Handel As Arranger And Producer: Listening To Pasticci In Eighteenth-Century London

My dissertation investigates the experience of listening to previously-heard music assembled by composers through the exploration of a paradigmatic baroque genre, the operatic pasticcio. Focusing on productions by Georg Frideric Handel mounted between 1725 and 1739, my dissertation articulates three main issues: the role of material circulation of music in early eighteenth-century London; the notion of authorship in the context of the literary marketplace, copyright laws, and music appropriation in early eighteenth-century London; and the experience of listening to what a composer already listened to by borrowing music from other authors. Thus, I position the pasticcio in the context of non-music publishing, reading, and copying practices, and I argue that the genre was produced as a form of inscription of these listening and reading habits. By redefining the pasticcio as a form of listening inscription, my project reconsiders baroque opera’s aurality as paradigmatic of pre-Enlightenment reading and listening practices. Drawing on methodologies and concepts from the fields of material texts and performance studies, my research expands previous musicological literature—which focused mostly on textual genealogy—by considering the pasticcio as emblematic of the ‘ghosting’ nature of opera altogether which relies on the memory of previous performances and the issue of musical recurrence

“There’s Something Missing Here…”: Milo Rau, Opera, and the Search for the Real (Mozart)

Review of La clemenza di Tito, music by Wolfgang Amadeus Mozart, libretto by Caterino Mazzolà. Orchestre de la Suisse Romande conducted by Maxim Emelyanychev. Stage direction by Milo Rau. Live streaming on February 19, 2021, GTG Digital. Creative team: Anton Lukas, set designer; Ottavia Castellotti, costume designer; Jürgen Kolb, light designer; Moritz von Dungern, videos; Clara Pons, dramaturg; Alan Woodbridge, choir director. Cast: Bernard Richter, Tito; Serena Farnocchia, Vitellia; Anna Goryachova, Sesto; Cecilia Molinari, Annio; Marie Lys, Servilia; Justin Hopkins, Publio

Handel As Arranger And Producer: Listening To Pasticci In Eighteenth-Century London

My dissertation investigates the experience of listening to previously-heard music assembled by composers through the exploration of a paradigmatic baroque genre, the operatic pasticcio. Focusing on productions by Georg Frideric Handel mounted between 1725 and 1739, my dissertation articulates three main issues: the role of material circulation of music in early eighteenth-century London; the notion of authorship in the context of the literary marketplace, copyright laws, and music appropriation in early eighteenth-century London; and the experience of listening to what a composer already listened to by borrowing music from other authors. Thus, I position the pasticcio in the context of non-music publishing, reading, and copying practices, and I argue that the genre was produced as a form of inscription of these listening and reading habits. By redefining the pasticcio as a form of listening inscription, my project reconsiders baroque opera’s aurality as paradigmatic of pre-Enlightenment reading and listening practices. Drawing on methodologies and concepts from the fields of material texts and performance studies, my research expands previous musicological literature—which focused mostly on textual genealogy—by considering the pasticcio as emblematic of the ‘ghosting’ nature of opera altogether which relies on the memory of previous performances and the issue of musical recurrence

Handel as Arranger and Producer: Listening to Pasticci in Eighteenth-century London

My dissertation investigates the experience of listening to previously-heard music assembled by composers through the exploration of a paradigmatic baroque genre, the operatic pasticcio. Focusing on productions by Georg Frideric Handel mounted between 1725 and 1739, my dissertation articulates three main issues: the role of material circulation of music in early eighteenth-century London; the notion of authorship in the context of the literary marketplace, copyright laws, and music appropriation in early eighteenth-century London; and the experience of listening to what a composer already listened to by borrowing music from other authors. Thus, I position the pasticcio in the context of non-music publishing, reading, and copying practices, and I argue that the genre was produced as a form of inscription of these listening and reading habits. By redefining the pasticcio as a form of listening inscription, my project reconsiders baroque opera’s aurality as paradigmatic of pre-Enlightenment reading and listening practices. Drawing on methodologies and concepts from the fields of material texts and performance studies, my research expands previous musicological literature—which focused mostly on textual genealogy—by considering the pasticcio as emblematic of the ‘ghosting’ nature of opera altogether which relies on the memory of previous performances and the issue of musical recurrence.

Handel as Arranger and Producer: Listening to Pasticci in Eighteenth-century London

My dissertation investigates the experience of listening to previously-heard music assembled by composers through the exploration of a paradigmatic baroque genre, the operatic pasticcio. Focusing on productions by Georg Frideric Handel mounted between 1725 and 1739, my dissertation articulates three main issues: the role of material circulation of music in early eighteenth-century London; the notion of authorship in the context of the literary marketplace, copyright laws, and music appropriation in early eighteenth-century London; and the experience of listening to what a composer already listened to by borrowing music from other authors. Thus, I position the pasticcio in the context of non-music publishing, reading, and copying practices, and I argue that the genre was produced as a form of inscription of these listening and reading habits. By redefining the pasticcio as a form of listening inscription, my project reconsiders baroque opera’s aurality as paradigmatic of pre-Enlightenment reading and listening practices. Drawing on methodologies and concepts from the fields of material texts and performance studies, my research expands previous musicological literature—which focused mostly on textual genealogy—by considering the pasticcio as emblematic of the ‘ghosting’ nature of opera altogether which relies on the memory of previous performances and the issue of musical recurrence.

La traducción del teatro áureo en Italia, desde el siglo XIX hasta nuestros días. Constantes y variables en la formación de un canon

This essay aims to provide an over view of the Italian translations of Spanish Golden Age theatre from the 19th centur y to the present, identifying above all the differ-ences in the approach to Spanish texts compared to previous centuries and the distinc-tive features of each historical-cultural period within this long span of time. Romantic translations (a period marked by the great collections of theatrical texts by Monti and La Cecilia) were characterised by their marked preference for religious and honour-based dramas and for the works of Calderón; while the 20th centur y saw a general reworking of the corpus of translated texts, with a stable presence of Calderón and the recover y of the dramas on peasant honour by Lope de Vega. The emergence and affirmation of the poetic translation is highlighted, from the early experiments of the 1920s to the general acceptance of our days, and the role hispanists and writers played in this choice. An analysis of the corpus of translation collections in the 20th and 21st centuries, as well as of the many individual translations, also shows how the canon of the Spanish Golden Age theatre has changed both on the academic and editorial side