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Great Women on Stage : the Reception of Women Monarchs from Antiquity in Baroque Opera.
Baroque opera is entirely plurimedial. Like no other medium, it offers unique possibilities to create, transform and reinterpret common historical images and figures, using different but closely intertwined semantic levels (drama, music, acting). This makes baroque opera a promising subject of histo...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Wiesbaden :
Harrassowitz Verlag,
2017.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Droß-Krüpe, Kerstin. | |
| 245 | 1 | 0 | |a Great Women on Stage : |b the Reception of Women Monarchs from Antiquity in Baroque Opera. |
| 260 | |a Wiesbaden : |b Harrassowitz Verlag, |c 2017. | ||
| 300 | |a 1 online resource (73 pages) | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 505 | 0 | |a Cover; Title Pages; Contents; Acknowledgements; Kerstin Droß-Krüpe: Great Women on Stage: the Reception of Women Monarchs from Antiquity in Baroque Opera; Bibliography; Kerstin Weiand: The Polyvalence of Antiquity: Remarks on the Reception of Classical Antiquity in Early Modern Europe; I. Antiquity and early modernity; II. The polyvalence of antiquity; 1. Antiquity as a source of legitimation; 2. Antiquity and the construction of identities and alterities; 3. Antiquity as a role model; 4. Antiquity as a social code; 5. Antiquity as a learned diversion; III. Conclusion; Bibliography. | |
| 505 | 8 | |a Agnes Garcia-Ventura and Marta Ortega Balanza: The Construction of Femininity in Händel's Agrippina: from History to Dramatic OperaI. Händel's Agrippina in its historical context; II. From Agrippina the Younger (1st century AD) to Händel's Agrippina (18th century AD): history, stories, and music; III. The cultural construction of gender roles: 1st century AD Rome, and 18th and 21st century AD Europe; IV. To conclude: some final thoughts; Bibliography; Valeska Hartmann: Cleopatra in Baroque Opera: the Stage Design Between Depiction of Powerand Adoption of Antiquity. | |
| 505 | 8 | |a I. The scene-painter Johann Oswald Harms and his depiction of Egypt in Cleopatra (1690)1. The image of Egypt in the 17th century as a basis of reception for the scene painters; 2. The conception of history and the function of opera in Baroque; II. The scene-painter Pelagio Palagi and his depiction of Egypt in La morte di Cleopatra (1797); 1. The image of Egypt in the 18th century as a basis of reception for the scene painters; 2. The conception of history and the function of opera at the end of 18th century; III. Conclusion; Bibliography; List of Contributors. | |
| 504 | |a Includes bibliographical references. | ||
| 520 | 8 | |a Baroque opera is entirely plurimedial. Like no other medium, it offers unique possibilities to create, transform and reinterpret common historical images and figures, using different but closely intertwined semantic levels (drama, music, acting). This makes baroque opera a promising subject of historical, political and gender-specific analysis. The present volume is based on a session of the Eleventh European Social Science History conference in 2016 and examines the (re- )presentation of antique female rulers in baroque opera. The volume is not about music history or music theory studies, but deals with how, in the baroque period, librettists, composers and stage processed the ancient material in order to present female rulers on stage. Baroque opera is a particularly suitable model of study, as ancient themes occupy a prominent place during that period of time. Agnès Garcia Ventura and Marta Ortega Balanza focus on Agrippina the Younger as adapted in a staging of Georg Friedrich Händel?s opera 'Agrippina' at the Liceu opera house in Barcelona in 2013. They analyze the miscellaneous gender representations of Agrippina from ancient sources to Händel?s opera and its Barcelona staging. In Valeska Hartmann?s contribution Cleopatra VII plays the lead. Hartmann focuses on the stage designs used to create an appropriate setting for this ambivalent and often highly sexualized ruler. Both case studies are preceded by an introductory chapter by Kerstin Dross-Krüpe about the 'opera seria' as a source for the reception of antiquity and an essay by Kerstin Weiand about the polyvalence of antiquity in early modern Europe. | |
| 590 | |a JSTOR |b Books at JSTOR Evidence Based Acquisitions | ||
| 590 | |a JSTOR |b Books at JSTOR Demand Driven Acquisitions (DDA) | ||
| 590 | |a JSTOR |b Books at JSTOR All Purchased | ||
| 600 | 1 | 0 | |a Handel, George Frideric, |d 1685-1759. |t Agrippina |v Congresses. |
| 600 | 0 | 0 | |a Agrippina, |c Minor, |d 15-59 |x In opera |v Congresses. |
| 600 | 0 | 0 | |a Cleopatra, |c Queen of Egypt, |d -30 B.C. |x In opera |v Congresses. |
| 600 | 0 | 7 | |a Agrippina, |c Minor, |d 15-59 |2 fast |
| 600 | 0 | 7 | |a Cleopatra, |c Queen of Egypt, |d -30 B.C. |2 fast |
| 630 | 0 | 7 | |a Agrippina (Handel, George Frideric) |2 fast |
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| 650 | 0 | |a Women in opera |v Congresses. | |
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| 776 | 0 | 8 | |i Print version: |a Droß-Krüpe, Kerstin. |t Great Women on Stage : The Reception of Women Monarchs from Antiquity in Baroque Opera. |d Wiesbaden : Harrassowitz Verlag, ©2017 |z 9783447107846 |
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