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Laughter between two revolutions: Op...

Izzo, Francesco.

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Laughter between two revolutions: Opera buffa in Italy, 1831--1848.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Laughter between two revolutions: Opera buffa in Italy, 1831--1848./
作者:	Izzo, Francesco.
面頁冊數:	343 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-05, Section: A, page: 1456.
Contained By:	Dissertation Abstracts International64-05A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3089397
ISBN:	9780496371303

Laughter between two revolutions: Opera buffa in Italy, 1831--1848.
Izzo, Francesco.

Laughter between two revolutions: Opera buffa in Italy, 1831--1848. - 343 p.

Source: Dissertation Abstracts International, Volume: 64-05, Section: A, page: 1456.

Thesis (Ph.D.)--New York University, 2003.

The dissertation deals with the presence and the significance of comic opera in the Italian cultural scene of the 1830s and 40s, challenging the widespread view that opera buffa inexorably declined during this period, and became a marginal, even obsolete, component of Italian operatic life. The introductory chapter discusses the importance of comedy and humor in mid-nineteenth-century Italy, examines the presence of opera buffa in different Italian cities and their opera houses, and studies the careers of prominent buffa composers, librettists, and singers. Chapter 2 addresses the remarkably rich contemporary discourse on comic opera in Italy. While critics generally supported opera buffa, there was an extraordinary pluralism of opinions regarding the state of this genre, the relation between contemporary opera buffa and comic masterworks from the past, and the significance of opera buffa as an expression of Italian spirit and a source of national pride.

ISBN: 9780496371303Subjects--Topical Terms:

516178
Music.

Laughter between two revolutions: Opera buffa in Italy, 1831--1848.
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245 1 0 $a Laughter between two revolutions: Opera buffa in Italy, 1831--1848.
300 $a 343 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-05, Section: A, page: 1456.
500 $a Adviser: Martin Chusid.
502 $a Thesis (Ph.D.)--New York University, 2003.
520 $a The dissertation deals with the presence and the significance of comic opera in the Italian cultural scene of the 1830s and 40s, challenging the widespread view that opera buffa inexorably declined during this period, and became a marginal, even obsolete, component of Italian operatic life. The introductory chapter discusses the importance of comedy and humor in mid-nineteenth-century Italy, examines the presence of opera buffa in different Italian cities and their opera houses, and studies the careers of prominent buffa composers, librettists, and singers. Chapter 2 addresses the remarkably rich contemporary discourse on comic opera in Italy. While critics generally supported opera buffa, there was an extraordinary pluralism of opinions regarding the state of this genre, the relation between contemporary opera buffa and comic masterworks from the past, and the significance of opera buffa as an expression of Italian spirit and a source of national pride.
520 $a The central chapters deal with issues of poetics and textual criticism. Chapter 3 presents a genre study of the comic libretto. It traces its evolution from the final decades of the eighteenth century to the late 1840s, discusses problems of generic ambiguity and hybridization, deals with textual revisions, and addresses issues of morals and censorship. Chapter 4 begins with an overview of contemporary conceptions and definitions of buffa music. Subsequently, in a case study of Donizetti's Don Pasquale, it discusses the generic relevance of conventional formal patterns and of text-setting techniques. Chapter 5 addresses the interplay between comic and serious genres in two operas about opera. It also examines the use of referential gestures and dance music as ways to convey humor, as well as to enhance the generic perception of opera buffa and of the character types associated with it.
520 $a The concluding chapter addresses the political and societal ramifications of opera buffa in the context of Italy's struggle for national independence and unification. It argues that the idea of nation and other Risorgimento themes found in relevant comic operas of this period reflect the full range of contemporary ideological debates over the liberation and unification of Italy.
520 $a I conclude that opera buffa was a far more important element of Italian music in the post-Rossinian era than hitherto suggested, and I argue that a better knowledge of this repertory is essential in order to achieve a deeper understanding of the history, society, and culture of mid-nineteenth-century Italy.
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