Název: The Teatro Sant'Angelo : cradle of fledgling opera troupes
Zdrojový dokument: Musicologica Brunensia. 2018, roč. 53, č. Supplementum, s. 157-170
Rozsah
157-170
-
ISSN1212-0391 (print)2336-436X (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/MB2018-S-11
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/140871
Type: Článek
Jazyk
Licence: Neurčená licence
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
Many smaller theaters of the mid-eighteenth century were established in conjunction with the establishment of Italian traveling troupes. Several troupes were formed by musicians active at the Teatro Sant'Angelo, Venice. Although Vivaldi was not personally involved in any of the troupes, the musical imprint of his operas was strong in the mix of pastiches that served several Central European venues. The musical evidence of these performances is almost entirely lost, but the troupes are traceable through libretti. The degree to which the Teatro Sant'Angelo contributed both troupe leaders and troupe musicians stands out among all theaters in Northern Italy. The reach of its musicians, particularly those of the Madonis family, extended to Belgium, France, Hesse, Bavaria, Saxony, Bohemia, Moravia, Poland, and Russia.
Reference
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[3] FREEMAN, Daniel E. The Opera Theater of Count Franz Anton von Sporck, Studies in Czech Music, 2, Stuyvesant, NY: Pendragon Press, 1992.
[4] JONÁŠOVÁ, Milada. I Denzio: tre generazione di musicisti a Venezia e a Praga. Hudební vĕda, 2008, vol. 45, nos. 1–2, 57–114. URL: http://dlib.lib.cas.cz/3322/.
[5] ZUR NIEDEN, Gesa, and Berthold OVER, eds., Musicians' mobilities and music migrations in Early Modern Europe : biographical patterns and cultural exchanges, Mainzer historiche Kulturwissenschaften, 33, Bielefeld, Transcript Verlag, 2016.
[6] PERUTKOVÁ, Jana. Der glorreiche Nahmen Adami: Johann Adam Graf von Questenberg (1678–1752) als Förderer der italienischen Oper in Mähren. Vienna: Hollizer, 2015.
[7] PIERONI, Alice. Attori italiani alla corte della zarina Anna Iaonnovna (1731–38). Università degli Studi Firenze, 2013–2016.
[8] Raccolta Drammatica: Catalogue of Digitized [Italian] Libretti of the Braidense National Library, URL: http://www.braidense.it/cataloghi/catalogo_rd.php.
[9] RAINER, Theobald. Die Opern-Stagioni der Brüder Mingotti: 1730–1766: ein neues Verzeichnis der Spielorte und Produktionen: Chronologie aus Quellen zur Verbreitung und Rezeption der venezianischen Oper nördlich der Alpen. Vienna: Hollizer, 2015.
[10] PEGAH, RASHID-SASHA. Antonio Bioni und seine "Cantate Musicali" für Margräfin Friderique Louise von Brandenburg-Ansbach. Jahrbuch für fränkische Landesforschung, 2012, vol. 72, pp. 185–198.
[11] SELFRIDGE-FIELD, Eleanor. La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700. Recercare, 1998, vol. X, pp. 209–248.
[12] SELFRIDGE-FIELD, Eleanor. A New Chronology of Venetian Opera and related Genres (1660–1760). Stanford, CA: Stanford Univ. Press, 2007.
[13] SELFRIDGE-FIELD, Eleanor. Song and Season: Science, Culture, and Theatrical Time in Early Modern Venice. Stanford, CA: Stanford University Press, 2007.
[14] SPÁČILOVÁ, Jana. Die Rezeption der italienischen Oper am Hofe des Olmützer Bischofs Schrattenbach. In Colloquia musicologica brunensia, 2013, vol. 42, pp. 75–88.
[15] STEFANI, Gianluca. Nuovi documenti su Domenico Mauro e figli, in Illusione e pratica teatrale. Atti del convegno internazionale di studi in onore di Elena Povoledo (Venezia 16–17 novembre 2015), Maria Ida Biggi (ed.). Florence: Le Lettere, 2016, pp. 284–293.
[16] STEFANI, Gianluca. Sebastiano Ricci impresario in angustie a Venezia: i guai della stagione 1718–1719 al Sant'Angelo. Drammaturgia, 2015, ser. 2, vol. XII, pp. 263–289.