From Madrigal to Opera: Monteverdi's Staging of the Self

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University of California Press, Apr 18, 2012 - Music - 329 pages
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"In this bold, highly original book, Mauro Calcagno ventures into areas where no other scholar has tread. He explores the Petrarchian view of the self over a century-long arc from the early madrigal to the beginnings of opera, with Monteverdi's masterpieces taking center stage. A brilliant tour de force, From Madrigal to Opera proffers a remarkable new way to look at music, performance, and reception that rings true not only for the early modern period but also for our own age. A must read for scholars, performers, and lovers of early music."—Jane A. Bernstein, author of Print Culture and Music in Sixteenth-Century Venice



"The mini-renaissance of early modern music studies continues apace, and Mauro Calcagno's From Madrigal to Opera is its latest, particularly impressive installment. Drawing on methodological impulses from a variety of sources—linguistics, phenomenology, narratology, and, above all, performance studies—Calcagno pays close attention to the interplay of the abstract text and live performance in both early opera and late madrigal. Common strategies, rooted in Petrarch's poetic practice, indeed united the two genres. This book will shape the discussion of early modern vocal music in the coming years."—Karol Berger is the author of Bach's Cycle, Mozart's Arrow: An Essay on the Origins of Musical Modernity.



"In this pathbreaking study, Calcagno offers a new and dynamic interpretation of the relationship between Monteverdi's madrigals and operas based on perceptions of subjectivity expressed in Renaissance literature—the poetry of Petrarch in particular. Calcagno interprets Monteverdi's work as realizing a Petrarchan notion of the dialogical self, a concept that extends well beyond the early modern period to illuminate and enrich our own experience of virtually any vocal work in performance. This book should be required reading not only for those interested in music and text of the Early Modern period, but for anyone involved in performance studies."—Ellen Rosand, author of Monteverdi's Last Operas: A Venetian Trilogy.
 

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Contents

O ciechi mm 1323 and Voi chascoltate mm 4452 87
6
text Context Performance
15
Work text and performance in Monteverdis Orfeo
29
liminality Deixis subjectivity
32
Diagram of the relationships between deictics and body movements
55
Performing the Dialogic self
57
io la Musica son
63
Wert Voi chascoltate mm 110 and 2529
90
Monteverdi narrator
191
narrative interference in texted music
192
Monteverdi Batto qui pianse Ergasto mm 4246
217
Monteverdi Misero Alceo mm 5461 textural interference
219
Monteverdi A Dio Florida bella mm 3542 textural interferences
221
Monteverdi Qui rise o Tirsi mm 4961 interferences
225
m 10
232
The Possibility of Opera
238

verdelot Quanto sia lieto il giorno mm 1929
106
Arcadelt Il bianco e dolce cigno beginning
111
Arcadelt Quando col dolce suono mm 3041
113
Arcadelt Chi potrà dir mm 2029
117
Arcadelt Ahimé dovè il bel viso mm 2430 and 3742
119
Arcadelt Quandio penso al martire mm 3756
124
rore Da le belle contrade mm 2459
139
Marenzio La bella man vi stringo mm 1218
187
act1 scene 1
257
Subjectivity Theatricality Multimediality
263
Monteverdi Combattimento di tancredi e Clorinda
271
Notes
277
MUsiCAl ExAMPlEs
286
Index
319
Copyright

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About the author (2012)

Mauro Calcagno is Associate Professor of Music at SUNY, Stony Brook.

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