Explores the political meanings that Italian opera - its composers, agents and institutions - had for audiences in eighteenth-century Britain.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Introduction 1 Opera in the English Manner 2 The Infiltration of Italian Music and Singing 3 Italian and English Singing and Partisan Politics 4 The Haymarket Theatre: A Whig Project 5 Whigs and Opera in the Italian Manner 6 1710: The Year of Great Change in Politics and Opera 7 Whigs Confront Opera: Britain at a Machiavellian Moment 8 Addison: Opera and the Politics of Politeness 9 The Whig Campaign for English Opera; Handel Celebrates the Peace Epilogue Appendix 1: Operatic Works Produced (or Known) in London, ca. 1660-1704 Appendix 2: Principal Independent Theatrical Masques Produced in London, 1676-1705 Appendix 3: Opera Performances by Season in London, 1705-1714 Appendix 4: Aria Types in All-sung Operas Produced in London, 1705-1714. Bibliography Index
Introduction 1 Opera in the English Manner 2 The Infiltration of Italian Music and Singing 3 Italian and English Singing and Partisan Politics 4 The Haymarket Theatre: A Whig Project 5 Whigs and Opera in the Italian Manner 6 1710: The Year of Great Change in Politics and Opera 7 Whigs Confront Opera: Britain at a Machiavellian Moment 8 Addison: Opera and the Politics of Politeness 9 The Whig Campaign for English Opera; Handel Celebrates the Peace Epilogue Appendix 1: Operatic Works Produced (or Known) in London, ca. 1660-1704 Appendix 2: Principal Independent Theatrical Masques Produced in London, 1676-1705 Appendix 3: Opera Performances by Season in London, 1705-1714 Appendix 4: Aria Types in All-sung Operas Produced in London, 1705-1714. Bibliography Index
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