UID:
almahu_9949852196502882
Format:
1 online resource (809 pages)
Edition:
1st ed.
ISBN:
0-19-768187-5
,
0-19-768185-9
Content:
In this book, author Louise K. Stein analyzes early modern opera as appreciated and produced by Gaspar de Haro y Guzm?n (1629-87), Marqu?s de Heliche and del Carpio and a distinguished patron of the arts in Madrid, Rome, and Naples. It also reveals his lasting legacy in the Americas during a crucial period for the growth and development of opera and the history of singing.
Note:
Cover -- The Marqués, the Divas, and the Castrati -- Copyright -- Dedication -- Contents -- List of Figures -- List of Music Examples -- List of Tables -- Acknowledgments -- List of Abbreviations -- Introduction: An Extraordinary Patron -- 1. Inventing Hispanic Opera: Opera as Epithalamium -- Material Traces of an Interest in Music -- Heliche's Temperament -- Heliche, Mariana de Austria, and Theatrical Production in Madrid -- Heliche and the Renovation of the Coliseo del Buen Retiro -- Artistic Collaboration -- Performers -- Women Singing Onstage -- Opera Production in Madrid -- The Context for the "Lost" La púrpura de la rosa -- The Music of Celos aun del aire matan -- Conclusion -- Epilogue: Exile and Subsequent Travel -- 2. Negotiating Operatic Culture in Rome 1677-82 -- A First Experience of Italian Opera -- Italian Opera as Heard by Spanish Compatriots -- Amid the Vicissitudes of Opera Production in Rome -- Entertainments with a Spanish Flavor -- The 1681 Serenata in Piazza di Spagna -- Patron and Protector in Rome -- Spanish Productions at Palazzo di Spagna -- Conclusion: "el buen gusto romano"? -- 3. Naples, Opera, and Spanish Viceroys to 1683 -- The Count of Oñate and the First Operas in Naples -- Spaces for Opera in Oñate's Naples -- Viceroys and Inconsistent Levels of Support -- Operas at the Teatro di San Bartolomeo after the Fire -- Operas for Special Occasions -- Spanish Operas for Dynastic Celebrations -- Conclusions -- 4. Carpio and the Integration of Opera in Public Life, Naples 1683-87 -- Practical Considerations -- Theaters and Finances for Opera in Naples -- A Palace Theater -- A Public Commercial Theater -- Libretti and the Schedule of Productions -- Opera Finances in Naples -- A New Operatic Production Team -- Musicians and Singers -- The 1683-84 Naples Opera Season -- L'Aldimiro overo Favor per favore.
,
La Psiche, overo Amore innamorato -- Giulia Francesca Zuffi and the donnesca voce -- Giovanni Francesco Grossi and Amore -- Il Pompeo -- La Tessalonica and 1684 -- The 1684-85 Naples Opera Season -- Il Giustino -- L'Epaminonda -- Il Galieno -- Summer Festivities 1685 -- The 1685-86 Naples Opera Season -- Il Fetonte -- Olimpia vendicata -- L'Etio -- Carpio's Final Season 1686-87 -- Operas of the 1686-87 Naples Season -- Il Nerone -- Clearco in Negroponte -- Il Roderico -- Tutto il mal: A Private Opera in 1686 or 1687 -- Carpio in Naples, Some Conclusions -- 5. An Operatic Legacy in the Americas -- The Context for Opera in the American Viceroyalties -- La púrpura de la rosa in Lima 1701 -- Legitimizing Public Secular Music and the Emerging Criollo Culture -- The Extant Lima Score -- Torrejón as Composer or Compiler? -- Hidalgo's Music inside Torrejón's Opera -- Hidalgo's Music Reaching Lima -- Torrejón y Velasco and the Loa -- Coplas, Estribillos, Bailes, Freely Declamatory Song -- Opera in New Spain -- Celos aun del aire matan in Mexico -- The Italian Paradigm in New Spain -- La Partenope, El Zelueco, and Neapolitan Models -- The Sumaya Question -- An Appreciable Contemporaneity -- Epilogue: Lima 1943 -- Appendix 1: Plot Synopses, Celos aun del aire matan and La púrpura de la rosa -- Appendix 2: Items pertaining to the Theater in the Inventories of Gaspar de Haro y Guzmán's Possessions -- Appendix 3: Singers in Carpio's Naples Productions -- Bibliography -- Index of Poetic Incipits forSongs and Arias -- Index.
Additional Edition:
ISBN 0-19-768184-0
Language:
English
Bookmarklink