The Politics of Princely Entertainment follows the travels of Lorenzo Onofrio Colonna and Maria Mancini, two of the most active music patrons of seventeenth-century Italy, tracing their influence on music across a rapidly transforming Europe through the singers, composers, and librettists they supported.
The Politics of Princely Entertainment follows the travels of Lorenzo Onofrio Colonna and Maria Mancini, two of the most active music patrons of seventeenth-century Italy, tracing their influence on music across a rapidly transforming Europe through the singers, composers, and librettists they supported.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Valeria De Lucca is Associate Professor of Music at the University of Southampton. Her research engages with the social and political implications of production, staging and circulation of opera and musical theater, with a particular emphasis on women patrons and on the lives and careers of female singers in early modern Italy.
Inhaltsangabe
* Acknowledgments * List of Illustrations * List of Abbreviations * Introduction * Chapter 1. The Colonna, Aristocratic Culture and the Display of Power in Seventeenth-Century Rome * Chapter 2. "Dalle sponde del Tebro alle rive dell'Adria": The Colonna and the Public Theaters of Venice * Chapter 3. "All'uso di Venezia": The Teatro Tordinona * Chapter 4. Staging a Public Response: Maria Mancini Colonna's Patronage in Rome * Chapter 5. Music and Theater in Rome after the Teatro Tordinona * Chapter 6. The Spanish Years * Chapter 7. Teatro Colonna (1682-1686) * Chapter 8. "Vive scintille dell'onor Romano": Colonna Viceroy of Naples (1687-1688) * Epilogue * Appendix * Bibliography
* Acknowledgments * List of Illustrations * List of Abbreviations * Introduction * Chapter 1. The Colonna, Aristocratic Culture and the Display of Power in Seventeenth-Century Rome * Chapter 2. "Dalle sponde del Tebro alle rive dell'Adria": The Colonna and the Public Theaters of Venice * Chapter 3. "All'uso di Venezia": The Teatro Tordinona * Chapter 4. Staging a Public Response: Maria Mancini Colonna's Patronage in Rome * Chapter 5. Music and Theater in Rome after the Teatro Tordinona * Chapter 6. The Spanish Years * Chapter 7. Teatro Colonna (1682-1686) * Chapter 8. "Vive scintille dell'onor Romano": Colonna Viceroy of Naples (1687-1688) * Epilogue * Appendix * Bibliography
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