From the early eighteenth-century until the present day, opera seria as practiced by Handel and his contemporaries has been the subject of satire and even derision for its dramatic artifice and virtuosic vocal displays. Close examination of Handel's autograph manuscripts, the libretti upon which they were based, and other contemporary documents reveal the extent to which Handel was influenced by his singers and their abilities in creating his commercially successful and dramatically effective operas. Drawing on ideas and evidence from these sources, this study demonstrates the fact that Handel's singers were the single most important influence in his opera composition during his tenure as composer and music director of the Royal Academy of Music from 1719-28.
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C. Steven LaRue is presently an editor at A-R Editions in Madison, Wisconsin.
From the early 18th century until the present day, opera seria as practised by Handel and his contemporaries has been the subject of satire and even derision for its dramatic artifice and virtuosic displays. Close examination of Handel's autograph manuscripts, the librettos upon which they were based, and other contemporary documents, reveal the extent to which Handel was influenced by his singers and their abilities in creating his commercially successful and dramatically effective operas. Drawing on evidence from these sources, the author demonstrates the fact that Handel's singers (such as Francesco Borosini, Margherita Durastanti, Francesca Cuzzoni, and Faustina Bordoni) were the single most important influence on his opera composition during his tenure as composer and music director of the Royal Academy of Music from 1719-28.
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1st edition, reprint. Fine cloth copy in a near-fine, very slightly edge-nicked and dust-dulled dust-wrapper, now mylar-sleeved. Remains particularly well-preserved overall; tight, bright, clean and strong. Series: The Oxford Monographs on Music. Physical description: xiii, 213 pages : tables, music ; 24 cm. Notes: Includes bibliographical references (pages 205-210) and index. Contents: Cast, Librettist, Composer -- A General Description of the Sources -- Francesco Borosini and the Two First Versions of Tamerlano (1724) -- Margherita Durastanti as Leading Man and Leading Woman -- Senesino and the Heroic-Anti-Heroic Male Role -- The Singer as Specific Character Type -- Francesca Cuzzoni and Faustina Bordoni: The Rival Queens -- Synopsis of Piovene's Tamerlano (1710) -- Comparison of Piovene, Tamerlano (1710) with Haym, Tamerlano (23 July 1724) -- Projected and Actual Casts for the First Season of the Royal Academy of Music, 1720-1721. Subjects: Handel, George Frideric 1685-1759; Operas; Bordoni, Faustina 1693-1783; Borosini, Francesco 1690-?; Cuzzoni, Francesca 1696-1770; Royal Academy of Music (London, England : 1719-1728); Singers England London 18th century; Opera 18th century; Musical composition. 1 Kg. Seller Inventory # 391215
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