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"Gaetano Donizetti"
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Donizetti, Vienna, Cosmopolitanism
This article examines the change in the Viennese reception of Donizetti’s operas in relation to the internationalization of the city’s theatrical life during the last fifteen years of the Metternich regime (1833–48), as well as the ensuing tensions between German nationalist ideology and the cosmopolitan aspirations of Habsburg cultural policies. While the transformation of Donizetti’s image from Italian to cosmopolitan composer resulted in part from the development of his career in Paris from 1838, it was also inseparable from evolving ideas of cultural cosmopolitanism in Vienna’s political landscape. As the Habsburg court sought to contain the dissemination of national ideologies in the Austrian Empire, the construction of a Viennese operatic identity was increasingly set apart from national discourses. In Vienna’s press, discussions of Donizetti’s two operas written specifically for the Kärntnertortheater, Linda di Chamounix (1842) and Maria di Rohan (1843), focused on the different ways in which these works combined Italian, French, and German elements, and aligned with conceptions of cosmopolitanism that advocated for the overcoming of national divides. Viennese attempts at reconciling operatic cultures, however, collided with the universalizing aspirations that German nationalists had reckoned as the mission of their own national culture. Charting the flow of ideas emerging from the Viennese reception of Donizetti’s operas for the Kärtnertortheater allows us to rethink the relationship between opera and politics in Vienna in the 1830s and 1840s, and to reconsider our approach to “national” designations as focal concepts of nineteenth-century music historiography more broadly.
Journal Article
Staging scenes from the operas of Donizetti and Verdi
In Staging Scenes from the Operas of Donizetti and Verdi, veteran opera director William Ferrarapresents a detailed, practical exploration of the staging of twenty-one scenes from two of opera's most beloved composers.
eBook
Gaetano Donizetti
Gaetano Donizetti: A Research and Information Guide offers an annotated reference guide to the life and works of this important Italian opera composer. The book opens with a complete chronology of Donizetti's life (1797-1848) and career, relating it to contemporary events. The balance of the book details secondary resources and other works, including general sources, catalogs, correspondence, biographical sources, critical works; production/review sources, singers and theaters, and the individual operas.
Acknowledgments Preface Introduction Part I. Access Points for Research in Piano Pedagogy 1. Indexes and Databases 2. Bibliographies Part II. Sources of Information for Research and Learning 3. Encyclopedias and Dictionaries 4. Journals and Magazines 5. Dissertations and Theses 6. Tests and Measurements 7. Monographs Subject Index Author Index Title Index
James P. Cassaro is Music Librarian at the University of Pittsburgh (PA).
eBook
Donizetti's LUCIA DI LAMMERMOOR (Opera Journeys Libretto Series)
A newly translated LIBRETTO of Donizetti's LUCIA DI LAMMERMOOR with many music examples.
eBook
Donizetti's The Elixir of Love (Opera Journeys Mini Guide Series)
A comprehensive guide to Donizetti's THE ELIXIR OF LOVE (L'Elisir d'Amore), featuring Principal Characters in the opera, Brief Story Synopsis, Story Narrative with Music Highlight Examples, and an insightful and in depth Commentary and Analysis by Burton D. Fisher, noted opera author and lecturer.
eBook
Donizetti's Self-Borrowings as an Artistic Practice
Gaetano Donizetti's versatile production unfolded over three decades (1818–43) and was staged in the foremost Italian and European theatres. In this article I question his self-borrowing as a chiefly economic practice, offering novel keys to reading his re-use of existing materials. In the introductory section, I offer a preliminary discussion of the coeval discourse on Donizetti's self-imitation as it surfaces in the press, which appears to follow in the footsteps of that on Rossini's. I then look at his self-borrowings across genres, dwelling on the ways in which he re-functionalized earlier serious passages within comic frames, almost inevitably to achieve a parodic effect. After discussing the links between parody and diegetic music – one of his favourite contexts for employing older materials – I turn to Donizetti's serious production, advancing the hypothesis that his recourse to self-borrowing could take on semantic connotations. In so doing, in the second part of the article I focus on selected case studies grouped into three thematic areas, which – similarly to, and occasionally in connection with diegetic music – all involve the suspension of a character's habitual idioms: deception, rituals and madness. The article includes extended examples from the composer's Linda di Chamounix (Vienna, Kärntnertortheater, 1842), Sancia di Castiglia (Naples, Teatro San Carlo, 1832), Il paria (Naples, Teatro San Carlo, 1829), Marino Faliero (Paris, Théâtre-Italien, 1835), Enrico di Borgogna (Venice, Teatro San Luca, 1818), and Anna Bolena (Milan, Teatro Carcano, 1830). My ultimate concern is to demonstrate that Donizetti's use of self-borrowing could perform a dramatic function, deliberately connoting the altered modes of expression of the characters to which the earlier piece is associated.
Journal Article
Donizetti's Don Pasquale (Opera Journeys Mini Guide Series)
A comprehensive guide to Donizetti's DON PASQUALE, featuring Principal Characters in the opera, Brief Story Synopsis, Story Narrative with Music Highlight Examples, and an insightful and in depth Commentary and Analysis by Burton D. Fisher, noted opera author and lecturer.
eBook