerausgeberIn: | |
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Year of Publication: | 2021 |
Edition: | 1st ed. |
Language: | English |
Series: | Mainzer Historische Kulturwissenschaften
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Physical Description: | 1 online resource (798 p.) |
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Table of Contents:
- Frontmatter
- Editorial
- Content
- Introduction
- The World of Pasticcio Reflections on Pre-Existing T ext 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 di baule: Insights from the Pirker Correspondence
- Dido Abandoned? Shifts of Focus and Artistic Choices in Didone Pasticcios of the Mingotti Opera T roupe
- 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 V iennese 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, W rocław 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