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Opera in Warsaw, 1765-1830: Operatic...

Parkitna, Anna .

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Opera in Warsaw, 1765-1830: Operatic Migration, Adaptation, and Reception in the Enlightenment.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Opera in Warsaw, 1765-1830: Operatic Migration, Adaptation, and Reception in the Enlightenment./
Author:	Parkitna, Anna .
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	314 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-10, Section: A.
Contained By:	Dissertations Abstracts International81-10A.
Subject:	Music history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27738182
ISBN:	9781658471480

Opera in Warsaw, 1765-1830: Operatic Migration, Adaptation, and Reception in the Enlightenment.
Parkitna, Anna .

Opera in Warsaw, 1765-1830: Operatic Migration, Adaptation, and Reception in the Enlightenment. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 314 p.

Source: Dissertations Abstracts International, Volume: 81-10, Section: A.

Thesis (Ph.D.)--State University of New York at Stony Brook, 2020.

This item must not be sold to any third party vendors.

The existing image of opera culture in the Enlightenment is incomplete. While musicology tends to confer importance on a few major musical centers, eighteenth-century opera was increasingly unrestricted by geographical or linguistic boundaries, and circulated throughout the entire European continent. In the age of cosmopolitanism and burgeoning public theaters, operas-particularly works of Italian and French origin-were often performed by the same mobile singers at different locations. Along with an emerging interest in national identity, composers of newly established vernacular operas, who relied to a certain extent on well-known conventions, developed distinct musical styles. It is only through this comprehensive context that the historical character and cultural significance of Classical-period opera can be fully understood.This dissertation examines operatic life in Warsaw in the years 1765-1830 from two angles: as an ingrained part of the large web of operatic migrations, and a result of the specific climate stirred by the Polish Enlightenment. The introduction of a far-reaching reformist program by King StanisLaw August Poniatowski (r. 1764-1795) enabled Warsaw's participation in the shared domain of opera performance aimed at promoting Enlightenment values. The importation of Italian, French, and German performers gave an impulse for the establishment of Polish-language opera, which eventually reached the status of the most respected operatic type in the early nineteenth century. The subsequent chapters concentrate on particular issues shaping operatic production and reception. Chapter 1 discusses a crucial overlap of universalist and particularist tendencies pertaining to the presence of opera in the public sphere during the Stanislavian period. Chapter 2 explores the cosmopolitan nature of Warsaw's integration into the European opera network. The focus on the universal appeal of Italian opera in Chapter 3 provides the background for examining adaptations as important elements in the process of creating Polish operatic traditions. Chapters 4 and 5 place Warsaw within a German theatrical network-an increasingly influential phenomenon that occurred away from principal non-German cities. Lastly, Chapter 6 is dedicated to Polish opera as an expression of unique Enlightenment objectives. Within this broad perspective, the dissertation uncovers Warsaw's attractiveness as a busy, interconnected, and creative opera center, despite its peripheral location on the operatic map of eighteenth-century Europe.

ISBN: 9781658471480Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

Opera

Opera in Warsaw, 1765-1830: Operatic Migration, Adaptation, and Reception in the Enlightenment.
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