000			03089nam a2200409Ki 4500
001			ocn961271885
003			OCoLC
005			20240726105027.0
008			161027s2016 ilu ob 001 0 eng d
040			_aNT _beng _erda _epn _cNT
020			_a9780226401607 _q((electronic)l(electronic)ctronic)
043			_ae-it---
050	0	4	_aML1733 _b.S484 2016
049			_aMAIN
100	1		_aWilbourne, Emily, _e1
245	1	0	_aSeventeenth-century opera and the sound of the commedia dell'arte /Emily Wilbourne.
246	3		_a17th century opera and the sound of the commedia dell'arte
246	3		_aXVII century opera and the sound of the commedia dell'arte
260			_aChicago : _bThe University of Chicago Press, _c(c)2016.
300			_a1 online resource.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
505	0	0	_aIntroduction. The tragedies and comedies recited by the Zanni -- _tThe commedia dell'arte as theater -- _t"Ma meglio di tutti Arianna comediante" -- _tThe serious elements of early comic opera -- _tPenelope and Poppea as stock figures of the commedia dell'arte -- _tConclusion. Seventeenth-century opera and the sound of the commedia dell'arte.
520	8		_aIn this book, Emily Wilbourne boldly traces the roots of early opera back to the sounds of the commedia dell'arte. Along the way, she forges a new history of Italian opera, from the court pieces of the early seventeenth century to the public stages of Venice more than fifty years later. Wilbourne considers a series of case studies structured around the most important and widely explored operas of the period: Monteverdi's lost L'Arianna, as well as his Il Ritorno d'Ulisse and L'incoronazione di Poppea; Mazzochi and Marazzoli's L'Egisto, ovvero Chi soffre speri; and Cavalli's L'Ormindo and L'Artemisia. As she demonstrates, the sound-in-performance aspect of commedia dell'arte theater specifically, the use of dialect and verbal play produced an audience that was accustomed to listening to sonic content rather than simply the literal meaning of spoken words. This, Wilbourne suggests, shaped the musical vocabularies of early opera and facilitated a musicalization of Italian theater. Highlighting productive ties between the two worlds, from the audiences and venues to the actors and singers, this work brilliantly shows how the sound of commedia performance ultimately underwrote the success of opera as a genre.
530			_a2 _ub
650		0	_aCommedia dell'arte _xHistory and criticism.
650		0	_aCommedia dell'arte _xInfluence.
650		0	_aCommedia dell'arte _xCharacters.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1334083&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hML. _m2016 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c86486 _d86486
902			_a1 _bCynthia Snell _c1 _dCynthia Snell