The Marqués, the Divas, and the Castrati

0,0009898

Oxford University Press anuncia la edición del libro The Marqués, the Divas, and the Castrati. Gaspar de Haro y Guzmán and Opera in the Early Modern Spanish Orbit^* de Louise K. Stein, Profesora de Estudios medievales y modernos, y Estudios latinoamericanos en musicología de la Universidad de Michigan y autora del galardonado Songs of Mortals, Dialogues of the Gods: Music and Theatre in Seventeenth-Century Spain (OUP 1993).^* Sus principales contribuciones filológicas son ediciones críticas de la primera ópera de América, La púrpura de la rosa (1999) y de Celos aun del aire matan (2014) la primera ópera española conservada.

The Marqués, the Divas, and the Castrati

Reproducimos a continuación el texto de presentación The Marqués, the Divas, and the Castrati proporcionado por Oxford University Press:

During a crucial period in opera's development as a genre and as a business, the flamboyantly libertine Spanish aristocrat Gaspar de Haro y Guzmán (1629-87), Marqués de Heliche and del Carpio, influenced operatic practices and productions for both Italian and Hispanic operas. A voracious collector of books and antiquities and famed connoisseur of visual art, the marqués financed operas in both Spain and Italy and further shaped them through his ideas, energy, and politics. His legacy also brought forth the first operas of the Americas, as posthumous revivals of the operatic genres he nurtured appeared in the Americas less than fifteen years after his death. In this book, author Louise K. Stein follows the trajectory of this first operatic producer to have shaped opera in two different worlds—Europe and the Americas—and in doing so, advances our musical and historical understanding of seventeenth- and early eighteenth-century opera and cultural encounter.
Each chapter focuses on different productions spearheaded by the Marqués in Madrid, Rome, and Naples during his lifetime, with the final chapter considering how his influence continued in operatic productions in Lima, Mexico City, and other regions of New Spain after his death. Alongside this portrait of the distinguish patron of the arts, Stein shows how conventions of musical dramaturgy for both private and commercial opera were developed within a consistent politics of production across the far-flung administrative centers of the Spanish empire in the years 1650-1730. 

She reveals the place of opera within the siglo de oro (Golden Age) of Hispanic theatre and delves deeply into how the Marqués became the principal patron of Alessandro Scarlatti in Italy after his time in Rome, sparking a reliable production system for Italian opera in Naples. Stein also addresses gendered performance—how beliefs about female fertility conditioned listeners and shaped the operatic genre—and advances the concept of the "womanly voice" in the first extant Hispanic operas, the Italian operas produced in Naples between 1683 and 1687, and the first operas of the Americas from 1701 to 1730.

The Marqués, the Divas, and the Castrati. Table of contents

Introduction: An Extraordinary Patron

Chapter 1. Inventing Hispanic Opera: Opera as Epithalamium

1. Material Traces of an Interest in Music
2. Heliche's Temperament
3. Heliche, Mariana, and Theatrical Production in Madrid
4. Heliche and the Renovation of the Coliseo del Buen Retiro
5. Artistic Collaboration
6. Performers
7. Women Singing Onstage
8. Opera Production in Madrid; The Context for the "Lost" La púrpura de la rosa
9. The Music of Celos aun del aire matan
10. Conclusion
11. Epilogue: Exile and Subsequent Travel

Chapter 2. Negotiating Operatic Culture in Rome 1677-82

1. A First Experience of Italian Opera
2. Italian Opera as Heard by Spanish Compatriots
3. Amidst the Vicissitudes of Opera Production in Rome
4. Entertainments With a Spanish Flavor
5. The 1681 Serenata in Piazza di Spagna
6. Patron and Protector in Rome
7. Spanish Productions at Palazzo di Spagna
8. Conclusion: "el buen gusto romano"?

Chapter 3. Naples, Opera, and Spanish Viceroys to 1683

1. The Count of Oñate and the First Operas in Naples
2. Spaces for Opera in Oñate's Naples
3. Viceroys and Inconsistent Levels of Support
4. Operas at the Teatro di San Bartolomeo After the Fire
5. Operas for Special Occasions
6. Spanish Operas for Dynastic Celebrations
7. Conclusions

Chapter 4. Carpio and the Integration of Opera in Public Life, Naples 1683-87
Practical Considerations
—Theaters and Finances for Opera in Naples
— A Palace Theater
—A Public Commercial Theater
—Libretti and the Schedule of Productions
—Opera Finances in Naples
—Musicians and Singers
The 1683-84 Naples Opera Season
—L'Aldimiro o vero Favor per favore
—La Psiche, ovvero Amore innamorato
—Giulia Francesca Zuffi and the donnesca voce
—Giovanni Francesco Grossi and Amore
—Il Pompeo
—La Tessalonica in 1684
The 1684-85 Naples Opera Season
—Il Giustino
—L'Epaminonda
—Il Galieno
—Summer Festivities
The 1685-86 Naples Opera Season
—Il Fetonte
—Olimpia vendicata
—L'Etio
Carpio's Final Season 1686-87
—L'Olimpo in Mergellina (serenata)
—Il Nerone
—Clearco in Negroponte
—Il Roderico
Tutto il mal: a private opera in 1686 or 1687
Carpio in Naples, Some Conclusions

Chapter 5. An Operatic Legacy in the Americas

1. The Context for Opera in the American Viceroyalties
2. La púrpura de la rosa in Lima 1701
3. —Legitimizing Public Secular Music and the Emerging Criollo Culture
4. —The Extant Lima Score
5. —Torrejón as Composer or Compiler?
6. —Hidalgo's Music Inside Torrejón's Opera
7. —Hidalgo's Music Reaching Lima
8. —Torrejón y Velasco and the Loa
9. —Coplas, estribillos, bailes, freely declamatory song
10. Opera in New Spain
11. —Celos aun del aire matan?
12. —The Italian paradigm in New Spain
13. —La Partenope, El Zelueco, and Neapolitan models
14. —The Sumaya Question
15. An Appreciable Contemporaneity
16. Epilogue: Lima 1943

Appendices
—Appendix 1: Plot Synopses, Celos aun del aire matan and La púrpura de la rosa
—Appendix 2: Theaters in the Carpio Inventories
—Appendix 3: Singers in Carpio's Naples Productions

Bibliography

Printed Sources Before 1800

Printed Sources After 1800

Index