A01=Roger L. Parker
Anna Bolena
Appoggiatura
Aria
Arrigo Boito
Author_Roger L. Parker
Baritone
Bernard Haitink
Cabaletta
Carolyn Abbate
Casa Ricordi
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Cavalleria rusticana
Clarinet
Composer
Critical edition (opera)
Defamiliarization
Di quella pira
Early music
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Ernani
Euridice (Peri)
Federico Ricci
Fioritura
For Example
Gaetano Donizetti
Genre
Giacomo Meyerbeer
Giovinezza
Giuseppe Verdi
I due Foscari
Il trovatore
Italian opera
Joseph Kerman
Julian Budden
L'amico Fritz
La battaglia di Legnano
La forza del destino
La Scala
La traviata
Libretto
Luisa Miller
Mefistofele
Melodrama
Music Is
Musicology
Nabucco
Narrative
Neville Cardus
Opera
Ornament (music)
Otello
Otello (Rossini)
pensiero
Philip Gossett
Phrase (music)
Reinterpretation
Rigoletto
Roberto Devereux
Romanticism
Salvadore Cammarano
Set piece (filmmaking)
Silvio Pellico
Simon Boccanegra
Sinfonia
Sostenuto
Stiffelio
Syncopation
The Other Hand
Tonality
Un ballo in maschera
Unsung (TV series)
Va
William Ashbrook
Word painting
Product details
- ISBN 9780691015576
- Weight: 425g
- Dimensions: 197 x 254mm
- Publication Date: 23 Nov 1997
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Hardback
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In these essays, Roger Parker brings a series of valuable insights to bear on Verdian analysis and criticism, and does so in a way that responds both to an opera-goer's love of musical drama and to a scholar's concern for recent critical trends. As he writes at one point: "opera challenges us by means of its brash impurity, its loose ends and excess of meaning, its superfluity of narrative secrets." Verdi's works, many of which underwent drastic revisions over the years and which sometimes bore marks of an unusual collaboration between composer and librettist, illustrate in particular why it can sometimes be misleading to assign fixed meanings to an opera. Parker instead explores works like Rigoletto, Il trovatore, La forza del destino, and Falstaff from a variety of angles, and addresses such contentious topics as the composer's involvement with Italian politics, the possibilities of an "authentic" staging of his work, and the advantages and pitfalls of analyzing his operas according to terms that his contemporaries might have understood.
Parker takes into account many of the interdisciplinary influences currently engaging musicologists, in particular narrative and feminist theory. But he also demonstrates that close attention to the documentary evidence--especially that offered by autograph scores--can stimulate equal interpretive activity. This book serves as a model of research and critical thinking about opera, while nevertheless retaining a deep respect for opera's continuing power to touch generations of listeners.
Roger Parker is Professor of Music and Fellow of St. Hugh's College, Oxford. He is the founding coeditor of the Cambridge Opera Journal and the Donizetti Critical Edition, and the author of several books and articles on nineteenth-century Italian opera. He is the coeditor, with Arthur Groos, of Reading Opera (Princeton).
