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The marqués, the divas, and the castrati : Gaspar de Haro y Guzmán and opera in the early modern Spanish orbit / Louise K. Stein.
- Format:
- Book
- Author/Creator:
- Stein, Louise K., author.
- Series:
- Oxford scholarship online.
- Oxford scholarship online
- Language:
- English
- Subjects (All):
- Haro y Guzmán, Gaspar de, Marqués del Carpio, 1629-1687.
- Haro y Guzmán, Gaspar de.
- Opera producers and directors--Spain.
- Opera producers and directors.
- Opera--Production and direction--Spain--Madrid--History--17th century.
- Opera.
- Opera--Production and direction--Italy--Naples--History--17th century.
- Opera--Italy--17th century.
- Opera--Production and direction--Latin America--History--18th century.
- Spain--Court and courtiers--History--17th century.
- Spain.
- Physical Description:
- 1 online resource (809 pages)
- Edition:
- 1st ed.
- Place of Publication:
- New York, NY : Oxford University Press, [2024]
- Summary:
- During a crucial period in opera's development as a genre and as a business, the flamboyantly libertine Spanish aristocrat Gaspar de Haro y Guzmán (1629-87), Marques de Heliche and del Carpio, influenced operatic practices and productions for both Italian and Hispanic operas. A voracious collector of books and antiquities and famed connoisseur of visual art, the marqués financed operas in both Spain and Italy and further shaped them through his ideas, energy, and politics. His legacy also brought forth the first operas of the Americas, as posthumous revivals of the operatic genres he nurtured appeared in the Americas less than 15 years after his death. In this book, Louise K. Stein follows the trajectory of this first operatic producer to have shaped opera in two different worlds, Europe and the Americas, and in doing so, advances our historical understanding of 17th and early 18th-century opera and cultural encounter.
- Contents:
- Cover
- The Marqués, the Divas, and the Castrati
- Copyright
- Dedication
- Contents
- List of Figures
- List of Music Examples
- List of Tables
- Acknowledgments
- List of Abbreviations
- Introduction: An Extraordinary Patron
- 1. Inventing Hispanic Opera: Opera as Epithalamium
- Material Traces of an Interest in Music
- Heliche's Temperament
- Heliche, Mariana de Austria, and Theatrical Production in Madrid
- Heliche and the Renovation of the Coliseo del Buen Retiro
- Artistic Collaboration
- Performers
- Women Singing Onstage
- Opera Production in Madrid
- The Context for the "Lost" La púrpura de la rosa
- The Music of Celos aun del aire matan
- Conclusion
- Epilogue: Exile and Subsequent Travel
- 2. Negotiating Operatic Culture in Rome 1677-82
- A First Experience of Italian Opera
- Italian Opera as Heard by Spanish Compatriots
- Amid the Vicissitudes of Opera Production in Rome
- Entertainments with a Spanish Flavor
- The 1681 Serenata in Piazza di Spagna
- Patron and Protector in Rome
- Spanish Productions at Palazzo di Spagna
- Conclusion: "el buen gusto romano"?
- 3. Naples, Opera, and Spanish Viceroys to 1683
- The Count of Oñate and the First Operas in Naples
- Spaces for Opera in Oñate's Naples
- Viceroys and Inconsistent Levels of Support
- Operas at the Teatro di San Bartolomeo after the Fire
- Operas for Special Occasions
- Spanish Operas for Dynastic Celebrations
- Conclusions
- 4. Carpio and the Integration of Opera in Public Life, Naples 1683-87
- Practical Considerations
- Theaters and Finances for Opera in Naples
- A Palace Theater
- A Public Commercial Theater
- Libretti and the Schedule of Productions
- Opera Finances in Naples
- A New Operatic Production Team
- Musicians and Singers
- The 1683-84 Naples Opera Season
- L'Aldimiro overo Favor per favore.
- La Psiche, overo Amore innamorato
- Giulia Francesca Zuffi and the donnesca voce
- Giovanni Francesco Grossi and Amore
- Il Pompeo
- La Tessalonica and 1684
- The 1684-85 Naples Opera Season
- Il Giustino
- L'Epaminonda
- Il Galieno
- Summer Festivities 1685
- The 1685-86 Naples Opera Season
- Il Fetonte
- Olimpia vendicata
- L'Etio
- Carpio's Final Season 1686-87
- Operas of the 1686-87 Naples Season
- Il Nerone
- Clearco in Negroponte
- Il Roderico
- Tutto il mal: A Private Opera in 1686 or 1687
- Carpio in Naples, Some Conclusions
- 5. An Operatic Legacy in the Americas
- The Context for Opera in the American Viceroyalties
- La púrpura de la rosa in Lima 1701
- Legitimizing Public Secular Music and the Emerging Criollo Culture
- The Extant Lima Score
- Torrejón as Composer or Compiler?
- Hidalgo's Music inside Torrejón's Opera
- Hidalgo's Music Reaching Lima
- Torrejón y Velasco and the Loa
- Coplas, Estribillos, Bailes, Freely Declamatory Song
- Opera in New Spain
- Celos aun del aire matan in Mexico
- The Italian Paradigm in New Spain
- La Partenope, El Zelueco, and Neapolitan Models
- The Sumaya Question
- An Appreciable Contemporaneity
- Epilogue: Lima 1943
- Appendix 1: Plot Synopses, Celos aun del aire matan and La púrpura de la rosa
- Appendix 2: Items pertaining to the Theater in the Inventories of Gaspar de Haro y Guzmán's Possessions
- Appendix 3: Singers in Carpio's Naples Productions
- Bibliography
- Index of Poetic Incipits forSongs and Arias
- Index.
- Notes:
- Also issued in print: 2024.
- Includes bibliographical references and index.
- Description based on online resource and publisher information; title from PDF title page (viewed on February 12, 2024).
- ISBN:
- 0-19-768187-5
- 0-19-768185-9
- OCLC:
- 1396702945
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