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Titolo	Monteverdi's Last Operas: A Venetian Triology
N. di articolo	97883426
Sottocategoria	Biographien
Text language	Inglese {en}
Paese di pubblicazione	Stati Uniti d'America (us)
Casa editrice *	clicca qui
Titolo della serie	Evers Renaissance Studies
EAN (GTIN) *	clicca qui
ISBN *	clicca qui
Anno di pubblicazione	2007
Autore	Rosand, Ellen
Compositore	Monteverdi, Claudio
Ulteriori informazioni / contenuti	hardcover 474 pages, 7 x 10 inches, 30 b/w photographs, 4 line illustrations, 21 tables, 40 music examples Claudio Monteverdi (1567-1643) was the first important composer of opera. This innovative study by one of the foremost experts on Monteverdi and seventeenth-century opera examines the composer's celebrated final works--Il ritorno d'Ulisse in patria (1640) and L'incoronazione di Poppea (1642)--from a new perspective. Ellen Rosand considers these works as not merely a pair but constituents of a trio, a Venetian trilogy that, Rosand argues, properly includes a third opera, Le nozze d'Enea (1641). Although its music has not survived, its chronological placement between the other two operas opens new prospects for better understanding all three, both in their specifically Venetian context and as the creations of an old master. A thorough review of manuscript and printed sources of Ritorno and Poppea, in conjunction with those of their erstwhile silent companion, offers new possibilities for resolving the questions of authenticity that have swirled around Monteverdi's last operas since their discovery in the late nineteenth century. Le nozze d'Enea also helps to explain the striking differences between the other two, casting new light on their contrasting moral ethos: the conflict between a world of emotional propriety and restraint and one of hedonistic abandon. A thorough review of manuscript and printed sources of Il ritorno d'Ulisse and L'incoronazione di Poppea, in conjunction with those of their erstwhile silent companion, offers new possibilities for resolving the questions of authenticity that have swirled around Monteverdi's last operas since their discovery in the late nineteenth century. Le nozze d'Enea also helps to explain the striking differences between the other two, casting light on their contrasting moral ethos: the conflict between a world of emotional propriety and restraint and one of hedonistic abandon. Considering Monteverdi's last operas as a trilogy deepens our appreciation and understanding of his achievement, his unique exploration of the dramatic potential of the art itself, and his creation of character and refinement of plot. Rosand's original analysis and interpretation confirm Monteverdi's claim to a special place in the history of opera and explain why his truest heirs are Handel, Mozart, and Verdi. List of Illustrations List of Tables List of Musical Examples Preface Editorial Procedure Abbreviations 1 Orpheus in Venice Prologue A New Ulysses The Myth of Venice 2 Discoveries and Reception Scholarship Performance 3 Sources and Authenticity: Three Librettos Il ritorno d'Ulisse Le nozze d'Enea L'incoronazione di Poppea 4 Two Scores Il ritorno d'Ulisse in patria L'incoronazione di Poppea 5 Ancients and Moderns A Question of Genre Five Acts or Three Modern Taste 6 A Master of Three Servants Monteverdi's Way with Words Speech and Song, Recitative and Aria The Role of Meter Fashioning the "Just Lament": Arianna's Venetian Progeny Comedy 7 Constructions of Character Shaping an Epic or Rewriting Penelope The Wily Hero Deepening a Psychological Drama 8 The Parasite and the Philosopher Heroic Pedant, Ambiguous Philosopher Tragic Buffoon Directors and Critics Music and Text Post Mortem 9 Epilogue Appendices 1. Giacomo Badoaro, Il ritorno d'Ulisse, preface 2. Argomento et Scenario delle Nozze d'Enea in Lavinia 3. Giacomo Badoaro, Ulisse errante, preface 4. L'incoronazione di Poppea: argomento, scenario, preface 5. Il ritorno d'Ulisse: Badoaro's argomento compared with Dolce's Allegorie and Dolce's argomenti compared with Badoaro's structure 6. Le nozze d'Enea e Lavinia: scenario compared with Dolce's allegories 7. Supernatural scenes 8. Singers Bibliography Index
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