Monteverdi's Last Operas 在线电子书 图书标签:
发表于2024-11-24
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ellen rosand在17世纪歌剧研究之后的又一本非常值得关注的书,主要讨论蒙特威尔第的最后三部歌剧,蒙特威尔第算是威尼斯歌剧研究中的一个热门人物,很多人以为研究他就能代表威尼斯歌剧了,其实不然,威尼斯歌剧的主题、音乐都随着时间的变化有所发展。但是这本书看到了威尼斯歌剧之间的延续性
评分ellen rosand在17世纪歌剧研究之后的又一本非常值得关注的书,主要讨论蒙特威尔第的最后三部歌剧,蒙特威尔第算是威尼斯歌剧研究中的一个热门人物,很多人以为研究他就能代表威尼斯歌剧了,其实不然,威尼斯歌剧的主题、音乐都随着时间的变化有所发展。但是这本书看到了威尼斯歌剧之间的延续性
评分ellen rosand在17世纪歌剧研究之后的又一本非常值得关注的书,主要讨论蒙特威尔第的最后三部歌剧,蒙特威尔第算是威尼斯歌剧研究中的一个热门人物,很多人以为研究他就能代表威尼斯歌剧了,其实不然,威尼斯歌剧的主题、音乐都随着时间的变化有所发展。但是这本书看到了威尼斯歌剧之间的延续性
评分ellen rosand在17世纪歌剧研究之后的又一本非常值得关注的书,主要讨论蒙特威尔第的最后三部歌剧,蒙特威尔第算是威尼斯歌剧研究中的一个热门人物,很多人以为研究他就能代表威尼斯歌剧了,其实不然,威尼斯歌剧的主题、音乐都随着时间的变化有所发展。但是这本书看到了威尼斯歌剧之间的延续性
评分ellen rosand在17世纪歌剧研究之后的又一本非常值得关注的书,主要讨论蒙特威尔第的最后三部歌剧,蒙特威尔第算是威尼斯歌剧研究中的一个热门人物,很多人以为研究他就能代表威尼斯歌剧了,其实不然,威尼斯歌剧的主题、音乐都随着时间的变化有所发展。但是这本书看到了威尼斯歌剧之间的延续性
Ellen Rosand is George A. Saden Professor of Music at Yale and author of Opera in Seventeenth Century Venice: The Creation of a Genre (UC Press, 1991, 2007).
Claudio Monteverdi (1567-1643) was the first important composer of opera. This innovative study by one of the foremost experts on Monteverdi and seventeenth-century opera examines the composer's celebrated final works--Il ritorno d'Ulisse (1640) and L'incoronazione di Poppea (1642)--from a new perspective. Ellen Rosand considers these works as not merely a pair but constituents of a trio, a Venetian trilogy that, Rosand argues, properly includes a third opera, Le nozze d'Enea (1641). Although its music has not survived, its chronological placement between the other two operas opens new prospects for better understanding all three, both in their specifically Venetian context and as the creations of an old master. A thorough review of manuscript and printed sources of Ritorno and Poppea, in conjunction with those of their erstwhile silent companion, offers new possibilities for resolving the questions of authenticity that have swirled around Monteverdi's last operas since their discovery in the late nineteenth century. Le nozze d'Enea also helps to explain the striking differences between the other two, casting new light on their contrasting moral ethos: the conflict between a world of emotional propriety and restraint and one of hedonistic abandon.
From the Inside Flap
"That Ellen Rosand's understanding of seventeenth-century Venetian opera is encyclopedic has long been recognized. By focusing her attention now on all three of the last operas of Claudio Monteverdi, however, she has met a formidable challenge: this book demonstrates how to put philology at the service of interpretation and interpretation at the service of philology. All those who care about these operas, fundamental to the development of the genre itself, and about scholarship in the Humanities, will profit from her masterful achievement."--Philip Gossett, the Robert W. Reneker Distinguished Service Professor at The University of Chicago and author of Divas and Scholars: Performing Italian Opera
"Ellen Rosand's monumental study is so much more than a meticulous exploration and explanation of all the surviving material and its many literary and musical sources. She presents ingenious, utterly convincing solutions to the problems posed by this material, offering therefore countless new insights into Monteverdi's last two surviving operas, the great Poppea and Ulisse, while also reeling in to this forensic examination the tantalisingly lost score of Le nozze de Enea. Her feel for the music is inspiring, and her theatrical instinct exemplary. This is a book of phenomenal clarity and great passion, and an indispensable addition to our understanding of this great composer."--Jane Glover, Conductor and Music Director for Chicago's Music of the Baroque.
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Monteverdi's Last Operas 在线电子书 pdf 下载 txt下载 epub 下载 mobi 下载 2024