By Michael Talbot
Is company, for song, a regrettable necessity or a spur to creativity? Are there limits to the impression that monetary elements can or may still exert at the musical mind's eye and its product? within the 11 essays contained during this ebook the authors strive against with those questions from the point of view in their selected quarter of study. the diversity is huge: from 1700 to the current day; from the opera apartment to the group centre; from composers, performers and pedagogues to managers, publishers and attorneys; from piano miniatures to people tune and pa CDs. If there's a consensus, it's that track serves its personal pursuits top while it harnesses company instead of denying it.
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132–36. 52. Venice, Museo Civico Correr, Ms. Cicogna 1178. In Vio (1989) the satire is transcribed complete on pp. 103–8, the introduction on pp. 118–19. A Venetian Operatic Contract 37 Penelope) to her gondola. 53 Chelleri recovered well enough to try his luck again at Sant’Angelo two seasons later, having evidently made his peace with the theatre in the meantime. Doubtless, the three seasons when we know that an administrator had to step in at Sant’Angelo form only the tip of an iceberg. Opera was a precarious business.
30 Michael Talbot Angelo, since we find Uffenbach referring to it with a mixture of amazement and delight in his account of a performance of Nerone fatto Cesare (Carnival 1715). In general, Vivaldi fostered the use, albeit only in a small minority of arias, of obbligato instruments and special orchestral effects such as pizzicato and muting. 40 Be this as it may, Neapolitan opera, which in the following seasons conquered the other major Venetian theatres, failed to take root at Sant’Angelo for many years.
A noble proprietor of a theatre and the consortium of subscribers (described as caratadori, or shareholders) he gathered around him thus regarded themselves first and foremost as public benefactors, not entrepreneurs. In the early eighteenth century nearly all Venetian theatres were owned by individual families, coming under the control of whichever member was head of the family at the time. The largest, grandest and most socially distinguished was that of San Giovanni Gristostomo, owned by the Grimani family.