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Zusatztext "A strong contribution." Informationen zum Autor Ellen Rosand is George A. Saden Professor of Music at Yale and author of Opera in Seventeenth Century Venice: The Creation of a Genre (UC Press! 1991! 2007). Klappentext “That Ellen Rosand's understanding of seventeenth-century Venetian opera is encyclopedic has long been recognized. By focusing her attention now on all three of the last operas of Claudio Monteverdi, however, she has met a formidable challenge: this book demonstrates how to put philology at the service of interpretation and interpretation at the service of philology. All those who care about these operas, fundamental to the development of the genre itself, and about scholarship in the Humanities, will profit from her masterful achievement.”—Philip Gossett, the Robert W. Reneker Distinguished Service Professor at The University of Chicago and author of Divas and Scholars: Performing Italian Opera “Ellen Rosand's monumental study is so much more than a meticulous exploration and explanation of all the surviving material and its many literary and musical sources. She presents ingenious, utterly convincing solutions to the problems posed by this material, offering therefore countless new insights into Monteverdi's last two surviving operas, the great Poppea and Ulisse, while also reeling in to this forensic examination the tantalisingly lost score of Le nozze de Enea. Her feel for the music is inspiring, and her theatrical instinct exemplary. This is a book of phenomenal clarity and great passion, and an indispensable addition to our understanding of this great composer.”—Jane Glover, Conductor and Music Director for Chicago's Music of the Baroque. Zusammenfassung Claudio Monteverdi was the first important composer of opera. This work examines the composer's celebrated final works - "Il ritorno d'Ulisse" and "L'incoronazione di Poppea". It casts light on the conflict between a world of emotional propriety and restraint and one of hedonistic abandon. Inhaltsverzeichnis 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 ...
