![]() The second arose from a desire to rationalise opera along Enlightenment lines. Comedies ( opera buffa) such as this made opera seria look marmoreal. ![]() The first was the posthumous success of Pergolesi's 1733 subversive Neapolitan comedy, La Serva Padrona, in which a maid outwits and marries her master. Two developments ended the hegemony of serious opera ( opera seria). Opera moved into the public sphere in 1637 when the first opera house opened in Venice, soon sparking rival operations. Greek myths continued to provide the subject matter as opera spread throughout Italy. The most famous example is L'Orfeo by Monteverdi (1567-1643, pictured right), which is often regarded as opera's first masterpiece. 1780–c.The Camerata's successful experiment led to follow-ups, often performed at Italian courts for the entertainment of guests. Users without a subscription are not able to see the full content onīlack Death and Plague: The Disease and Medical ThoughtĬhurch Fathers in Renaissance and Reformation Thought, TheĬoncepts of the Renaissance, c. Now also available online, by subscription and at most research libraries, as part of Grove Music Online. New York: Grove’s Dictionaries of Music, 1992.īasic reference work with articles by major scholars on composers, operas, theaters and operatic traditions, and singers. One of the few sources to provide a comprehensive coverage of 17th-century opera within one volume. The most comprehensive American guide to opera, subsequently updated by Hermione Weigel Williams (4th ed., 2003). New York: Columbia University Press, 1965. The essays are preceded by a historiographical introduction to 17th-century opera in Italy, France, Spain, England, and Germany. The volume comprises reprints of important essays on 17th-century opera, by some of the leading post-1990 scholars, including Ellen Rosand, Wendy Heller, Margaret Murata, Louise Stein, John Hill, Lois Rosow, Rebecca Harris-Warrick, Beth Glixon, Colin Timms, and Tim Carter. Ashgate Library of Essays in Opera Studies 1. This volume presents a wide selection of documents in their original language concerning Italian, French, and German opera, each accompanied by commentaries in German. Quellentexte zur Konzeption der europäischen Oper im 17. To answer specific questions about composers, cities, or even individual operas, turn to the Grove dictionaries, in particular Sadie 1992.īecker, Heinz, and Reinhold Quandt. Glixon 2010 includes a useful introduction surveying the scholarship and a selection of essays that can provide insight into the varying approaches that scholars have employed. Most other research in the field has been quite specialized, as can be seen throughout this bibliography. Becker and Quandt 1981 surveys opera in the 17th century through the original documents, and Leopold 2004 offers a comprehensive overview of opera in the century. Perhaps the best way to begin an investigation into the first century of opera is with a broad chronological survey, such as Grout 1965. The later history of opera is covered in a separate Oxford Bibliographies: Renaissance and Reformation article on Music. It should be noted that while there were some significant changes to opera around the year 1700, the chronological end point of this bibliography, the development of the genre was essentially continuous. The articles and books represent a wide range of approaches, from archival to gender centered. As is the case with so much scholarship associated with 17th-century music, this bibliography draws much of its inspiration from the beginnings of opera and Monteverdi, but it moves beyond “il divino Claudio” to highlight a wide range of books, articles, and scores that inform nearly the entire 17th century. At its most basic level, 17th-century opera means Claudio Monteverdi, Jean-Baptiste Lully, and Henry Purcell. Opera eventually spread from Venice throughout Italy and to German-speaking lands, France, England, and, to some extent, also to Spain and the New World. Within a few years, as many as five theaters had opened, and carnival season in Venice became a highlight for Venetians and foreigners alike. At first the entertainment of the privileged in the courts of Florence and Mantua, and then a spectacle mounted by the pope’s family in Rome, opera would soon flourish in Venice following the opening of the first public theater there in 1637. Although often treated in histories of music as one of the first manifestations of the baroque period, early opera emerged directly from late Renaissance humanist circles in Rome and Florence. The early decades of the 17th century saw a number of musical innovations, of which opera-that is, a play set entirely to music-was perhaps the most significant.
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