The Italian Opera Libretto and Dubrovnik Theatre (17th and 18th Century)
Nowhere in Europe the Italian opera libretto has had such a direct and decisive influence on original national drama production as it did in Dubrovnik during...
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The Italian Opera Libretto and Dubrovnik Theatre
Ennio Stipcevic, Slobodan Prosperov Novak, Viktoria Franic Tomic
Statt 40.00 € 19
39.99 €
30.80 €
"... eine Oper aus dem Kopf ...". Giacomo Meyerbeers Grand Opéra "Le Prophète" (1849)
Matthias Brzoska
15.90 €
53.60 €
58.00 €
Die Politisierung der Oper im 19. Jahrhundert
Maria Birbili
74.90 €
Dmitri Schostakowitschs Oper 'Die Nase'
Bettina Wagner
63.90 €
Zum Geschlechterbild im zeitgenössischen Musiktheater am Beispiel von Adriana Hölszkys. Bremer Freiheit und Wolfgang Rihms Die Eroberung von Mexico
Christina E. Zech
54.95 €
86.95 €
The Italian Opera Libretto and Dubrovnik Theatre
Ennio Stipcevic, Slobodan Prosperov Novak, Viktoria Franic Tomic
Statt 40.00 € 19
39.99 €
Nowhere in Europe the Italian opera libretto has had such a direct and decisive influence on original national drama production as it did in Dubrovnik during the 17th and 18th century. In the "Golden Age of Croatian Literature", a hybrid drama genre was created. For more than a century, authors of this genre looked attentively at the most important trends of Italian opera production and followed them faithfully. In Croatian literature of the 17th and 18th century, a specific model of libretti without music was created, one that appropriated the Italian libretto. These plays were not performed along with functional music, although sometimes authors and actors would provide instrumental accompaniment to the texts. Nothing more needs to be said for the dissemination and specific reception of Italian opera librettos in Dubrovnik during the 17th and 18th century to be understood as occupying a noteworthy place in the cultural life of Europe.
THE PECULIARITY OF THE CROATIAN RECEPTION OF DRAMATIC MUSIC IN THE 17th AND 18th CENTURY
1. The Croatian Contribution to the Late Renaissance
Theory of Dramatic Music from Franjo Petric
(Francesco Patrizi) to Pasko Primovic and Ivan Gundulic
2. Croatian Baroque Libretto-Based Drama: the Junije Palmotic Era
3. The dramatists Vice Pucic, Sisko Gundulic,
Ivan Gucetic Jr., Jaketa Palmotic and the historian
of the Venetian libretto Kristoforo Ivanovic
4. Vucistrah by Petar Kanavelic, the central
libretto-inspired drama of the second half of the 17th century
5. Antun Gledevic and Ivan Sisko Gundulic, followers
of reform in the libretto from the time of Apostolo Zeno
6. Pietro Metastasio and the last phase
of libretto-inspired drama in Dubrovnik
Ennio Stipcevic
OPERA LIBRETTO WITHOUT MUSIC
1. The Renaissance heritage in Baroque theatre and music
2. The earliest Mantuan and Florentine libretti in Croatian translations
3. Venetianlibretto writing and stage illusionism
4. Operatic reform in Croatian tragicomedy and music
5. Libretti without music
6. Epilogue
Bibliography
Index
- Autoren: Viktoria Franic Tomic , Slobodan Prosperov Novak , Ennio Stipcevic
- 2020, 136 Seiten, Maße: 17,1 x 23,8 cm, Kartoniert (TB), Englisch
- Übersetzung: McMaster, Graham
- Übersetzer: Graham McMaster
- Verlag: Hollitzer Verlag
- ISBN-10: 3990127985
- ISBN-13: 9783990127988
- Erscheinungsdatum: 20.04.2020
30.80 €
"... eine Oper aus dem Kopf ...". Giacomo Meyerbeers Grand Opéra "Le Prophète" (1849)
Matthias Brzoska
15.90 €
53.60 €
58.00 €
Die Politisierung der Oper im 19. Jahrhundert
Maria Birbili
74.90 €
Dmitri Schostakowitschs Oper 'Die Nase'
Bettina Wagner
63.90 €
Zum Geschlechterbild im zeitgenössischen Musiktheater am Beispiel von Adriana Hölszkys. Bremer Freiheit und Wolfgang Rihms Die Eroberung von Mexico
Christina E. Zech
54.95 €
86.95 €
Die Musik des 17. und 18. Jahrhunderts
Birger Petersen
17.99 €
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