Laughter between two revolutions : opera buffa in Italy, 1831-1848
Author(s)
Bibliographic Information
Laughter between two revolutions : opera buffa in Italy, 1831-1848
(Eastman studies in music)
University of Rochester Press, 2013
Available at 3 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references (p. [283]-296) and index
Description and Table of Contents
Description
Tells the forgotten story of post-Rossinian opera buffa, with attention to masterpieces by Donizetti and fascinating comic works by Luigi Ricci, the young Verdi, and other composers.
This study represents the first substantial assessment of Italian comic operas composed during the central years of the Risorgimento -- the period during which upheavals, revolutions, and wars ultimately led to the liberation andunification of Italy. Music historians often view the period as one during which serious Romantic opera flourished in Italy while opera buffa inexorably declined.
Laughter between Two Revolutions revises this widespread notion by viewing well-known comic masterpieces -- such as Donizetti's L'elisir d'amore (1832) and Don Pasquale (1843) -- as part of a still-thriving tradition. Also examined are opere buffe by LuigiRicci, Lauro Rossi, Verdi (Un giorno di regno), and others, many of which circulated widely at the time. Francesco Izzo's pathbreaking study argues that in the "realm of seriousness" of mid-nineteenth-century Italy, comedywas not an anachronistic intruder, but a significant and vital cultural presence.
This important volume offers new insights into opera history and theories of comedy in the arts. It will be of interest to opera lovers everywhere and to students in music, philosophy, comparative literature, and Italian cultural studies. Francesco Izzo is senior lecturer in music at the University of Southampton.
Table of Contents
Introduction
Opera Buffa in 1832: Il nuovo Figaro and L'elisir d'amore
The Ricci Supremacy and the Celebration of Italian Comedy: Un'avventura di Scaramuccia (1834)
Old Librettos Revisited: Gaetano Rossi and Luigi Ricci's Le nozze di Figaro (1838) and Other Remakes
Genre in Gaetano Donizetti's Don Pasquale (1843)
Genre in Giovanni Peruzzini and Lauro Rossi's Il borgomastro di Schiedam (1844)
"Evviva la Francia"? Nationality, Censorship, and Donizetti's La figlia del reggimento (1840)
Conclusion: The Ricci Legacy, Crispino e la comare (1850), and Post-1848 Opera Buffa
Notes
Selected Bibliography
Index
by "Nielsen BookData"