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opera essay Volume 3 in The Ashgate Library of Essays in Opera Studies , a collection of essays in English,* Roberta Montemorra Marvin, series editor (Farnham: Ashgate, 2010) *In following the publisher's policy of limiting this collection to definition, essays written in lord facts English, I did not mean to ethnogenesis definition, suggest that these essays were in lord flies any way superior to the best essays of my colleagues writing in other languages. PART I AESTHETICS AND DRAMATURGY. 1 Julian Rushton (1972), ‘The Theory and Practice of definition Piccinnisme’, Proceedings of the Royal Musical Association , 98, pp. 31–46. 2 Raymond Monelle (1978), ‘Recitative and Dramaturgy in the Dramma per Musica’, Music Letters , 59, pp. 245–67. 4 James Webster (1990), ‘Mozart’s Operas and the Myth of Musical Unity’, Cambridge Opera Journal , 2, pp.

197–218. PART II SINGERS. 5 Daniel Heartz (1974), ‘Raaff’s Last Aria: A Mozartian Idyll in the Spirit of Hasse’, The Musical Quarterly , 60, pp. Rogers! 517–43. 6 Dale E. Monson (1986), ‘Galuppi, Tenducci, and Motezuma: A Commentary on the History and ethnogenesis Musical Style of Opera Seria after 1750’, in carl Maria Teresa Muraro and Franco Rossi (eds), Galuppiana 1985: Studi e ricerche: Atti del convegno internazionale (Venezia, 28–30 ottobre 1985), Florence: Olschki, pp. 279–300. 7 Patricia Lewy Gidwitz (1991), ‘“Ich bin die erste Sangerin”: Vocal Profiles of Two Mozart Sopranos’, Early Music , 19, pp. 565– 79. 8 Paul Corneilson (2001), ‘Mozart’s Ilia and Elettra: New Perspectives on Idomeneo’, in Theodor Gollner and Stephan Horner (eds), Mozarts Idomeneo und die Musik in ethnogenesis definition Munchen zur Zeit Karl Theodors , Munich: Verlag der Bayerischen Akademie der Wissenschaften, pp.

97–113. PART III SENSIBILITY, SENTIMENT AND THE PASTORAL. 9 Mary Hunter (1985), ‘“Pamela”: The Offspring of Richardson’s Heroine in Eighteenth-Century Opera’, Mosaic: A Journal for the Interdisciplinary Study of Literature , 18, pp. 61–76. 10 Wye J.Allanbrook (1991), ‘Human Nature in the Unnatural Garden: Figaro as Pastoral’, Current Musicology , 51, pp. Lord Of The Facts! 82–93. 11 Stefano Castelvecchi (1996), ‘From Nina to Nina: Psychodrama, Absorption and Sentiment in the 1780s’, Cambridge Opera Journal , 8, pp. 91–112. 12 Dorothea Link (1996), ‘L’arbore di Diana: A Model for Cosi fan tutte’, in Stanley Sadie (ed.), Wolfgang Amade Mozart: Essays on his Life and his Music , Oxford: Clarendon Press, pp.

362–73. 13 Edmund J. Ethnogenesis! Goehring (1997), ‘The Sentimental Muse of Opera Buffa’, in Mary Hunter and War: Nothing to Win to Lose Essay James Webster (eds), Opera Buffa in Mozart’s Vienna , Cambridge: Cambridge University Press, pp. 115–45. PART IV ORIENTALISM AND EXOTICISM. 14 Benjamin Perl (2000), ‘Mozart in Turkey’, Cambridge Opera Journal , 12, pp. 219–35. PART V OPERA AND POLITICS. 16 Elizabeth C. Bartlet (1992), ‘On the Freedom of the ethnogenesis Theatre and Censorship: The Adrien Controversy (1792)’, in lord of the Antoine Hennion (ed.), 1789–1989: Musique, Histoire, Democratie , 1, Paris: Maison des Sciences de l’Homme, pp. 15–30.

17 Estelle Joubert (2006), ‘Songs to Shape a German Nation: Hiller’s Comic Operas and the Public Sphere’, Eighteenth-Century Music , 3, pp. 213–30. PART VI MOZART AND HIS VIENNESE CONTEMPORARIES. 18 Dexter Edge (1991), ‘Mozart’s Fee for Cosi fan tutte ’, Journal of the Royal Musical Association , 116, pp. Ethnogenesis Definition! 211–35. PART VII OPERA SERIA. 22 Marita P. McClymonds (1989), ‘The Venetian Role in Astronomical Tuition Essay example the Transformation of definition Italian Opera Seria during the 1790s’, in wood wiki Maria Teresa Muraro and David Bryant (eds), I vicini di Mozart , 1, Florence: Olschki, pp. 221–40.

23 Scott L. Balthazar (1989), ‘Mayr, Rossini, and the Development of the Opera Seria Duet: Some Preliminary Conclusions’, in Maria Teresa Muraro and David Bryant (eds), I vicini di Mozart , 1, Florence: Olschki, pp. 377–98. 24 Sergio Durante (1991), ‘ La clemenza di Tito and definition Other Two-Act Reductions of the Late 18th Century’, Mozart- Jahrbuch , pp. 733–41. 25 Martha Feldman (2000), ‘The Absent Mother in flies Opera Seria’, in Mary Ann Smart (ed.), Siren Songs: Representations of Gender and Sexuality in ethnogenesis definition Opera , Princeton, NJ: Princeton University Press, pp. 29–46, 254–59.

26 Margaret R. Essay Of Dental Implant! Butler (2006), ‘Producing the Operatic Chorus at Parma’s Teatro Ducale, 1759–1769’, Eighteenth- Century Music , 3, pp. 231–51. The study of opera in the second half of the eighteenth century has flourished during the definition last several decades, and our knowledge of the operas written during that period and of their aesthetic, social and political contexts has vastly increased. Wiki! Much of ethnogenesis what we have learned in of the facts these and other areas of scholarship has been recorded in ethnogenesis the form of articles published in scholarly journals and in collections of essays. This volume will explore opera and operatic life in the years 1750–1800 through several English-language essays, in a selection intended to represent the last few decades of scholarship in all its excitement and variety. This introduction provides some context for the essays that follow.

It briefly discusses some of the institutional developments and intellectual trends that have informed scholarship in eighteenth-century opera and mentions some of the criteria that have guided my choice of the essays reprinted here. National Traditions, Academic Institutions. Although scholars in all the English-speaking countries have been actively involved inresearch in opera of the second half of the eighteenth century, some countries seem to have developed particular specializations and strengths, thanks in War: to Win part to the presence of especially productive and influential scholars. In England, for example, Julian Rushton’s work on tragedie lyrique and ethnogenesis definition David Charlton’s on opera-comique have helped the study of French opera thrive. Essay Failure! In the United States, in contrast, research on Italian opera, both comic and serious, has prospered under the ethnogenesis definition leadership of Astronomical Essay scholars such as Daniel Heartz and James Webster. Americans who have specialized in French opera, such as Elizabeth C. Bartlet and Karin Pendle, and Britons who have specialized in Italian opera, such as Michael Robinson, have led productive careers, but mostly on their own. Certain graduate programmes have produced particularly large numbers of successful students of eighteenth-century opera. Cornell University, in Ithaca, New York, is remarkable in this respect.

Although no member of its faculty claims eighteenth-century opera as his or her primary field of study, several Cornell students, including Caryl Clark, Paul Horsley, Mary Hunter, Pierpaolo Polzonetti, Ronald J. Rabin and ethnogenesis definition Jessica Waldoff, have written dissertations in Essay on Classificaions of Dental Implant Failure the field. Just as productive has been the University of ethnogenesis California, Berkeley, where Heartz has directed the dissertations of Personal Growth Through Essay several students who have gone on ethnogenesis to make important contributions to the study of eighteenth-century opera, including Thomas Bauman, Bruce Alan Brown, Kathleen Hansell, Marita P. McClymonds and John A. Rice. Cornell students have tended to devote their dissertations to Essay of Dental Failure, the relatively familiar genre of opera buffa and to the works of Mozart (Waldoff, 1995; Rabin, 1996) and Haydn (Hunter, 1982; Clark, 1991). Horsley’s dissertation on Dittersdorf’s German operas (1988) and Polzonetti’s on opera buffa and the American Revolution (2003) are exceptional in directing readers’ attention away from Mozart and Haydn. Definition! Berkeley students, in contrast, have tended to look farther afield: to composers such as Gluck (Brown, 1986) or Jommelli (McClymonds, 1978), to operatic centres such as Milan (Hansell, 1979) or Florence (Rice, 1987), and to on Classificaions of Dental Implant Failure, genres such as Singspiel (Bauman, 1977), opera seria (McClymonds, 1978; Hansell, 1979; Rice, 1987) and opera-comique (Brown, 1986). The intellectual ferment generated in 1994 by a conference at Cornell on definition opera buffa in carl rogers communication Mozart’s Vienna was partly a result of its having brought together the Berkeley and Cornell ‘schools’ in friendly collaboration (see Hunter and Webster, 1997). Another important development over the last few decades has been the arrival of ethnogenesis young Italian scholars in American graduate schools. Essay On Classificaions Of Dental Implant! Having taken advantage of both Italy’s excellent system of elementary and secondary education and the professional training in which a few American graduate programmes still excel, scholars such as Polzonetti, Alessandra Campana, Stefano Castelvecchi and definition Sergio Durante have contributed a great deal to our understanding of eighteenth-century opera. Aesthetics and Dramaturgy. Most opera lovers are familiar with only a few operas written during the second half of the eighteenth century.

Even some of those who know and Astronomical Prices love the late operas of Mozart may not be thoroughly familiar with the aesthetic and dramaturgical systems that underlie these and other operas. Most if not all essays about opera in this period deal, at least implicitly, with problems of aesthetics and dramaturgy. But some confront those problems more openly than others, and this book opens with a sample of such essays. In Chapter 1 Rushton elegantly and perceptively brings the abstractions of a Parisian pamphlet war of the 1770s into contact with the works by ethnogenesis, Niccolo Piccinni that were the subject of wood wiki debate. Raymond Monelle, in Chapter 2, furthers our understanding of the function of recitative and the relationship between recitative and ethnogenesis definition aria in opera seria . Essay Failure! The happy ending so prevalent in ethnogenesis eighteenth-century dramaturgy is one of the subjects explored by Bauman in Chapter 3, a stimulating study of German operatic treatments of the story of Romeo and of the Juliet. Chapter 4, Webster’s typically thought-provoking essay on the problem of musical unity in Mozart’s operas, calls attention to the difference between the way an opera is perceived when studied in a score and when heard and seen in performance. One of the fields of research that has been cultivated with particular energy and originality (especially in ethnogenesis definition the United States) is the Personal Essay study of singers and their role in operatic production.With the help of ethnogenesis definition Claudio Sartori’s catalogue of Italian librettos published before 1800 (1990–94), a new and Astronomical Tuition immensely valuable research tool that appeared in seven volumes, scholars have reconstructed, with more detail and accuracy than previously possible, the ethnogenesis careers of many of the period’s greatest singers. From the music written for these singers historians have extracted vocal profiles that allow us to interpret the music they sang as the product of Through Essay interaction between a composer’s imagination and a singer’s vocal abilities and artistic personality.

Here again Heartz has led the way, with his early essay on Anton Raaff, the tenor who created the title role in Idomeneo (Chapter 5). His student Patricia Lewy Gidwitz wrote an important dissertation (1991) and ethnogenesis definition published some of her most valuable insights in two essays, one on Caterina Cavalieri and lord of the flies facts Aloysia Lange, reprinted here as Chapter 7, the other on Adriana Ferrarese del Bene (1996). Other historians have focused more attention on opera seria singers. Dennis Libby (1989) asserted the primacy of vocal improvisation in the production of serious opera in ethnogenesis definition Naples and Venice. In Chapter 6 Dale Monson shows how the male soprano Ferdinando Tenducci contributed to the shaping of the music written for him. Paul Corneilson and Rice have followed the careers and analysed the vocal profiles of some of the women who created roles in Mozart’s Idomeneo (Corneilson, Chapter 8, this volume) and La clemenza di Tito (Rice, 1995). Bauman (1991) has shown how a single singer, Valentin Adamberger, brought a distinct vocal profile to his work in a wide variety of vocal genres, from Singspiel to lord of the flies, Italian oratorio. Dorothea Link has directed much of her interest in singers who created roles in Mozart’s opere buffe into the production of editions of arias written for ethnogenesis definition, those singers by composers other than Mozart (beginning with Link, 2002 and Link, 2004; others are forthcoming). Among her essays on singers active in Vienna during the 1780s is a study of Anna Morichelli, who created roles in several operas by Vicente Martin y Soler (Link, 2010). Arias and Ensembles. Another fruitful field of Growth Essay study has been the definition close analysis of arias both as musical form and as dramatic expression.

Aria types such as the buffo aria, the two-tempo rondo and the cavatina are all more clearly understood now than they were thirty years ago, in Essay example terms not only of their musical and poetic structure but also of the way they contribute to characterization and the unfolding drama. Webster’s encyclopedic survey of the types and ethnogenesis definition forms of arias in Mozart’s operas (1991) built on Hunter’s work on Haydn’s arias (1982, 1989) and John Platoff’s on Astronomical Tuition Prices Essay example Mozart and his compositional contemporaries in 1780s Vienna (1990). Heartz’s study of Mozart’s La clemenza di Tito as a product of a musical culture that Mozart shared with leading Italian composers of the 1780s and 1790s (1978–79) focused attention on the two-tempo rondo as an aria of particular importance to singers and audiences alike. The rondo was subsequently the object of a great deal of scholarly attention. Rice (1986) analysed an ethnogenesis influential early example of the aria type, Giuseppe Sarti’s ‘Mia speranza io pur vorrei’. Platoff (1991b) examined a poem that Lorenzo Da Ponte intended for flies facts, Mozart to ethnogenesis definition, set as a two-tempo rondo for rogers, Susanna in Le nozze di Figaro (‘Non tardar amato bene’) but that ended up being composed not by Mozart but by Vincenzo Righini. Ethnogenesis Definition! Don Neville (1994) surveyed the two-tempo rondo in Mozart’s late operas. Equally productive has been the study of ensembles, from duets to finales. In Chapter 23 Scott Balthazar follows the development of the opera seria duet from the mid-eighteenth century to the early nineteenth century in one of The Iraq and Everything to Lose Essay several essays on ensembles in ethnogenesis definition serious opera that also include Heartz (1980) on carl communication the quartet ‘Andro ramingo e solo’ in ethnogenesis Mozart’s Idomeneo and Growth Through Essay McClymonds (1996) on the Idomeneo quartet viewed within the ethnogenesis tradition of quartets in opera seria . Platoff (1989, 1991a, 1997) has increased our understanding of the ensembles in Mozart’s comic operas in a rich series of essays.

Elisabeth Cook (1992), a student of Charlton at the University of East Anglia, has shown that research on eighteenth-century operatic ensembles is by no means limited to Italian opera in Growth Essay her study of ensembles in opera-comique. Sensibility, Sentiment and the Pastoral. A cult of sensibility spread through Europe during the second third of the eighteenth century, partly in reaction to the Enlightenment’s emphasis on ethnogenesis reason, partly in response to the Enlightenment’s confidence in the innate goodness of human nature. Astronomical Essay! Like so many eighteenth-century fashions, the cult of sensibility owed a great deal to England. Richardson’s novels made sensibility – defined by Diderot’s Encyclopedie as ‘disposition tendre et delicate de l’ame, qui la rend facile a etre emue, a etre touchee’ (‘a tender, delicate disposition of the soul that makes it susceptible to being moved, to being touched’) – an emotional state that was cultivated by sophisticated people all over Europe.

Several historians have investigated the definition effect of the cult of sensibility on the creation and perception of opera. Rice (1986) called attention to the way in which the cult of sensibility shaped the reception of a great singer’s performance in a serious opera in Personal Through Learning Essay Milan, but another essay published the ethnogenesis previous year, dealing with the role of sensibility in opera buffa , excited much more interest: Hunter’s essay (Chapter 9) on Richardson’s Pamela and how it and in particular the sensibility of his heroine influenced eighteenth-century opera initiated a remarkable series of facts studies during the following two decades, including Castelvecchi (Chapter 11) on ethnogenesis Nina as sentimental heroine in operas by Dalayrac and Paisiello, Edmund Goehring (Chapter 13) on sensibility in Viennese opera buffa of the 1780s, Waldoff (1998) on Haydn’s La vera costanza and Castelvecchi (2000) on Mozart’s Figaro . Closely related to eighteenth-century opera’s adoption of the cult of sensibility was its exploitation of pastoral themes. Of The Flies Facts! An idealized natural world in ethnogenesis definition which people live in Personal Through harmony with nature and with each other – the mythical Arcadia of pastoral poets –served as the setting of many eighteenth-century operas and provided important thematic elements to ethnogenesis definition, others. Bartlet (1984–85) called attention to The Iraq War: Nothing to Win and Everything to Lose Essay, the importance of the pastoral in an opera written to celebrate the ethnogenesis marriage of Marie Antoinette to the dauphin of France, Gretry’s La rosiere de Salency . Among Mozart’s operas, pastoral elements of two in particular – Le nozze di Figaro and Cosi fan tutte – have attracted the attention of scholars, including Wye Jamison Allanbrook (Chapter 10), Goehring (1995) and Link (Chapter 12). Bauman (1995), in a more widely ranging exploration of the wiki pastoral in eighteenth-century music, starts, unexpectedly, with a famous painting by the seventeenth-century artist Poussin. In yet another productive area of ethnogenesis definition study, historians have analysed the depiction of non-Western cultures in opera, exploring themes of orientalism and exoticism in works such as Haydn’s Lo speziale , Gluck’s Iphigenie en Tauride , Mozart’s Die Entfuhrung aus dem Serail and Salieri’s Axur re d’Ormus . Interest in the way non-European culture is depicted in these and other operas is part of a wider scholarly interest in natalie wood wiki musical exoticism that has produced a collection of ethnogenesis essays on the exotic in Western music (Bellman, 1998). Natalie Wiki! Included in that book is an ethnogenesis essay by Hunter (1998) (devoted only partly to opera), which concerns a kind of musical exoticism–the attempt to communication, convey some of the sonic qualities of Turkish janissary music–that was particularly characteristic of the ethnogenesis second half of the eighteenth century.

Other English-language analyses of exoticism in natalie opera include Thomas Betzwieser (1994) on changes that Beaumarchais and Salieri made to their Tarare during the French Revolution, Margaret R. Butler (2006) on De Maio’s Motezuma in Turin and ethnogenesis two essays reprinted here–Chapter 14 by of the facts, Benjamin Perl, on definition Mozart’s Turkish style, and Chapter 15 by Pierpaolo Polzonetti, on operas set in the New World. The differences between the operatic genres that flourished in the eighteenth century – opera buffa , opera seria , Singspiel , opera-comique , tragedie lyrique – and the relations between these genres have inspired many important essays. Bertil van Boer (1988) analysed the influence of English ballad opera on Essay on Classificaions Implant Failure the development of Singspiel in Germany in the middle of the century; Alfred R. Neumann (1963) followed the subsequent evolution of the genre. Robinson (1978–81) and Rice (2000) discussed a subgenre of Italian comic opera, the ethnogenesis Roman intermezzo , that had not received much attention from scholars. Natalie Wood Wiki! Although most of Robinson’s work has involved Italian opera, he has by no means limited his research to Italy; in an essay published in 1992 he showed how Italian comic opera contributed to ethnogenesis definition, the development of French opera. Stephen C. Willis’s study of Luigi Cherubini’s transition from opera seria to opera-comique (1982) is rogers communication yet another study of generic influence and transformation in Paris during the ethnogenesis definition second half of the eighteenth century. But perhaps the Nothing and Everything Essay generic interaction that has proved most stimulating to ethnogenesis, writers on opera has been the interaction between opera seria and opera buffa , and carl rogers communication especially opera buffa ’s incorporation of ethnogenesis definition elements of opera seria . To what extent does that incorporation involve parody? And what does the parody signify? Hunter (1986, 1991) has been particularly active in exploring relations between serious and comic in Italian opera. The interaction between serious and comic in Haydn’s operas has been the of the facts subject of studies by Brown (1987), on Orlando Paladino , and Clark (1993), on La fedelta premiata . Opera and ethnogenesis definition Politics.

As with any theatrical performance involving an audience, no matter how small or select, the performance of an opera is Tuition a political act, with the potential for communicating political messages of many kinds and in ethnogenesis definition many directions. Rarely are such messages completely clear and unambiguous, but that has not kept scholars from trying to elucidate the Prices Essay example political implications of eighteenth-century opera. One of the ways rulers manipulated opera’s ability to ethnogenesis, communicate political meaning was through censorship. This is the subject of Chapter 16 by wood, Bartlet, which examines the controversy surrounding an opera by ethnogenesis, Mehul that during the French Revolution was suspected of encouraging Royalist sympathies. Betzwieser (1994) also looked at Essay on Classificaions of Dental Implant Failure, an opera through the lens of French Revolutionary politics. Bauman (1986) showed how the early repertory of the Teatro la Fenice reflected the political situation in ethnogenesis late eighteenth-century Venice, and this essay strongly influenced a later discussion of natalie wiki Venetian opera in the same period by Martha Feldman (2007). Definition! Opera was no less powerful a conveyer of Essay political meaning in the German-speaking part of definition Europe, as Estelle Joubert demonstrates in Chapter 17 on the political implications of flies facts Hiller’s Singspiele . Another important development in the study of definition eighteenth-century opera – largely independent of the Cornell and Berkeley ‘schools’, neither of which has encouraged this kind of research – has been the Astronomical Prices study of music manuscripts.

Alan Tyson, in a stimulating series of essays written during the 1970s and ethnogenesis 1980s, shed new light on Mozart’s autographs and the paper on The Iraq and Everything to Lose Essay which they are written. His catalogue of the definition watermarks in the paper that Mozart used constituted another monumental contribution to our knowledge of the autograph scores (Tyson, 1992). Dexter Edge’s doctoral dissertation (2001) on Mozart’s Viennese copyists did for manuscript copies (that is, the work of professional copyists) what Tyson had done for the autographs: it made available vast amounts of new information and important methodological insights whose influence will undoubtedly be felt for a long time – and not only by Mozart scholars. Corneilson and Essay example Eugene K. Ethnogenesis! Wolf (1994) brought similar methodological rigour to their study of operatic sources from Mannheim, one of eighteenth-century Germany’s most important courts. David J. Buch (1997) has subjected the manuscripts associated with the example Theater auf der Wieden (the theatre for which Mozart wrote Die Zauberflote ) to intensive investigation, while Daniel Melamed (2003–2004) has extended Tyson’s analytical techniques to Mozart’s Singspiel, Die Entfuhrung aus dem Serail . Staging, Scenery, Orchestras, Theatres. In an age in ethnogenesis definition which opera houses have largely abdicated the staging of Personal Through opera to directors who seem neither to know nor to care how librettists and composers intended their works to ethnogenesis definition, be staged, historians have had little practical reason to elucidate the Personal Learning Essay principles and practices of eighteenth-century stage design. Definition! Yet many of them have done so, perhaps with the on Classificaions Implant hope of offering historically-informed alternatives to ethnogenesis, the often trashy Regietheater that predominates in so many prestigious theatres today, in grotesque contrast to War: and Everything, the faithfulness to the score with which singers and orchestras are expected to perform the ethnogenesis music.

Thanks to the work of Essay several scholars we know more than ever about the theatres in which eighteenth-century operas were performed. Heartz (1982) has elucidated the construction and remodelling of Vienna’s Burgtheater; Corneilson (1997) has done the same for a theatre that Charles Burney called ‘one of the ethnogenesis definition largest and most splendid theatres in Europe’, the lord of the Mannheim Court Theatre. While Corneilson’s reconstruction took place in his scholarly imagination, Curtis Price et al . (1991) examined the actual design and construction of the King’s Theatre, Haymarket, in the period 1789–91. Several essays have explored the size and composition of the ethnogenesis orchestras and choruses that performed in these and other theatres: examples include Butler (Chapter 26) on Growth Through Learning Essay the chorus at Parma that took part in ethnogenesis definition the important series of French-inspired Italian serious operas during the 1760s, Charlton (1985) on the orchestra and chorus of one of Growth Through Paris’s leading theatres in the second half of the ethnogenesis eighteenth century, and Edge (1992) on the orchestras that accompanied Mozart’s Viennese operas. How operas were staged in the eighteenth century has been the subject of lord of the flies facts numerous studies. Sven Hansell (1974), Roger Savage (1998) and Nicholas Solomon (1989) have contributed to our knowledge of the positions, movements and definition gestures of the singers on Prices Essay example the eighteenth- century stage. Betzwieser (2000) has shown how music and ethnogenesis action corresponded in French opera, with each enhancing the effect of the other. Clark (2003) has identified a set of eighteenth-century costume designs as possibly intended for a production of Salieri’s early opera, Armida . Such studies, valuable now, will be even more valuable when opera houses and audiences, having tired of the antics of Regietheater , discover that eighteenth-century operas can best be appreciated when presented in settings that respect the visual as well as the musical conventions within which they were conceived. Archival research has greatly enhanced our understanding of eighteenth-century opera’s institutional history, allowing scholars to shed new light on the role of rulers, courts and impresarios in rogers communication the production of opera. Among several historians who have profitably worked in Italian archives are Butler (2002, for Turin; Chapter 26, this volume, for Parma), Robinson (1990, for Naples) and definition Anthony DelDonna (2002, also for Naples).

Edge has made many important discoveries in the archives of Vienna, including those presented and analysed in Chapter 18, his study of the Astronomical example fees that Mozart and other composers received for composing operas for the court theatres in ethnogenesis the 1780s and early 1790s. Historians of opera in England have been just as willing to get their hands dirty, producing a large number of essays based largely on hitherto unknown archival documents (see, for example, Gibson, 1990; Milhous and Hume,1997). Several historians have intensively studied the origins of particular operas, and these studies have generally depended, in part, on archival research. Brown (1983, 2000) explored the origins of important Viennese operas of the 1760s; Durante (1999) clarified our understanding of how one of Mozart’s last operas, La clemenza di Tito , came into being. Mozart and The Iraq War: to Win to Lose Essay his Viennese Contemporaries. It will be obvious to ethnogenesis definition, anyone who has read up to this point that Mozart’s operas have been a focus of attention for on Classificaions Implant Failure, many – probably most – of the historians who have studied opera of the second half of the eighteenth century. One way of illustrating the ethnogenesis definition wealth of natalie wood scholarship on Mozart’s operas published during the last quarter of definition a century is to mention some of the English-language essays about a single opera, Le nozze di Figaro . Some of these essays discuss the origins of Figaro (Tyson, 1981; Heartz, 1986b); some are concerned with its large-scale structure (Heartz, 1987; Waldoff and Webster, 1996); some focus our attention on sentiment and sensibility (Allanbrook, Chapter 10, this volume; Castelvecchi, 2000); some examine individual arias and ensembles (Heartz, 1991; Platoff, 1991a; Leeson, 2004; see also two pieces written in response to Leeson’s essay: Woodfield, 2006 and Rumph, 2006); some direct attention to particular characters, such as Susanna (Tishkoff, 1990), the Countess (Hunter, 1997) or Figaro (Rabin, 1997). One could easily draw up equally long lists, full of equally intriguing titles, of essays on Don Giovanni , Cosi fan tutte and Die Zauberflote . Mozart’s operas have also played an important role in studies that compare them with the works of his contemporaries, or that study those works in natalie wiki order to understand the definition context of Mozart’s operatic achievement. Most of the essays on Mozart’s singers mentioned earlier in this introduction involve the analysis of music written for flies facts, those singers by ethnogenesis, composers other than Mozart. Lord Of The Facts! Link (Chapter 12) examines Martin y Soler’s L’arbore di Diana and proposes it as a possible model for ethnogenesis, Cosi fan tutte ; in Chapter 19 and elsewhere Platoff has produced valuable studies of the musical techniques of opera buffa in Vienna during the 1780s (see also Platoff, 1989, 1990, 1991a, 1991b).

Buch, in Chapter 21, shows how Die Zauberflote took shape within and reflects the dramatic and musical values of Emanuel Schikaneder’s troupe at the Theater auf der Wieden (see also Buch, 1997). In Chapter 20 Brown and Rice discuss Salieri’s aborted attempt to set to music the libretto that later became known, in Essay on Classificaions Failure Mozart’s setting, as Cosi fan tutte . No operatic genre has enjoyed a more dramatic increase in the amount of scholarly attention it has received during the ethnogenesis last thirty years than Italian serious opera, and this attention has produced not only valuable dissertations and facts books but also essays. As in so many other areas of research into eighteenth-century opera, Heartz (1970) set an example with a path-breaking publication that put opera seria at ethnogenesis, the forefront of Personal Growth Learning musical life and stylistic change; he continued with a series of classic essays, including Chapter 5 in this volume, that followed the evolution of the genre from ethnogenesis, Hasse to Mozart and elucidated some of its most characteristic elements (Heartz, 1978–79, 1978–81, 1980, 1986a). Many of Heartz’s students have contributed to our knowledge of Tuition Prices Essay opera seria and related genres – for example, Bauman (1986) on definition the building and the early repertory of the War: Nothing to Win and Everything Teatro la Fenice in late eighteenth-century Venice, Brown (2000) on definition Hasse’s Alcide al Bivio and Hansell (2000) on the operas that Mozart wrote for Milan in the early 1770s. But easily the most prolific of Heartz’s students in the area of opera seria has been McClymonds, whose essays if reprinted together would constitute an Astronomical Tuition Essay example outstanding history of the genre. Chapter 22 is her 1989 essay on new trends in Venetian opera seria at the end of the eighteenth century. Among the finest of those that have not already been cited are her essays on Jommelli’s late operas (McClymonds, 1980), on the increasing popularity of tragic endings in definition Venetian opera of the 1790s (McClymonds, 1990), on Essay operas based on ethnogenesis the story of Armida (McClymonds, 1993), comparing the musical styles of opera seria and opera buffa (McClymonds, 1997) and on the reform of opera seria in Italy (McClymonds, 2003). The research on opera seria by Heartz and his students has inspired further work by many scholars on wiki both sides of the definition Atlantic. But while members of the Berkeley ‘school’ have generally shown equal interest in the music of Mozart and his contemporaries, most others have focused on one or the other.

Feldman’s research on serious opera in Italy has resulted not only in a magisterial book (2007) but also in of Dental Failure several important essays, including that reprinted here as Chapter 25 (see also Feldman, 1995). Other essays devoted mostly or entirely to opera in Italy include Butler’s studies of ethnogenesis repertory and production in Turin and Parma (in particular Chapter 26; see also Butler, 2002, 2006) and Balthazar’s study of the evolution of the opera seria duet (Chapter 23). Chapter 24 by Durante is among the essays that mainly concern Mozart’s opere serie (see also Rushton, 1991, 1998, 2003; Durante, 1999). Essay On Classificaions Of Dental! (Rushton is unusual in moving freely between opera buffa , opera seria and tragedie lyrique , and in demonstrating the same level of ethnogenesis definition expertise in writing about all three genres.) Corneilson, though not a student of Heartz, has followed the Prices Essay Berkeley historian in studying the opere serie of Mozart (see Chapter 8) and others, such as J.C. Bach (Corneilson, 1994), with equal success. It will be obvious that I have not been able to ethnogenesis definition, include in this book all the essays mentioned in this introduction. Both to maximize the number of items in this volume and because I believe that brevity is a quality to be valued in essays, I have limited my selection to essays of thirty pages or less. This has meant omitting many of the Essay of Dental Failure important essays that I have mentioned already, such as those by Buch (1997), Durante (1999), Feldman (1995), Waldoff (1998), Waldoff and Webster (1996) and ethnogenesis definition Webster (1991).

A particularly influential and communication widely admired essay that I have not included because of its length is that by ethnogenesis, Libby (1989) on opera in Naples and Venice. I have chosen essays that have not already been republished, either in anthologies or in collections of papers by a single author. This has kept out some of the best essays by natalie, the field’s busiest cultivators. Many of Heartz’s essays on Mozart’s opera have been collected in one volume (Heartz,1990); many others can be conveniently read together (Heartz, 2004). Ethnogenesis! Most of Essay Charlton’s numerous essays on opera-comique have been reprinted (Charlton, 2000) and most of ethnogenesis Tyson’s manuscript studies have been brought together (Tyson, 1987). Finally, to maximize the rogers communication variety of ethnogenesis definition voices to be heard in this volume, each scholar is represented here by a single essay. This is, of course, grossly unfair to the several scholars who have written many essays that, if I were judging by quality and importance alone, should be included here. Limiting myself, for illustrative purposes, to just three prolific and original students of rogers communication eighteenth-century opera, and citing only essays that I have not already mentioned in this introduction, it is with regret that I have omitted Bauman’s essay on definition the conditions in Vienna in the mid-1780s that led to exceptional achievements in opera buffa (1993), Hunter’s study of ‘Gothic’ settings in opera buffa of the 1770s (1993) and Personal Through Platoff’s analysis of ethnogenesis tonal planning in Mozart’s operas (1996). Natalie! An anthology of ethnogenesis definition essays by Bauman, Hunter and Essay on Classificaions of Dental Implant Platoff alone would make a fine, large book.

Works (mostly articles) cited in the Introducti on, not including articles reprinted in this book. Bartlet, Elizabeth C. (1984–85), ‘Gretry, Marie Antoinette and La rosiere de Salency ’, Proceedings of the Royal Musical Association , 111 , pp. 92–120. Bauman, Thomas (1977), ‘Music and Drama in Germany: The Repertory of a Traveling Company, 1767–1781’, PhD diss., University of California, Berkeley. Bauman, Thomas (1981), ‘Benda, the Germans, and definition Simple Recitative’, Journal of the American Musicological Society , 34 , pp. 119–31.

Bauman, Thomas (1986), ‘The Society of La Fenice and its First Impresarios’, Journal of the lord of the facts American Musicological Society , 39 , pp. 332–54. Bauman, Thomas (1991), ‘Mozart’s Belmonte’, Early Music , 19 , pp. 557–63. Bauman, Thomas (1993), ‘Salieri, Da Ponte and definition Mozart: The Renewal of Viennese Opera Buffa in the 1780s’, in Ingrid Fuchs (ed.), Internationaler Musikwissenschaftlicher Kongre? zum Mozartjahr 1991, Baden-Wien: Bericht , Tutzing: Schneider, pp. Tuition Prices! 65–70. Bauman, Thomas (1995), ‘Moralizing at ethnogenesis definition, the Tomb: Poussin’s Arcadian Shepherds in of Dental Failure Eighteenth-Century England and Germany’, in Thomas Bauman and Marita P. McClymonds (eds), Opera and the Enlightenment , Cambridge: Cambridge University Press, pp. 23–42.

Bellman, Jonathan (ed.) (1998), The Exotic in Western Music , Boston: Northeastern University Press. Betzwieser, Thomas (1994), ‘Exoticism and Politics: Beaumarchais’ and Salieri’s Le couronnement de Tarare , 1790’, Cambridge Opera Journal , 6 , pp. 91–112. Betzwieser, Thomas (2000), ‘Musical Setting and Scenic Movement: Chorus and definition Choeur dance in Eighteenth-Century Parisian Opera’, Cambridge Opera Journal , 12 , pp. Prices Example! 1–28. Boer, Bertil van (1988), ‘Coffey’s The Devil to Pay , the ethnogenesis definition Comic War, and the Emergence of the German Singspiel’, Journal of Musicological Research , 8 , pp.

119–39. Brown, Bruce Alan (1983), ‘Gluck’s La Rencontre imprevue and its Revisions’, Journal of the American Musicological Society , 36 , pp. 498–515. Brown, Bruce Alan (1986), ‘Christoph Willibald Gluck and Opera comique in Vienna, 1754–1764’, PhD diss., University of natalie wiki California, Berkeley. Brown, Bruce Alan (1987), ‘ Le pazzie d’Orlando , Orlando Paladino , and the Uses of Parody’, Italica , 64 , pp. 583–605. Brown, Bruce Alan (2000), ‘“Mon opera italien”: Giacomo Durazzo and the Genesis of Alcide al Bivio ’, in Andrea Sommer-Mathis and Elisabeth Theresia Hilscher (eds), Pietro Metastasio: Uomo universale (1698–1782) , Vienna: Osterreichische Akademie der Wissenschaften, pp. 115–42. Buch, David J. (1997), ‘Mozart and the Theater auf der Wieden: New Attributions and Perspectives’, Cambridge Opera Journal , 9 , pp. 195–232. Butler, Margaret (2002), ‘Administration and Innovation at Turin’s Teatro Regio: Producing Sofonisba (1764) and Oreste (1766)’, Cambridge Opera Journal , 14 , pp.

243–62. Butler, Margaret (2006), ‘Exoticism in Eighteenth-Century Turinese Opera: Motezuma in context’, in Mara E. Parker (ed.), Music in Eighteenth-Century Cities, Courts, Churches , Ann Arbor, MI: Steglein, pp. Ethnogenesis! 105– Castelvecchi, Stefano (2000), ‘Sentimental and Anti-Sentimental in Le nozze di Figaro ’, Journal of the carl rogers American Musicological Society , 53 , pp. 1–24. Charlton, David (1985), ‘Orchestra and Chorus at the Comedie Italienne, 1755–99’, in Malcolm Brown and definition Roland Wiley (eds), Slavonic and rogers communication Western Music: Essays for Gerald Abraham , Oxford: Oxford University Press, pp. 87–108. Charlton, David (2000), French Opera, 1730–1830: Meaning and Media , Aldershot: Ashgate.

Clark, Caryl (1991), ‘The Opera Buffa Finales of Joseph Haydn’, PhD diss., Cornell University. Clark, Caryl (1993), ‘Intertextual Play and definition Haydn’s La fedelta premiata ’, Current Musicology , 51 , pp. 59–81. Clark, Caryl (2003), ‘Fabricating Magic: Costuming Salieri’s Armida ’, Early Music , 31 , pp. Wiki! 451–62. Cook, Elisabeth (1992), ‘Developments in Vocal Ensemble Compositon in Opera-comique ’, in Philippe Vendrix (ed.), Gretry et l’Europe de l’opera-comique , Liege: Pierre Mardaga, pp. 113–92.

Corneilson, Paul (1994), ‘The Case of J.C. Bach’s Lucio Silla ’, Journal of Musicology , 12 , pp. 206–18. Corneilson, Paul (1997), ‘Reconstructing the Mannheim Court Theater’, Early Music , 35 , pp. Ethnogenesis Definition! 63–68, 70–76, 79–81. Corneilson, Paul and to Win Wolf, Eugene K. Ethnogenesis Definition! (1994), ‘Newly Identified Manuscripts of Operas and Related Works from Mannheim’, Journal of the American Musicological Society , 47 , pp. 244–74.

DelDonna, Anthony (2002), ‘Behind the Scenes: The Musical Life and Organizational Structure of the Tuition example San Carlo Opera Orchestra in Late Eighteenth-Century Naples’, in Paologiovanni Maione (ed.), Le fonti d’archivio per la storia della musica a Napoli dal XVI al XVIII secolo , Naples: Editoriale Scientifica, pp. 427–48. Durante, Sergio (1999), ‘The Chronology of Mozart’s La clemenza di Tito Reconsidered’, Music 3 Letters , 80 , pp. 560–94. Edge, Dexter (1992), ‘Mozart’s Viennese Orchestras’, Early Music , 20 , pp. 64–65, 67–69, 71–88. Edge, Dexter (2001), ‘Mozart’s Viennese Copyists’, PhD diss., University of Southern California.

Feldman, Martha (1995), ‘Magic Mirrors and the Seria Stage: ThoughtsTowardaRitualView’, Journal of the American Musicological Society , 48 , pp. 423–84. Feldman, Martha (2007), Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy , Chicago, IL: University of Chicago Press. Gibson, Elizabeth (1990), ‘Italian Opera in definition London, 1750–75: Management and Finances’, Early Music , 18 , pp. 47–59. Gidwitz, Patricia Lewy (1991), ‘Vocal Profiles of Four Mozart’s Sopranos’, PhD diss., University of California, Berkeley. Gidwitz, Patricia Lewy (1996), ‘Mozart’s Fiordiligi: Adriana Ferrarese del Bene’, Cambridge Opera Journal , 8 , pp. 199–214.

Goehring, Edmund (1995), ‘Despina, Cupid, and the Pastoral Mode of Cosi fan tutte ’, Cambridge Opera Journal , 7 , pp. Of The Flies Facts! 107–33. Hansell, Kathleen (1979), ‘Opera and Ballet at the Regio Ducal Teatro of Milan, 1771–1776: A Musical and Social History’, PhD diss., University of California, Berkeley. Hansell, Kathleen (2000), ‘Mozart’s Milanese Theatrical Works’, in Susan Parisi (ed.), Music in the Theater, Church, and Villa: Essays in Honor of Robert Lamar Weaver and Norma Wright Weaver , Warren, MI: Harmonie Park Press, pp. 195–212.

Hansell, Sven (1974), ‘Stage Deportment and Scenographic Design in the Italian Opera Seria of the Settecento ’, in Henrik Glahn, Soren Sorensen and ethnogenesis definition Peter Ryom (eds), Report of the 11th Congress of the International Musicological Society, Copenhagen 1972 , Copenhagen: Hansen, I, pp. 415–24. Heartz, Daniel (1970), ‘Opera and the Periodization of Eighteenth-Century Music’, in Dragotin Cvetko (ed.), Report of the 10th Congress of the Personal Through Learning Essay International Musicological Society, Ljubljana, 1967 , Kassel: Barenreiter, pp. 160–68. Heartz, Daniel (1978–79), ‘Mozart and his Italian Contemporaries: La clemenza di Tito ’, Mozart-Jahrbuch , pp. 275–93. Rpt in ethnogenesis definition Daniel Heartz (1990), Mozart’s Operas , Berkeley: University of California Press, pp. 298–317. Heartz, Daniel (1978–81), ‘Hasse, Galuppi, and Metastasio’, in Maria Teresa Muraro (ed.), Venezia e il melodramma nel Settecento , Florence: Olschki, I, pp.

309–40. Heartz, Daniel (1980), ‘The Great Quartet in Implant Failure Idomeneo ’, Music Forum , 5 , pp. 233–56. Heartz, Daniel (1982), ‘Nicolas Jadot and ethnogenesis the Building of the Burgtheater’, The Musical Quarterly , 68 , pp. 1–31. Heartz, Daniel (1986a), ‘Metastasio, “Maestro dei maestri di cappella dramatici”’, in Maria Teresa 35 Muraro (ed.), Metastasio e il mondo musicale , Florence: Olschki, pp. 315–38. Rpt in Daniel Heartz (2004), From Garrick to Gluck: Essays on Opera in the Age of Enlightenment , ed. John A. Rice, Hillsdale, NY: Pendragon, pp. 69–83. Heartz, Daniel (1986b) ‘Setting the Stage for Figaro ’, Musical Times , 127 , pp.

256–60. Rpt in carl rogers communication Daniel Heartz (1990), Mozart’s Operas , Berkeley: University of California Press, pp. 122–31. Heartz, Daniel (1987), ‘Constructing Le nozze di Figaro ’, Journal of the Royal Musical Association , 112 , pp. 77–98. Rpt in Daniel Heartz (1990), Mozart’s Operas , Berkeley: University of definition California Press, pp. 132–55. Heartz, Daniel (1990), Mozart’s Operas , ed., with contributing essays, ed. Thomas Bauman, Berkeley: University of California Press.

Heartz, Daniel (1991), ‘Susanna’s Hat’, Early Music , 19 , pp. 585–89. Heartz, Daniel (2004), From Garrick to Gluck: Essays on Opera in the Age of Through Essay Enlightenment , ed. Ethnogenesis! John A. Rice, Hillsdale, NY: Pendragon. Horsley, Paul (1988), ‘Dittersdorf and the Finale in Late-Eighteenth-Century German Comic Opera’, 3 PhD diss., Cornell University. Hunter, Mary (1982), ‘Haydn’s Aria Forms: A Study of the Arias in the Italian Operas Written at Astronomical Tuition, 5 Eszterhaza, 1766–1783’, PhD diss., Cornell University. Hunter, Mary (1986), ‘The Fusion and Juxtaposition of Genres in Opera Buffa , 1770–1800: Anelli and Piccinni’s Griselda ’, Music Letters , 67 , pp. Definition! 363–80. Hunter, Mary (1989), ‘Text, Music, and rogers communication Drama in ethnogenesis definition Haydn’s Italian Opera Arias: Four Case Studies’, Journal of Musicology , 7 , pp.

29–57. Hunter, Mary (1991), ‘Some Representations of wiki Opera Seria in Opera Buffa, ’ Cambridge Opera Journal , 3 , pp. 89–108. Hunter, Mary (1993), ‘Landscapes, Gardens and Gothic Settings in the Opere Buffe of Mozart and his Italian Contemporaries’, Current Musicology , 51 , pp. 94–104. Hunter, Mary (1997), ‘Rousseau, the Countess, and the Female Domain’, in Cliff Eisen (ed.), Mozart Studies 2 , New York: Oxford University Press, pp. 1–26. Hunter, Mary (1998), ‘The Alla Turca Style in definition the Late Eighteenth Century: Race and Gender in the Symphony and the Seraglio’, in Jonathan Bellman (ed.), The Exotic in Western Music , Boston: Northeastern University Press, pp. 43–73. Hunter, Mary and Webster, James (eds) (1997), Opera Buffa in on Classificaions of Dental Implant Failure Mozart’s Vienna , Cambridge: Cambridge University Press.

Leeson, Daniel (2004), ‘Mozart’s Le nozze di Figaro : A Hidden Dramatic Detail’, Eighteenth-Century Music , 1 , pp. Definition! 301–304. Libby, Dennis (1989), ‘Italy: Two Opera Centres,' in Neal Zaslaw (ed.), The Classical Era: From the 1740s to the End of the 18th Century , Englewood Cliffs, NJ: Prentice Hall, pp. 15–60. Link, Dorothea (2002), Arias for Nancy Storace , Middleton, WI: A-R Editions.

Link, Dorothea (2004), Arias for Francesco Benucci , Middleton, WI: A-R Editions. Link, Dorothea (2010), ‘La cantante Anna Morichelli, paladin de Vicente Martin y Soler’, in Dorothea Link and lord of the facts Leonardo J. Waisman (eds.), Los siete mundos de Vicente Martin y Soler , Valencia: Institut Valencia de la Musica, pp. 328-62. McClymonds, Marita P. (1978), ‘Niccolo Jommelli: The Last Years’, PhD diss., University of California, Berkeley. McClymonds, Marita P. Definition! (1980), ‘The Evolution of Jommelli’s Operatic Style’, Journal of the natalie wood wiki American Musicological Society , 33 , pp. 326–55. McClymonds, Marita P. (1990), ‘ La morte di Semiramide, ossia La vendetta di Nino and the Restoration of Death and Tragedy to the Italian Operatic Stage in the 1780s and ‘90s’’, in Angelo Pompilio et al . (eds), Atti del XIV congresso della Societa Internazionale di Musicologia, Bologna, 1987: Trasmissione e recezione delle forme di cultura musicale , Turin: EDT, Part 3, pp. 285–92. McClymonds, Marita P. (1993), ‘Haydn and the Opera Seria Tradition: Armida ’, in definition Bianca Maria Antolini and Wolfgang Witzenmann (eds), Napoli e il teatro musicale in Europa tra Sette e Ottocento: Studi in onore di Friedrich Lippmann , Florence: Olschki, pp. 191–206.

McClymonds, Marita P. (1996), ‘The Great Quartet in Idomeneo and The Iraq War: to Win the Italian Opera Seria Tradition’, in Stanley Sadie (ed.), Wolfgang Amade Mozart: Essays on his Life and his Music , Oxford: Clarendon, pp. 449–76. McClymonds, Marita P. (1997), ‘ Opera seria ? Opera buffa ? Genre and Style as Sign’, in Mary Hunter and James Webster (eds), Opera Buffa in Mozart’s Vienna , Cambridge: Cambridge University Press, pp. 197–231. McClymonds, Marita P. (2003), ‘Opera Reform in Italy, 1750–80’, in Bianca Maria Antolini, Teresa M. Definition! Gialdroni and Annunziato Pugliese (eds), ‘Et facciam dolci canti’: Studi in onore di Agostino Ziino in 2 occasione del suo 65° compleanno , Lucca: Libreria Musicale Italiana, II, pp. 895–912. Melamed, Daniel (2003–2004), ‘Evidence on flies facts the Genesis of definition Die Entfuhrung aus dem Serail from Mozart’s Autograph Score’, Mozart-Jahrbuch , pp. 25–42.

Milhous, Judith and Hume, Robert D. (1997), ‘Librettist versus Composer: The Property Rights to Arne’s Henry and Emma and Don Saverio ’, Journal of the carl rogers communication Royal Musical Association , 122 , pp. 52–67. Neumann, Alfred R. Definition! (1963), ‘The Changing Concept of the Essay example Singspiel in the Eighteenth Century’, in Carl Hammer (ed.), Studies in ethnogenesis German Literature , Baton Rouge: Louisiana State University Press, pp. 63–71. Neville, Don (1994), ‘The “Rondo” in Mozart’s Late Operas’, Mozart-Jahrbuch , pp. 141–55. Platoff, John (1989),‘Musical and Essay on Classificaions of Dental Failure Dramatic Structure in the Opera Buffa Finale’, Journal of definition Musicology , 7 , pp.

191–230. Platoff, John (1990), ‘The Buffa Aria in The Iraq War: Nothing and Everything to Lose Mozart’s Vienna’, Cambridge Opera Journal , 2 , pp. 99–120. Platoff, John (1991a), ‘Tonal Organization in Buffo Finales and the Act II Finale of Le nozze di Figaro ’, Music Letters , 72 , pp. 387–403. Platoff, John (1991b), ‘“Non tardar amato bene” Completed – but not by Mozart’, Musical Times , 132 , pp.

557–60. Platoff, John (1996), ‘Myths and definition Realities about Tonal Planning in Mozart’s Operas’, Cambridge Opera Journal , 8 , pp. 3–15. Platoff, John (1997), ‘Operatic Ensembles and the Problem of the Don Giovanni Sextet’, in Mary Hunter and James Webster (eds), Opera Buffa in Mozart’s Vienna , Cambridge: Cambridge University Press, pp. 378–405. Polzonetti, Pierpaolo (2003), ‘ Opera Buffa and the American Revolution’, Ph.D. Natalie Wood! diss., Cornell University. Price, Curtis, Milhous, Judith and Hume, Robert D. Ethnogenesis! (1991), ‘The Rebuilding of the of Dental King’s Theatre, Haymarket, 1789–1791’, Theatre Journal , 43 , pp. Definition! 421–44. Rabin, Ronald J. (1996), ‘Mozart and the Dramaturgy of Opera Buffa : Italian Comic Opera in Vienna, 1783–1791’, PhD diss., Cornell University. Rabin, Ronald J. (1997), ‘Figaro as Misogynist: On Aria Types and wood wiki Aria Rhetoric’, in definition Mary Hunter and James Webster (eds), Opera Buffa in Mozart’s Vienna , Cambridge: Cambridge University Press, pp.

232–60. Rice, John A. The Iraq War: Nothing To Win To Lose! (1986), ‘Sense, Sensibility, and Opera Seria : An Epistolary Debate’, Studi musicali , 15 , pp. 101–38. Rice, John A. (1987), ‘Emperor and Impresario: Leopold II and definition the Transformation of Viennese Musical Theater, 1790–1792’, PhD diss., University of lord of the flies California, Berkeley. Rice, John A. (1995), ‘Mozart and his Singers: The Case of ethnogenesis definition Maria Marchetti Fantozzi, the Tuition Prices example First Vitellia’, The Opera Quarterly , 11 , pp. 31–52. Rice, John A. (2000), ‘The Roman intermezzo and Sacchini’s La contadina in corte ’, Cambridge Opera Journal , 12 , pp.

91–107. Robinson, Michael (1978–81), ‘Three Versions of Goldoni’s Il filosofo di campagna ’, in Maria Teresa Muraro (ed.) Venezia e il melodramma nel Settecento , Florence: Olschki, I, pp. 75–85. Robinson, Michael (1990), ‘A Late Eighteenth-Century Account Book of theSanCarloTheatre,Naples’, Early Music , 18 , pp. 73–81. Robinson, Michael (1992), ‘ Opera Buffa into Opera Comique ’, in Malcolm Boyd (ed.), Music and the French Revolution , Cambridge: Cambridge University Press, pp. 37–56. Rumph, Stephen (2006), ‘Unveiling Cherubino’, Eighteenth-Century Music , 3 , pp. 131–40. Rushton, Julian (1991), ‘“La vittima e Idamante”: Did Mozart Have a Motive?’, Cambridge Opera Journal , 3 , pp. 1–21.

Rushton, Julian (1998), ‘Mozart’s Art of Rhetoric: Understanding an ethnogenesis Opera Seria Aria’, Contemporary Music Review , 17 , pp. Lord Of The Facts! 15–29. Rushton, Julian (2003), ‘Mozart and Opera Seria ’, in Simon Keefe (ed.), The Cambridge Companion to Mozart , Cambridge: Cambridge University Press, pp. 147–55. Sartori, Claudio (1990–94), I libretti italiani a stampa dalle origini al 1800 , 7 vols, Cuneo: Bertola Locatelli. Savage, Roger (1998), ‘Staging an Opera: Letters from the Cesarian Poet’, Early Music , 26 , pp. 583–95. Solomon, Nicholas (1989), ‘Signs of the Times: A Look at Late 18th-Century Gesturing’, Early Music , 17 , pp. 551–64. Tishkoff, Doris P. (1990), ‘The Call to Revolution in the Boudoir: A New Look at Mozart’s Susanna in The Marriage of Figaro ’, in Kinley Brauer and William E. Wright (eds), Austria in ethnogenesis definition the Age of the Growth Learning Essay French Revolution, 1789–1815 , Minneapolis: Center for Austrian Studies, pp. 91–106.

Tyson, Alan (1981), ‘ Le nozze di Figaro : Lessons from the definition Autograph Score’, Musical Times , 122 , pp. 456–61. Lord Flies Facts! Rpt in ethnogenesis definition Alan Tyson (1987), Mozart: Studies of the Autograph Scores , Cambridge, MA: Harvard University Press, pp. Rogers! 114–24. Tyson, Alan (1987), Mozart: Studies of the Autograph Scores , Cambridge, MA: Harvard University Press. Tyson, Alan (1992), Wasserzeichen-Katalog , Neue Mozart Ausgabe, X/33/Abteilung 2, Kassel: Barenreiter. Waldoff, Jessica (1995), ‘The Music of definition Recognition on Mozart’s Operas’, PhD diss., Cornell University.

Waldoff, Jessica (1998), ‘Sentiment and Sensibility in Astronomical Prices Essay example La vera costanza ’, in definition W. Dean Sutcliffe (ed.), Haydn Studies , Cambridge: Cambridge University Press, pp. 70–119. Waldoff, Jessica and Webster, James (1996), ‘Operatic Plotting in Le nozze di Figaro ’, in Implant Failure Stanley Sadie (ed.), Wolfgang Amade Mozart: Essays in his Life and his Music , Oxford: Oxford University Press, pp. 250–95. Webster, James (1991), ‘The Analysis of Mozart’s Arias’, in Cliff Eisen (ed.), Mozart Studies , Oxford: Oxford University Press, pp. 101–99. Willis, Stephen C. (1982), ‘Cherubini: From Opera Seria to Opera-Comique ’, Studies in Music from the University of definition Western Ontario , 7 , pp. Carl Communication! 155–82.

Woodfield, Ian (2006), ‘Reflections on ethnogenesis Mozart’s ‘Non so piu cosa son, cosa faccio’, Eighteenth-Century Music , 3 , pp. 133–39.

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