Il teatro alla moda osia Metodo sicuro, e facile per ben comporre, & esequire l'opere italiane in musica all'uso moderno
- Type:
- boek
- Titel:
- Il teatro alla moda osia Metodo sicuro, e facile per ben comporre, & esequire l'opere italiane in musica all'uso moderno
- Jaar:
- 1722
- Onderwerp:
- 18th Century (1701-1800)
Music criticism
Opera seria
Satire
Venice (Italy)
a =
ad lib. aria in opera
ademhalen
advokaat
altviool
bc
cadens
castraten
cello
componeren
componist
contrabas
dansen
oud-nieuw
diminuties
dirigent
pizzicato
emoties
enharmonisch
entréeprijs
publiek
sordine
forlane
stemomvang
streektechniek
tabak
tekst
tekstschrijver
tekstuitspraak
temperatuur
tempo
tempo van triller
tromba marina
uit 't hoofd zingen
viool
Vivaldi, A
impresario
volume
zangeres
zangers
zuiverheid
recitatief
repeteren
repetitie en zangers
koor/orkestbezetting
kwaliteit van uitvoering
salaris
majeur einde in mineur stuk
mise-en-scène
messa di voce
compositieduur
copiist
excuses om niet te zingen
gesticuleren etc
jaloezie
moeder van de zangeres
oktaveren
papegaai/dieren in't gevolg van zangeres
publiciteit - Taal:
- Italiaans
- Uitgever:
- Venice Aldiviva Licante 1722
- Plaatsnummer:
- ORPH.KTS1 C2.48 10D03 (Orpheus Instituut)
- Paginering:
- 72 pages engraved frontispiece
- Samenvatting:
- 'The Fashionable Theater' is a satirical pamphlet in which its author, the Venetian composer Benedetto Marcello, vents his critical opinions on the milieu of the Italian opera seria in the first decades of the eighteenth century. Virtually every aspect of opera seria and its social environment is mercilessly criticized: the artificiality of plots, the stereotyped format of music, the extravagant scenography and machinery, the inability and venality of composers and poets, the vanity and vulgarity of singers, the avidity of impresarios, the ineptitude of musicians. The frontispiece contains several allusions to well-known protagonists of the Venetian theater of the time. For instance, the publisher's name "Aldiviva Licante" refers, by means of anagrams, both to Antonio Vivaldi, then very famous as an opera composer, and to the singer Caterina Canteli. The engraving shows a little boat rowed by a well dressed gentleman. Numerous supplies such as a wine barrel and sacks of flour are lying in the forward part of the boat, at the bow of which stands a bear (representing impressario Orsatti) wearing a wig and waving a little flag. An angel wearing a priest's hat and playing on a diminituive violin occupies the opposite position, hovering over the rudder at the stern, representing Antonio Vivaldi. Underneath the picture follows an imprint, in which every word printed in capitals refers to a composer, singer or other person involved in Venetian opera business.
- Nota:
- A discussion and full English translation is published in Musical Quarterly:Pauly, Reinhard G. (1948). "Benedetto Marcello's Satire on Early 18th-Century Opera". The Musical Quarterly. 34 (2): 222–233. ISSN 0027-4631. JSTOR 739306.Marcello, Benedetto; Pauly, Reinhard G. (1948). "Il Teatro Alla Moda--Part I". The Musical Quarterly. 34 (3): 371–403. ISSN 0027-4631. JSTOR 739550.Marcello, Benedetto; Pauly, Reinhard G. (1949). "Il Teatro Alla Moda--Part II". The Musical Quarterly. 35 (1): 85–105. ISSN 0027-4631. JSTOR 739581.
- Permalink:
- https://www.cageweb.be/catalog/orp01:000002837