The piece boldly carved out new territory by treating recent. Throughout the book, Venice emerges as a city that prized novelty over economy, with new repertory, scenery, costumes, and expensive singers the rule rather than the exception. The world premiere of Nixon in China in October 1987 inaugurated a fresh era in American opera. Faustini-alawyer by profession-made his way from one of Venice's smallest theaters to one of the largest and most important, and his advancement provides a personal view of an impresario and his partners, who ranged from Venetian patricians to artisans. The book examines the challenges faced by four separate Venetian theaters during the 17th century, focusing on the progress of Marco Faustini, the Venetian impresario most well known today.
and creation of the libretto and score the recruitment and employment of singers, dancers, and instrumentalists the production of the scenery and the costumes and the nature of the audience. Based on new documentation, the book studies all of the components necessary for opera production, from the financial backing and the issue of patronage to the commissioning.
During the Ming Dynasty (1368-1644) and the Qing Dynasty (1644-1911), the northern traditional singing and drama style from Shanxi was combined with melodies from a southern form of Chinese opera called. This book explores public opera in its infancy, from 1637 to 1677, when theater owners and impresarios, drawing on the models of the already existent theaters for comedy, established Venice as the operatic capital of Europe. In Yuan Dynasty times, 1279-1368, opera performers began to use the vernacular language of the common people, rather than Classical Chinese.
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