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010 a| 93003440;

020 a| 069109134X (acid-free paper) :c| $45.00;

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035 a| (OCoLC)27814303;

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050 00 a| ML410.V4b| P28 1994;

082 00 a| 782.12| 20;

100 1 a| Petrobelli, Pierluigi.=| ^A347030;

245 10 a| Music in the theater :b| essays on Verdi and other composers /c| Pierluigi Petrobelli ; with translations by Roger Parker.;

300 a| ix, 192 pages :b| illustrations ;c| 24 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| Princeton studies in opera;

546 a| Translated from Italian.;

504 a| Includes bibliographical references.;

505 00 t| From Rossini's Mose to Verdi's Nabucco --t| Verdi and Don Giovanni: on the opening scene of Rigoletto --t| Remarks on Verdi's composing process --t| Thoughts for Alzira --t| Toward an explanation of the dramatic structure of Il Trovatore --t| Music in the theater (apropos of Aida, Act III) --t| More on the three "systems": the first act of La Forza del Destino --t| Verdi's musical thought: an example from Macbeth --t| The musico-dramatic conception of Gluck's Alceste (1767) --t| Notes on Bellini's Poetics: Apropos of I puritani --t| Bellini and Paisiello: further documents on the birth of I puritani.;

520 a| Well known for having generated new interest in Verdi as a subtle and elaborate musical thinker, Pierluigi Petrobelli offers here lively, penetrating explanations of how music in the theater works: Why is it that only a few operas constitute the standard repertory of all opera houses throughout the world, to the constant delight of their audiences? What makes these operas as effective today as they were at the time of their creation? Is there a governing principle in their organization and structure? In this collection of essays, most of which appear in English for the first time, the author answers these questions by presenting historical facts and analyzing specific operas, mainly by Verdi, in terms of musical organization and dramaturgical conventions. From the exploration of clearly detectable stylistic models--Rossini's Mose for Verdi's Nabucco, and the first act finale of Don Giovanni for the opening scene of Rigoletto--the essays move to the study of Verdi's compositional process as revealed by the sketches for Alzira, I due Foscari, and Rigoletto. Unifying musical devices are discussed in essays on Il Trovatore and Macbeth. Using Aida and La Forza del Destino, the author builds toward a theory based on three elements of communication within opera: the dramatic structure, the libretto and its metrical arrangement, and the score. The volume culminates with the application of these analytic tools to the opening of Gluck's Alceste and the making of Bellini's I Puritani.;

600 10 a| Verdi, Giuseppe,d| 1813-1901.t| Operas.=| ^A494884;

650 0 a| Operaz| Italyy| 19th century.=| ^A178250;

830 0 a| Princeton studies in opera.=| ^A273667;

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998 a| 549143;

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Music in the theater : essays on Verdi and other composers / Pierluigi Petrobelli ; with translations by Roger Parker.

Author/creator	Petrobelli, Pierluigi
Format	Book
Publication Info	Princeton, NJ : Princeton University Press, ©1994.
Description	ix, 192 pages : illustrations ; 24 cm.
Subjects	Verdi, Giuseppe, 1813-1901. Operas. Opera--Italy. --19th century.

Series	Princeton studies in opera Princeton studies in opera. ^A273667
Contents	From Rossini's Mose to Verdi's Nabucco -- Verdi and Don Giovanni: on the opening scene of Rigoletto -- Remarks on Verdi's composing process -- Thoughts for Alzira -- Toward an explanation of the dramatic structure of Il Trovatore -- Music in the theater (apropos of Aida, Act III) -- More on the three "systems": the first act of La Forza del Destino -- Verdi's musical thought: an example from Macbeth -- The musico-dramatic conception of Gluck's Alceste (1767) -- Notes on Bellini's Poetics: Apropos of I puritani -- Bellini and Paisiello: further documents on the birth of I puritani.
Abstract	Well known for having generated new interest in Verdi as a subtle and elaborate musical thinker, Pierluigi Petrobelli offers here lively, penetrating explanations of how music in the theater works: Why is it that only a few operas constitute the standard repertory of all opera houses throughout the world, to the constant delight of their audiences? What makes these operas as effective today as they were at the time of their creation? Is there a governing principle in their organization and structure? In this collection of essays, most of which appear in English for the first time, the author answers these questions by presenting historical facts and analyzing specific operas, mainly by Verdi, in terms of musical organization and dramaturgical conventions. From the exploration of clearly detectable stylistic models--Rossini's Mose for Verdi's Nabucco, and the first act finale of Don Giovanni for the opening scene of Rigoletto--the essays move to the study of Verdi's compositional process as revealed by the sketches for Alzira, I due Foscari, and Rigoletto. Unifying musical devices are discussed in essays on Il Trovatore and Macbeth. Using Aida and La Forza del Destino, the author builds toward a theory based on three elements of communication within opera: the dramatic structure, the libretto and its metrical arrangement, and the score. The volume culminates with the application of these analytic tools to the opening of Gluck's Alceste and the making of Bellini's I Puritani.
Bibliography note	Includes bibliographical references.
Language	Translated from Italian.
LCCN	93003440
ISBN	069109134X (acid-free paper) :

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Music in the theater : essays on Verdi and other composers / Pierluigi Petrobelli ; with translations by Roger Parker.

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