UID:
almahu_9947413899102882
Format:
1 online resource (xvi, 206 pages) :
,
digital, PDF file(s).
ISBN:
9781107280274 (ebook)
Series Statement:
Cambridge studies in opera
Content:
At the turn of the twentieth century Italian opera participated to the making of a modern spectator. The Ricordi stage manuals testify to the need to harness the effects of operatic performance, activating opera's capacity to cultivate a public. This book considers how four operas and one film deal with their public: one that in Boito's Mefistofele is entertained by special effects, or that in Verdi's Simon Boccanegra is called upon as a political body to confront the specters of history. Also a public that in Verdi's Otello is subjected to the manipulation of contemporary acting, or one that in Puccini's Manon Lescaut is urged to question the mechanism of spectatorship. Lastly, the silent film Rapsodia satanica, thanks to the craft and prestige of Pietro Mascagni's score, attempts to transform the new industrial medium into art, addressing its public's search for a bourgeois pan-European cultural identity, right at the outset of WWI.
Note:
Title from publisher's bibliographic system (viewed on 05 Oct 2015).
,
Staging manuals and the public -- The "fleeting moment" : Arrigo Boito's Mefistofele -- Milan, 1881 : Simon Boccanegra and the specters of history -- Acting in Otello : on the rhetoric of the medium -- The real of opera : Puccini's Manon Lescaut -- Faust again : the silent film Rapsodia satanica and Mascagni's score.
Additional Edition:
Print version: ISBN 9781107051898
Language:
English
URL:
https://doi.org/10.1017/CBO9781107280274
URL:
Volltext
(lizenzpflichtig)
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