The Cambridge Companion to Monteverdi (Cambridge Companions to Music) by John Whenham |
Opera in 17th Century Venice: The Creation of a Genre (Centennial Books) by E Rosand |
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Claudio Monteverdi (1567-1643) is well known as the composer of the earliest operas still performed today. His "Orfeo, Il Ritorno d'Ulisse in Patria", and "L'incoronazione di Poppea" are internationally popular nearly four centuries after their creation. These seminal works represent only a part of Monteverdi's music for the stage, however. He also wrote numerous works that, while not operas, are no less theatrical in their fusion of music, drama and dance. This is a survey of Monteverdi's entire output of music for the theatre - his surviving operas, other dramatic musical compositions, and lost works. Tim Carter begins by charting the progress of early opera from the north Italian courts to the "public" theatres of Venice. He places Monteverdi's stage works in the broader context of early-17th-century theatrical endeavour and explores crucial questions of genre, interpretation, and performance practices both then and now. Taking a pragmatic view of how the works were brought to life on the stage and how they were seen in their own time, Carter discusses the complex modes of production that involved a range of artists, artisans and performers. With commentary on the composer's individual works and on the cultural and theatrical contexts in which they were performed, Carter casts light on Monteverdi's remarkable achievement as a man of the theatre.
About the Author
Tim Carter is David G. Frey Distinguished Professor of Music at the University of North Carolina at Chapel Hill.
Claudio Monteverdi (1567-1643) is well known as the composer of the earliest operas still performed today. His "Orfeo, Il Ritorno d'Ulisse in Patria", and "L'incoronazione di Poppea" are internationally popular nearly four centuries after their creation. These seminal works represent only a part of Monteverdi's music for the stage, however. He also wrote numerous works that, while not operas, are no less theatrical in their fusion of music, drama and dance. This is a survey of Monteverdi's entire output of music for the theatre - his surviving operas, other dramatic musical compositions, and lost works. Tim Carter begins by charting the progress of early opera from the north Italian courts to the "public" theatres of Venice. He places Monteverdi's stage works in the broader context of early-17th-century theatrical endeavour and explores crucial questions of genre, interpretation, and performance practices both then and now. Taking a pragmatic view of how the works were brought to life on the stage and how they were seen in their own time, Carter discusses the complex modes of production that involved a range of artists, artisans and performers. With commentary on the composer's individual works and on the cultural and theatrical contexts in which they were performed, Carter casts light on Monteverdi's remarkable achievement as a man of the theatre.
About the Author
Tim Carter is David G. Frey Distinguished Professor of Music at the University of North Carolina at Chapel Hill.
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