The Marqués, the Divas, and the Castrati
Gaspar de Haro y Guzmán and Opera in the Early Modern Spanish Orbit
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A termék adatai:
- Kiadó OUP USA
- Megjelenés dátuma 2024. augusztus 29.
- ISBN 9780197681848
- Kötéstípus Keménykötés
- Terjedelem792 oldal
- Méret 229x155x35 mm
- Súly 1111 g
- Nyelv angol
- Illusztrációk 83 music examples, 46 figures, 13 tables 533
Kategóriák
Rövid leírás:
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.
TöbbHosszú leírás:
This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read on the Oxford Academic platform and offered as a free PDF download from OUP and selected open access locations.
During a crucial period in opera's development as a genre and as a business, the flamboyantly libertine Spanish aristocrat Gaspar de Haro y Guzm--n (1629-87), Marqu--s de Heliche and del Carpio, influenced operatic practices and productions for both Italian and Hispanic operas. A voracious collector of books and antiquities and famed connoisseur of visual art, the marqu--s financed operas in both Spain and Italy and further shaped them through his ideas, energy, and politics. His legacy also brought forth the first operas of the Americas, as posthumous revivals of the operatic genres he nurtured appeared in the Americas less than fifteen years after his death. In this book, author Louise K. Stein follows the trajectory of this first operatic producer to have shaped opera in two different worlds---Europe and the Americas---and in doing so, advances our musical and historical understanding of seventeenth- and early eighteenth-century opera and cultural encounter.
Each chapter focuses on different productions spearheaded by the Marqu--s in Madrid, Rome, and Naples during his lifetime, with the final chapter considering how his influence continued in operatic productions in Lima, Mexico City, and other regions of New Spain after his death. Alongside this portrait of the distinguish patron of the arts, Stein shows how conventions of musical dramaturgy for both private and commercial opera were developed within a consistent politics of production across the far-flung administrative centers of the Spanish empire in the years 1650-1730. She reveals the place of opera within the siglo de oro (Golden Age) of Hispanic theatre and delves deeply into how the Marqu--s became the principal patron of Alessandro Scarlatti in Italy after his time in Rome, sparking a reliable production system for Italian opera in Naples. Stein also addresses gendered performance---how beliefs about female fertility conditioned listeners and shaped the operatic genre---and advances the concept of the "womanly voice" in the first extant Hispanic operas, the Italian operas produced in Naples between 1683 and 1687, and the first operas of the Americas from 1701 to 1730.
In her book on diplomat and entrepreneur Marquis del Carpio, Louise Stein presents in detail the career of a man who deeply influenced the development of opera in seventeenth-century Madrid, Rome, Naples, Peru, and Mexico. With meticulous research, brilliant cultural insights, deft musical analysis, and lively prose, our foremost scholar of Hispanic Baroque music sets the stage for dozens of new projects.
Tartalomjegyzék:
Introduction: An Extraordinary Patron
Chapter 1. Inventing Hispanic Opera: Opera as Epithalamium
Material Traces of an Interest in Music
Heliche's Temperament
Heliche, Mariana, 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 p--rpura de la rosa
The Music of Celos aun del aire matan
Conclusion
Epilogue: Exile and Subsequent Travel
Chapter 2. Negotiating Operatic Culture in Rome 1677-82
A First Experience of Italian Opera
Italian Opera as Heard by Spanish Compatriots
Amidst 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"?
Chapter 3. Naples, Opera, and Spanish Viceroys to 1683
The Count of O--ate and the First Operas in Naples
Spaces for Opera in O--ate'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
Chapter 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
--Musicians and Singers
The 1683-84 Naples Opera Season
--L'Aldimiro o vero Favor per favore
--La Psiche, ovvero Amore innamorato
--Giulia Francesca Zuffi and the donnesca voce
--Giovanni Francesco Grossi and Amore
--Il Pompeo
--La Tessalonica in 1684
The 1684-85 Naples Opera Season
--Il Giustino
--L'Epaminonda
--Il Galieno
--Summer Festivities
The 1685-86 Naples Opera Season
--Il Fetonte
--Olimpia vendicata
--L'Etio
Carpio's Final Season 1686-87
--L'Olimpo in Mergellina (serenata)
--Il Nerone
--Clearco in Negroponte
--Il Roderico
Tutto il mal: a private opera in 1686 or 1687
Carpio in Naples, Some Conclusions
Chapter 5. An Operatic Legacy in the Americas
The Context for Opera in the American Viceroyalties
La p--rpura de la rosa in Lima 1701
--Legitimizing Public Secular Music and the Emerging Criollo Culture
--The Extant Lima Score
--Torrej--n as Composer or Compiler?
--Hidalgo's Music Inside Torrej--n's Opera
--Hidalgo's Music Reaching Lima
--Torrej--n y Velasco and the Loa
--Coplas, estribillos, bailes, freely declamatory song
Opera in New Spain
--Celos aun del aire matan?
--The Italian paradigm in New Spain
--La Partenope, El Zelueco, and Neapolitan models
--The Sumaya Question
An Appreciable Contemporaneity
Epilogue: Lima 1943
Appendices
--Appendix 1: Plot Synopses, Celos aun del aire matan and La p--rpura de la rosa
--Appendix 2: Theaters in the Carpio Inventories
--Appendix 3: Singers in Carpio's Naples Productions
Bibliography
Printed Sources Before 1800
Printed Sources After 1800
Index
