The Baroque Libretto: Italian Operas and Oratorios in the by Domenico Pietropaolo

By Domenico Pietropaolo

The Thomas Fisher Library on the collage of Toronto homes a huge choice of opera and oratorio librettos linked to performances throughout Europe. as well as containing the textual content of musical dramas, those books include facets of historic aspect and literary background, in addition to biographical information of performers. The Baroque Libretto catalogues the Baroque Italian operas and oratorios within the Fisher Library and gives an research of the way the examine of libretto can tell the certainty of opera. the quantity additionally catalogues French and English goods from an analogous interval in appendices.

This entire dialogue attracts at the literary, musical, dramatic, and theatrical facets of every libretto whereas additionally contemplating its philosophical, ancient, social, and financial contexts. the result's a piece with attraction for these occupied with the operatic style and modern ecu culture.

Show description

Read Online or Download The Baroque Libretto: Italian Operas and Oratorios in the Thomas Fisher Library at the University of Toronto PDF

Best forms & genres books

Vocal Chamber Music: A Performer's Guide

This important source is a revised version of a necessary index to vocal works composed for a minimum of one solo voice and one device (other than piano or guitar) as much as twelve solo voices and twelve solo tools. The booklet encompasses a short advent on easy methods to educate vocal chamber song, with pointers on working a winning ensemble.

La Bohème in Full Score

Ricordi is proud to offer the 1st titles of their new sequence of orchestral ratings that includes enticing pictures (from Casa Ricordi's ancient files) and synopses in Italian, English, French and German. furthermore, those rankings characteristic heavier hide and paper inventory plus greater binding.

A Night at the Opera: An Irreverent Guide to the Plots, the Singers, the Composers, the Recordings

This a bit of irreverent advisor to opera summarizes the plots of 17 of the world's nice operas, together with Aida, l. a. Boheme, and Carmen, and describes their characters, artists, and composers.

Prescriptions for Choral Excellence: Tone, Text, Dynamic Leadership

In shaping choral tone, administrators frequently desire to increase the sound in their choir, yet are challenged to pinpoint underlying difficulties or to steer singers towards suggestions. Now, in Prescriptions for Choral Excellence, expert vocal pedagogue Shirlee Emmons and top choral director Constance Chase equip choral administrators with the sensible instruments they should support singers in attaining height choral functionality.

Additional resources for The Baroque Libretto: Italian Operas and Oratorios in the Thomas Fisher Library at the University of Toronto

Example text

53 Examination of the many Venetian librettos in our collection confirms that it was conventional to include balli at the ends of the first two acts, sometimes near the end in a tightly integrated fashion and sometimes after the completion of the act. In addition, some librettos mention balli at other points in the text. For example, in Cavalli and Minato’s Antioco (#24, 1658 at San Cassiano), the stage directions call for a dance in Act 2, scene 5 (in addition to the conventional act enders): in a jolly scene, including duets, a dance is performed by the two servants Nainana (Mora confidente d’Antioco) and Lisetto (Paggio di Corte).

But as it proceeds in its narration and explanation, the Testo can be heard enacting another story, in which he is the only active character. In this enacted story the Testo has the role of a fictional theologian imparting a lesson or delivering a sermon. 75 Il trionfo consists of one brief part, whereas La fede is divided into two. The narrative character Historia has a minor role in Il trionfo but a major one in La fede, which for that reason is much closer to the typical model, represented best in the Fisher collection by Alfonso Colombi’s La Maddalena pentita (#53, 1685) and Bernardino Rigotti’s La lega della bontà e della grazia (#55, 1686).

In Peri and Rinuccini’s Euridice (#2), the choruses of nymphs and shepherds dance to celebrate the wedding, and the work ends with a dance. Some of the dances in these early pastoral works are associated with sung numbers, and all are integrated with the dramatic action. 47 Over the next three decades, ballet continued to form a significant element in Florentine court celebrations. La regina Sant’Orsola (#6), variously described as a festa and a “sacred drama,”48 was Introduction 27 probably first performed on 6 October 1624, in honour of Archduke Charles of Austria.

Download PDF sample

Rated 4.82 of 5 – based on 25 votes