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3659 results in Opera

Page 53 of 183

Handel on the Stage
  • David Kimbell
  • Published online:
    05 February 2016
    Print publication:
    11 February 2016
  • Of all the great composers of the eighteenth century, Handel was the supreme cosmopolitan, an early and extraordinarily successful example of a freelance composer. For thirty years the opera-house was the principal focus of his creative work and he composed more than forty operas over this period. In this book, David Kimbell sets Handel's operas in their biographical and cultural contexts. He explores the circumstances in which they were composed and performed, the librettos that were prepared for Handel, and what they tell us about his and his audience's values and the music he composed for them. Remarkably no Handel operas were staged for a period of 170 years between 1754 and the 1920s. The final chapter in this book reveals the differences and similarities between how Handel's operas were performed in his time and ours.

  • OPR volume 27 issue 3 Cover and Front matter

  • Journal:
    Cambridge Opera Journal / Volume 27 / Issue 3 / November 2015
    Published online by Cambridge University Press:
    12 November 2015, pp. f1-f2
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  • OPR volume 27 issue 3 Cover and Back matter

  • Journal:
    Cambridge Opera Journal / Volume 27 / Issue 3 / November 2015
    Published online by Cambridge University Press:
    12 November 2015, pp. b1-b6
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  • From Guadagni’s Suitcase: A Primo Uomo’s Signature Aria and its Transformation

  • Margaret R. Butler
  • Journal:
    Cambridge Opera Journal / Volume 27 / Issue 3 / November 2015
    Published online by Cambridge University Press:
    12 November 2015, pp. 239-262

  • By 1760, the great musico Gaetano Guadagni had made a name for himself singing the role of Arbace in Baldassare Galuppi’s popular setting of Artaserse. A replacement aria connected with that work emerged as Guadagni’s signature song. Its text appears in all librettos for Galuppi’s setting that Guadagni sang; Johann Christian Bach provided Guadagni with another setting of the text; and a third by an unknown composer suggests links between the poetry and settings by Gaetano Pampani and Leonardo Vinci. This article examines Guadagni’s aria and its transformation, re-examining the role of a solo song in the creation of a singer’s international reputation, its power to evoke memories of other celebrities in the minds of audiences and its function in placing a singer within a broad community of star performers.

Page 53 of 183