1,722,398 research outputs found
“Una storia che non è mai accaduta ed è certissima”: raccontando Pantelleria dei Masbedo
No full textIn an interview with Nicolò Massazza and Iacopo Bedogni (Masbedo) “Una storia che non è mai accaduta ed è certissima”, Vincenzina C. Ottomano focuses on the role of sound in the video installation “Pantelleria” and how the two artists managed to recreate the memory of the bombing of the Sicilian island during the Second World War
Perspektiven im fünften Jahr der Zeitschrift/ Prospettive alla fine del primo quinquennio
No full textDas Erscheinen dieses fünften Heftes der verdiperspektiven erlaubt eine Zwischenbilanz und auch, über die zukünftigen Perspektiven dieser Zeitschrift nachzudenken, zumal im Wissen um die Schwierigkeiten, der auch die Forschung in den letzten drei Jahren im Zeichen der Maßnahmen gegen CoViD-19 ausgesetzt war
Die erste Rezeption russischer Opern in Italien: Ein Leben für den Zaren in Mailand
No full textA Life for the Tsar by Michail Glinka was staged on 20 May 1 874 at the Teatro dal Verme in Milan. The paper discusses the impact this opera had on the Italian public, including some of the echoes in the foreign press. The style and dramaturgical content of Glinka's masterpiece sparked off an authentic querelle which was similar to - indeed perhaps even more violent than - the one caused by Wagner's operas, which were also receiving their first hearings in Italy. The increasingly frequent staging of operas from the Slavic repertoire brought to the fore a fundamental problem in this transition period. The insinuation of an extraneous element - which in the case of Italy immediately found a casus belli in Glinka's A Life for the Tsar - necessarily meant acknowledging the inescapable crisis of everything which had heretofore been con- fined within national borders or had relied on a substantially Euro-centri
Russische Oper in Italien am Beginn des 20. Jahrhunderts. Rezeption, Theoriedebatte und neue Perspektiven
No full textThis article examines the impact of the early dissemination of Russian Opera in the cultural life and the musical thought of Italy between the second half of the 19th century and the beginning of the 20th century. At the same time, it deals with the theory that Italy embraced Russian Opera in order to solve his own problems in building a national identity and it reflects the wider historiographical debates over the concept of cultural transfer. In this regards, the Author shows that contemporary critics and composers (like Giannotto Bastianelli
and Alfredo Casella) understood Musorgsky’s »barbaric genius« as ideal reference point for a return to the supposedly popular origin of Italian melody
Von Fragen des Stimmtons zu Verdis letzten beiden Opern/Dal diapason alle ultime due opere di Verdi
No full textPrefazione al sesto volume della rivista verdiperspektiven
Il parere di Gaetano Maria Fara e di Cosimo Ottomano
No full textverrà inserito alla riapertura delle bibliotech
verdiperspektiven
Full text linkThe main objective of VerdiPerspektiven is to provide an intellectual platform for international scholars.
VerdiPerspektiven aims to publish high-quality essays on Giuseppe Verdi’s life and work (music, dramaturgy, biography, philological and analytical issues), on the social, political and cultural context of 19th-century European Opera as well as studies on musical dissemination.
VerdiPerspektiven is a peer-reviewed, annual publication, edited by Anselm Gerhard and Vincenzina C. Ottomano.
The journal is published in the first months of each year both in print version by Königshausen & Neumann (Würzburg, Germany) and online.
The languages of publication are Italian, English, German and French
Borghesi insolenti contro un nobile decaduto. Una rilettura del Falstaff di Boito e Verdi in chiave sociale
No full textAccording to Robert Weimann “it is only when Elizabethan society, theatre,
and language are seen as interrelated that the structure of Shakespeare’s
dramatic art emerges as fully functional”. Starting from this position,
this essay focuses on the social dimension in Falstaff and, in particular,
its influence on the musical-dramaturgical form of the opera. While in
the libretto Boito underlines social distinctions between the characters
through his refined choice of words, Verdi’s music emphasizes the contrast
between the “impoverished nobleman (Falstaff) and the “insolent
bourgeoises” (Alice and Meg) at two particular points in the opera: first,
in the scene where Meg and Alice compare Falstaff’s Letters (Act I, second
part), and the second where Falstaff attempts to seduce Alice (Act II,
second part). Examined within the social and political context of Italy’s
post-Unification period, the work acquires a new level of meaning, which
sheds light on the contradictions between the struggles of an emerging
middle class and the persistence of an archaic aristocratic structure of
society
Preface / Prefazione / Préface / Vorwort
No full textThe tryptic on “Music in Times of Crisis” began with “Pandemics” (vol. 38) and continues here with “Conflicts and Wars” (vol. 39) addressing aspects of musicological engagement in confrontational crises. While the effects of the global pandemic of Covid-19 were already well-known when we put out our call, we could not have guessed that the theme of war would gain such global prominence with the recent escalation of the conflict between Russia and Ukraine. For obvious reasons, the focus of this issue cannot be this particular socio-political conflict. Nonetheless, many of the contributions published here resonate eerily through space and time, questioning how sounds and conflicts relate to each other, how acoustic phenomena can be an expression of wars both past and present, and how such local, national and global crises are perceived as, expressed in, or confronted through music. In the present issue authors address the topic of music in “Conflicts and Wars” spanning several centuries and continents
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