"Chi soffre speri" and the influence of the Commedia dell'arte on the development of Roman opera

Persistent Link:
http://hdl.handle.net/10150/278501
Title:
"Chi soffre speri" and the influence of the Commedia dell'arte on the development of Roman opera
Author:
Lewis Hammond, Susan, 1972-
Issue Date:
1995
Publisher:
The University of Arizona.
Rights:
Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Abstract:
Chi soffre speri (1637, 1639) was twice produced by the Barberini family as part of the festivities surrounding the yearly Roman Carnival. The opera's music resulted from a collaboration between two composers, Virgilio Mazzocchi and Marco Marazzoli. The librettist for the opera was Giulio Rospigliosi, and Gianlorenzo Bernini designed sets for the 1639 Act II intermedio, La Fiera di Farfa. The extensive influence of the Commedia dell'arte, most evident in the use of masked characters, distinguishes Chi soffre speri from its operatic predecessors. The Commedia borrowings affected the musical and textual style of Chi soffre speri, resulting in a merging of the dramatic traditions of opera and the Commedia dell'arte. The popularity of the Commedia dell'arte in Rome and the city's unique cultivation of a dramatic sub-genre known as the Commedia ridicolosa may help explain why this fusion of opera and the Commedia dell'arte occurred there in the late 1630s.
Type:
text; Thesis-Reproduction (electronic)
Keywords:
Music.; Education, Music.
Degree Name:
M.M.
Degree Level:
masters
Degree Program:
Graduate College; Music and Dance
Degree Grantor:
University of Arizona
Advisor:
Brobeck, John T.

Full metadata record

DC FieldValue Language
dc.language.isoen_USen_US
dc.title"Chi soffre speri" and the influence of the Commedia dell'arte on the development of Roman operaen_US
dc.creatorLewis Hammond, Susan, 1972-en_US
dc.contributor.authorLewis Hammond, Susan, 1972-en_US
dc.date.issued1995en_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.description.abstractChi soffre speri (1637, 1639) was twice produced by the Barberini family as part of the festivities surrounding the yearly Roman Carnival. The opera's music resulted from a collaboration between two composers, Virgilio Mazzocchi and Marco Marazzoli. The librettist for the opera was Giulio Rospigliosi, and Gianlorenzo Bernini designed sets for the 1639 Act II intermedio, La Fiera di Farfa. The extensive influence of the Commedia dell'arte, most evident in the use of masked characters, distinguishes Chi soffre speri from its operatic predecessors. The Commedia borrowings affected the musical and textual style of Chi soffre speri, resulting in a merging of the dramatic traditions of opera and the Commedia dell'arte. The popularity of the Commedia dell'arte in Rome and the city's unique cultivation of a dramatic sub-genre known as the Commedia ridicolosa may help explain why this fusion of opera and the Commedia dell'arte occurred there in the late 1630s.en_US
dc.typetexten_US
dc.typeThesis-Reproduction (electronic)en_US
dc.subjectMusic.en_US
dc.subjectEducation, Music.en_US
thesis.degree.nameM.M.en_US
thesis.degree.levelmastersen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.disciplineMusic and Danceen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.advisorBrobeck, John T.en_US
dc.identifier.proquest1376044en_US
dc.identifier.bibrecord.b33483620en_US
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