MUSICAL THEATRE HISTORY

The course aims to introduce attending students to the topical moments of musical theater, in an informative teaching.

The student will acquire basic notions on musical theater, both formal and historical; each work will be placed in the artistic context of its time.

The student should inquire about the main operatic titles, especially the seventeenth and twentieth centuries, using chronologies and he will find on the course homepage.

The narrative and its forms in the Italian opera of the nineteenth century and beyond; from the Rossinian 'canon' to Turandot.

Academic musicology has 'discovered' with some guilty delay that even the opera, and 'even' the Italian one, is based on structures worthy of critical investigation, after which, on the basis of systematic music historiography, and in particular in Germany, had privileged instrumental music, in particular from the 19th century. In this course, topics already covered in the academic year will be taken up again. 2019-2020, with the aim of providing basic knowledge that serves as an introduction to targeted insights, based on some case studies.
Homepage: http://www-5.unipv.it/girardi/2022_STM/STM_2022.htm

The bibliography shown here is intended as an indication to address the problem; specific references will be published in the exam program. For the purposes of preparation, the candidate should read essays that allow to understand the historical condition of the opera house, such as the book by FABRIZIO DELLA SETA, Italia e Francia nell’Ottocento, Torino, Turin, EDT, 1993 and that by JOHN ROSSELLI, Music and Musicians in Nineteenth-Century Italy, Cambridge University Press,1991. For the general arrangement see The Cambridge History of Nineteenth-Century Music, ed. by Jim Samson, Cambridge, Cambridge University Press, 2001 («The Cambridge History of Music»), passim.

ABRAMO BASEVI, The Operas of Giuseppe Verdi, ed. by Stefano Castelvecchi, Chicago, The Universityu Press, 2013 (it.: Firenze, Tofani, 1859)
MARCO BEGHELLI, Morfologia dell’opera italiana da Rossini a Puccini, in Enciclopedia della musica, a cura di Jean-Jacques Nattiez, vol. IV: Storia della musica europea, Torino, Einaudi, 2004, pp. 894-921.
HAROLD POWERS, «La solita forma» and «The Uses of Convention», «Acta Musicologica», vol. 59, Fasc. 1, Jan. - Apr., 1987, pp. 65-90.
MICHELE GIRARDI, Thou wouldst make a good fool – Egli è «Delitto», «Punizion» son io: due facce di Rigoletto, «La Fenice prima dell’opera», 5, 2010, pp. 13-38
―, «Elle mourut ainsi, doucement bercée et consolée en mille paroles touchantes». Realismo poetico nella partitura di «Traviata», in La traviata di Verdi, Torino, Teatro Regio, 19991, 20092, pp. 7-27
JOHN ROSSELLI, Music and Musicians in Nineteenth-Century Italy, Cambridge University Press,1991.

Further information can be found on the course page.

Oral examinatione :the verification will be carried out in an interview centered on the topics covered in the course.

Lectures, with the help of all the tools of computer science, to propose material in video, diagrams, read and discuss on-line bibliography, musical examples also on the piano.

Italian

During the first lesson the articulation of the course will be illustrated. Presence is recommended.

Ca ’Foscari applies Italian law (Law 17/1999; Law 170/2010) for the support and accommodation services available to students with disabilities or specific learning disabilities. If you have a motor, visual, hearing or other disability (Law 17/1999) or a specific learning disorder (Law 170/2010) and you require support (classroom assistance, technological aids for carrying out exams or exams individualized, accessible format material, note retrieval, specialist tutoring to support the study, interpreters or other) contact the Disability and DSA office disita@unive.it.

oral