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Ignazio Degotti Staging Luigi Cherubini. Making Visual Culture at the Théâtre Feydeau
No full textMy article investigates the never-explored relationship between Luigi Cherubini and the stage designer Ignazio Degotti. This partnership took place at the end of the 1790s in Paris when both artists were active at the Théâtre de Monsieur (re-named Feydeau after 1792).
In my study, the connection between Cherubini and Degotti is explored on two levels. On one, I reconstruct how this relationship grew within a network of old and new Franco-Italian artistic friendships. Details on these connections are important for new biographical insights into both artists’ biographies, and they also give us a sense of a specific location in Paris (the Poissonière neighbourhood) where a community of theatrical people lived, met, and worked.
On another level, I provide an analysis of the three main operas that Degotti staged for Cherubini at the Monsieur-Feydeau: Lodoïska (18th of July 1791), Eliza ou le voyage au glaciers du Mont Saint-Bernard (13th of December 1794), and Médée (13th of March 1797). In these productions, Degotti revealed new kinds of delightful décor and gothic spaces which allowed him to express the potential of a powerful, detailed, and dynamic setting in creating a novel visual experience.
Degotti emerges as a great designer for Cherubini’s operas at the Feydeau, and as a key contributor to the operatic productions at the turn of the nineteenth century
Ignazio Degotti Staging Luigi Cherubini. Making Visual Culture at the Théâtre Feydeau
No full textMy article investigates the never-explored relationship between Luigi Cherubini and the stage designer Ignazio Degotti. This partnership took place at the end of the 1790s in Paris when both artists were active at the Théâtre de Monsieur (re-named Feydeau after 1792).
In my study, the connection between Cherubini and Degotti is explored on two levels. On one, I reconstruct how this relationship grew within a network of old and new Franco-Italian artistic friendships. Details on these connections are important for new biographical insights into both artists’ biographies, and they also give us a sense of a specific location in Paris (the Poissonière neighbourhood) where a community of theatrical people lived, met, and worked.
On another level, I provide an analysis of the three main operas that Degotti staged for Cherubini at the Monsieur-Feydeau: Lodoïska (18th of July 1791), Eliza ou le voyage au glaciers du Mont Saint-Bernard (13th of December 1794), and Médée (13th of March 1797). In these productions, Degotti revealed new kinds of delightful décor and gothic spaces which allowed him to express the potential of a powerful, detailed, and dynamic setting in creating a novel visual experience.
Degotti emerges as a great designer for Cherubini’s operas at the Feydeau, and as a key contributor to the operatic productions at the turn of the nineteenth century
Cherubini buffo e la mescolanza tra i generi operistici. Lo sposo di tre e marito di nessuna (Venezia 1783)
No full textPartendo dall'opera buffa di Cherubini Lo sposo di tre e marito di nessuna il saggio indaga il nuovo genere mezzano di dramma giocoso che prelude all'opera semiseria di primo Ottocento. La scrittura seriosa di Cherubini emerge anche in un contesto comico portando un surplus di contrappunto e di densità armonica all'interno di un repertorio di solito più giocato sulla gestualità fattoriale che sulla complessità compositiva. Il confronto con opere simili degli stessi anni lascia emergere tratti stilistici peculiari del compositore fiorentino che non toccherà più quel repertorio sapendone tuttavia trasportarne i tratti melodrammaturgici in altro contesto frequentato dopo il definitivo trasferimento a Parigi
Le due versioni del Finale II nell’«Elisa ou Le voyage aux glaciers du Mont (St.) Bernard»
No full textThe aim of this contribution is to present the principal differences between the autograph score and the printed version of Luigi Cherubini’s opéra-comique Elisa ou Le voyage aux glaciers du Mont (St.) Bernard. First performed in 1794, this opera staged a common love story situated in an unusual context: the alpine landscape, with a strong visual and emotional impact. The protagonist, the landscape painter Florindo, travels to Mont St. Bernard to forget his beloved Elisa, who pursues him and saves him from suicide. When Elisa finally finds her beloved, an avalanche sweeps him away. The friars manage to dig him out and the story concludes happily.
Among the differences between the two versions, the most relevant is in the Finale of second act, in which the avalanche and Florindo’s rescue are staged. The printed score (without dating) presents an abridged version: the avalanche scene (first part of the Finale II) is the same as in the autograph but the rescue scene (second part) amounts only of 161 measures in print, against the 438 measures of the autograph. Moreover, the printed version is more regular in form; by the contrary, the autograph version presents an unusual free articulation that follows the action systematically. Its result is that in the printed and definitive version the Finale II is musically and dramaturgically less interesting; a possible explanation is the employment of the score in secondary theaters, which could not afford too elaborated productions
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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