From Madrigal to Opera : Monteverdi's Staging of the Self.
Mauro. Calcagno
Bok Engelsk 2012 · Electronic books.
| Omfang | 1 online resource (301 pages)
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| Utgave | 1st ed.
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| Opplysninger | Cover -- Half title -- Title -- Copyright -- Dedication -- Contents -- List of Illustrations -- Acknowledgments -- Introduction -- Part One. La Musica and Orfeo -- 1. Text, Context, Performance -- Performing Nobility -- Authorizing Performance -- The Work of Opera -- 2. Liminality, Deixis, Subjectivity -- Prologues as Paratexts -- "I am Music" -- The Prologue of Orfeo as Performance -- Dialogic Subjectivity -- Subject-Effects -- 3. Performing the Dialogic Self -- Music's Touch -- Echoes -- Part Two. Constructing the Narrator -- 4. From Petrarch to Petrarchism: A Rhetoric of Voice and Address -- Voi ch'ascoltate -- Appropriating the Self -- Lyric Modes -- Equivocality -- 5. In Search of Voice: Musical Petrarchism in the Sixteenth-Century Madrigal -- Theatricality and Temporal Perspective -- Diffracting the Self -- Who is Speaking? From Soggetto to Dialogo -- The Madrigal Book as Canzoniere -- Part Three. Staging the Self -- 6. Monteverdi, Narrator -- From Narration to Focalization -- Combattimento between Page and Stage -- 7. The Possibility of Opera -- The Aesthetics of Nothing: Monteverdi, Marino, and the Incogniti -- Focalization in Poppea -- Epilogue: Subjectivity, Theatricality, Multimediality -- Appendix 1: Tables of Contents of the Madrigal Books -- Appendix 2: Monteverdi, Combattimento di Tancredi e Clorinda: Text and Translation -- Notes -- Index.. - This pathbreaking study links two traditionally separate genres as their stars crossed to explore the emergence of multiple selves in early modern Italian culture and society. Mauro Calcagno focuses on the works of Claudio Monteverdi, a master of both genres, to investigate how they reflect changing ideas about performance and role-playing by singers. Calcagno traces the roots of dialogic subjectivity to Petrarch's love poetry arguing that Petrarchism exerted a powerful influence not only on late Renaissance literature and art, but also on music. Covering more than a century of music and cultural history, the book demonstrates that the birth of opera relied on an important feature of the madrigalian tradition: the role of the composer as a narrative agent enabling performers to become characters and hold a specific point of view.
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| ISBN | 9780520951525
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