Venanzio Rauzzini and the Birth of a New Style in English Singing

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A01=Brianna E. Robertson-Kirkland
Author_Brianna E. Robertson-Kirkland
Biographical Memoir
British musical nationalism
castrato performers
Category=AV
Category=NH
Category=NHA
Category=NHAH
Category=NHD
Category=NHTB
celebrity culture studies
Concert Series
English Singers
English Singing
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
gender in music education
Georgian music history
Gerard Ter Borch
Hexachord System
historical singing lesson practices
Italian Arias
Italian Opera
Italian Singing
Mara
Mi Fa
Monthly Mirror
Music Education
Music Master
Nancy Storace
Neapolitan Conservatories
Oratorio Series
Paul Rice
Primo Uomo
Principal Singer
RCM
Solfa Syllables
Venanzio Rauzzini
vocal pedagogy
Wolfgang Amadeus Mozart
Young Man

Product details

  • ISBN 9780367443375
  • Weight: 462g
  • Dimensions: 152 x 229mm
  • Publication Date: 31 Jan 2022
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
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Since the eighteenth century, the one-to-one singing lesson has been the most common method of delivery. The scenario allows the teacher to familiarise and individualise the lesson to suit the needs of their student; however, it can also lead to speculation about what is taught. More troubling is the heightened risk of gossip and rumour with the private space generating speculation about the student–teacher relationship. Venanzio Rauzzini (1746–1810), an Italian castrato living in England who became a highly sought-after singing master, was particularly susceptible since his students tended to be women, whose moral character was under more scrutiny than their male counterparts. Even so in 1792, The Bath Chronicle proclaimed the Italian castrato: 'the father of a new style in English singing'. Branding Rauzzini as a founder of an English style was not an error, but indicative of deep-seated anxieties about the Italian invasion on England’s musical culture. This book places teaching at the centre of the socio-historical narrative and provides unique insight into musical culture. Using a microhistory approach, this study is the first to focus in on the impact of teaching and casts new light on issues of celebrity culture, gender and nationalism in Georgian England.

Brianna E. Robertson-Kirkland is a Lecturer in Historical Musicology at the Royal Conservatoire of Scotland.

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