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The Culture of Opera Buffa in Mozart's Vienna: A Poetics of Entertainment (Princeton Studies in Opera) de Mary Hunter
Descripción - Críticas Winner of the 2000 Otto Kinkeldey Prize for best musicological book of 1999, American Musicological Society Co-Winner of the 2000 Otto Kinkeldey Award, American Musicological Society 'Although opera buffa and Mozart's opera in general have been studied by many scholars and from many points of view, Hunter's work, based on such a large bosy of scores, provides new proofs and a unique focus on the entertainment value of the works.'--Choice 'A major addition to a central topic in Mozart studies.'--Julian Rushton, Times Literary Supplement 'Indisputably the most comprehensive discussion yet published on the repertory of Viennese opera that forms the context for Mozart's comic operas.'--Eighteenth-Century Studies 'Hunter's work establishes a pattern for interpreting opera that will surely be imitated. If her thoroughly systematic approach to unraveling meaning in opera is followed in similarly uncompromising, contextual analysis, there is much of eighteenth-century opera, of all kinds and locations, that we will yet learn. This is a marvelous beginning.'--Dale E. Monoson, Current Musicology Reseña del editor Mozart's comic operas are among the masterworks of Western civilization, and yet the musical environment in which Mozart and his librettist Lorenzo da Ponte wrote these now-popular operas has received little critical attention. In this richly detailed book, Mary Hunter offers a sweeping, synthetic view of opera buffa in the lively theatrical world of late-eighteenth-century Vienna. Opera buffa (Italian-language comic opera) persistently entertained audiences at a time when Joseph was striving for a German national theater. Hunter attributes opera buffa's success to its ability to provide 'sheer' pleasure and hence explores how the genre functioned as entertainment. She argues that opera buffa, like mainstream film today, projects a social world both recognizable and distinct from reality. It raises important issues while containing them in the 'merely entertaining' frame of the occasion, as well as presenting them as a series of easily identifiable dramatic and musical conventions. Exploring nearly eighty comic operas, Hunter shows how the arias and ensembles convey a multifaceted picture of the repertory's social values and habits. In a concluding chapter, she discusses Cos' fan tutte as a work profoundly concerned with the conventions of its repertory and with the larger idea of convention itself and reveals the ways Mozart and da Ponte pointedly converse with their immediate contemporaries. Nota de la solapa Mozart's comic operas are among the master-works of Western civilization, and yet the musical environment in which Mozart and his librettist Lorenzo da Ponte wrote these now-popular operas has received little critical attention. In this richly detailed book, Mary Hunter offers a sweeping, synthetic view of opera buffa in the lively theatrical world of late-eighteenth-century Vienna. Opera buffa (Italian-language comic opera) persistently entertained audiences at a time when Joseph II was striving for a German national theater. Hunter attributes opera buffa's success to the 'sheer' pleasure it can provide, and hence explores how the genre functioned as entertainment. She argues that opera buffa, like mainstream film today, projects a social world both recognizable and distinct from reality. It raises important issues while containing them in the 'merely entertaining' frame of the occasion, as well as presenting them as a series of easily identifiable dramatic and musical conventions.Exploring nearly eighty comic operas, Hunter shows how the arias and ensembles convey a multifaceted picture of the repertory's social values and habits. In a concluding chapter, she discusses Cosi fan tutte as a work profoundly concerned with the conventions of its repertory and with the larger idea of convention itself and reveals the ways Mozart and da Ponte pointedly converse with their immediate contemporaries. Biografía del autor Mary Hunter is Professor of Music at Bowdoin College. She is the editor, with James Webster, of Opera Buffa in Mozart's Vienna.
Detalles del Libro
- Name: The Culture of Opera Buffa in Mozart's Vienna: A Poetics of Entertainment (Princeton Studies in Opera)
- Autor: Mary Hunter
- Categoria: Libros,Arte, cine y fotografía,Música
- Tamaño del archivo: 14 MB
- Tipos de archivo: PDF Document
- Descargada: 637 times
- Idioma: Español
- Archivos de estado: AVAILABLE
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The Culture of Opera Buffa in Mozart's Vienna: A Poetics ~ If the intellectual context of opera buffa in Vienna suggests that its occasion was understood as being “about” pleasure, the theatrical context of operatic performance did not gainsay this.¹ The Viennese theatres, like opera theatres all over Europe, provided a variety of pleasures in addition to the show: cards were played,² with card tables and lights rentable;³ snacks and drinks .
The Culture of Opera Buffa in Mozart's Vienna / Princeton ~ "A major addition to a central topic in Mozart studies."—Julian Rushton, Times Literary Supplement "Although opera buffa and Mozart's opera in general have been studied by many scholars and from many points of view, Hunter's work, based on such a large bosy of scores, provides new proofs and a unique focus on the entertainment value of the works."
The culture of opera buffa in Mozart's Vienna : a poetics ~ Get this from a library! The culture of opera buffa in Mozart's Vienna : a poetics of entertainment. [Mary Kathleen Hunter] -- Mozart's comic operas are among the masterworks of Western civilization, and yet the musical environment in which Mozart and his librettist Lorenzo da Ponte wrote these now-popular operas has .
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