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The Resource Great Women on Stage : the Reception of Women Monarchs from Antiquity in Baroque Opera

Great Women on Stage : the Reception of Women Monarchs from Antiquity in Baroque Opera

Label
Great Women on Stage : the Reception of Women Monarchs from Antiquity in Baroque Opera
Title
Great Women on Stage
Title remainder
the Reception of Women Monarchs from Antiquity in Baroque Opera
Creator
Subject
Genre
Language
eng
Summary
Baroque opera is entirely plurimedial. Like no other medium, it offers unique possibilities to create, transform and reinterpret common historical images and figures, using different but closely intertwined semantic levels (drama, music, acting). This makes baroque opera a promising subject of historical, political and gender-specific analysis. The present volume is based on a session of the Eleventh European Social Science History conference in 2016 and examines the (re- )presentation of antique female rulers in baroque opera. The volume is not about music history or music theory studies, but deals with how, in the baroque period, librettists, composers and stage processed the ancient material in order to present female rulers on stage. Baroque opera is a particularly suitable model of study, as ancient themes occupy a prominent place during that period of time. Agnès Garcia Ventura and Marta Ortega Balanza focus on Agrippina the Younger as adapted in a staging of Georg Friedrich Händel?s opera 'Agrippina' at the Liceu opera house in Barcelona in 2013. They analyze the miscellaneous gender representations of Agrippina from ancient sources to Händel?s opera and its Barcelona staging. In Valeska Hartmann?s contribution Cleopatra VII plays the lead. Hartmann focuses on the stage designs used to create an appropriate setting for this ambivalent and often highly sexualized ruler. Both case studies are preceded by an introductory chapter by Kerstin Dross-Krüpe about the 'opera seria' as a source for the reception of antiquity and an essay by Kerstin Weiand about the polyvalence of antiquity in early modern Europe
Cataloging source
EBLCP
http://library.link/vocab/creatorName
Droß-Krüpe, Kerstin
Index
no index present
Literary form
non fiction
Nature of contents
  • dictionaries
  • bibliography
http://library.link/vocab/subjectName
  • Handel, George Frideric
  • Agrippina
  • Cleopatra
  • Agrippina
  • Cleopatra
  • Opera
  • Women in opera
  • MUSIC
  • Opera
  • Women in opera
  • Antike
  • Barock
  • Geschlechterrolle
  • Herrscherin
  • Operngestalt
Label
Great Women on Stage : the Reception of Women Monarchs from Antiquity in Baroque Opera
Instantiates
Publication
Bibliography note
Includes bibliographical references
Carrier category
online resource
Carrier category code
  • cr
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
  • Cover; Title Pages; Contents; Acknowledgements; Kerstin Droß-Krüpe: Great Women on Stage: the Reception of Women Monarchs from Antiquity in Baroque Opera; Bibliography; Kerstin Weiand: The Polyvalence of Antiquity: Remarks on the Reception of Classical Antiquity in Early Modern Europe; I. Antiquity and early modernity; II. The polyvalence of antiquity; 1. Antiquity as a source of legitimation; 2. Antiquity and the construction of identities and alterities; 3. Antiquity as a role model; 4. Antiquity as a social code; 5. Antiquity as a learned diversion; III. Conclusion; Bibliography
  • Agnes Garcia-Ventura and Marta Ortega Balanza: The Construction of Femininity in Händel's Agrippina: from History to Dramatic OperaI. Händel's Agrippina in its historical context; II. From Agrippina the Younger (1st century AD) to Händel's Agrippina (18th century AD): history, stories, and music; III. The cultural construction of gender roles: 1st century AD Rome, and 18th and 21st century AD Europe; IV. To conclude: some final thoughts; Bibliography; Valeska Hartmann: Cleopatra in Baroque Opera: the Stage Design Between Depiction of Powerand Adoption of Antiquity
  • I. The scene-painter Johann Oswald Harms and his depiction of Egypt in Cleopatra (1690)1. The image of Egypt in the 17th century as a basis of reception for the scene painters; 2. The conception of history and the function of opera in Baroque; II. The scene-painter Pelagio Palagi and his depiction of Egypt in La morte di Cleopatra (1797); 1. The image of Egypt in the 18th century as a basis of reception for the scene painters; 2. The conception of history and the function of opera at the end of 18th century; III. Conclusion; Bibliography; List of Contributors
Control code
ocn978604547
Dimensions
unknown
Extent
1 online resource (73 pages)
Form of item
online
Isbn
9783447107846
Media category
computer
Media MARC source
rdamedia
Media type code
  • c
Note
JSTOR
Other control number
9783447107846
http://library.link/vocab/ext/overdrive/overdriveId
22573/ctvcww7dk
Specific material designation
remote
System control number
(OCoLC)978604547
Label
Great Women on Stage : the Reception of Women Monarchs from Antiquity in Baroque Opera
Publication
Bibliography note
Includes bibliographical references
Carrier category
online resource
Carrier category code
  • cr
Carrier MARC source
rdacarrier
Content category
text
Content type code
  • txt
Content type MARC source
rdacontent
Contents
  • Cover; Title Pages; Contents; Acknowledgements; Kerstin Droß-Krüpe: Great Women on Stage: the Reception of Women Monarchs from Antiquity in Baroque Opera; Bibliography; Kerstin Weiand: The Polyvalence of Antiquity: Remarks on the Reception of Classical Antiquity in Early Modern Europe; I. Antiquity and early modernity; II. The polyvalence of antiquity; 1. Antiquity as a source of legitimation; 2. Antiquity and the construction of identities and alterities; 3. Antiquity as a role model; 4. Antiquity as a social code; 5. Antiquity as a learned diversion; III. Conclusion; Bibliography
  • Agnes Garcia-Ventura and Marta Ortega Balanza: The Construction of Femininity in Händel's Agrippina: from History to Dramatic OperaI. Händel's Agrippina in its historical context; II. From Agrippina the Younger (1st century AD) to Händel's Agrippina (18th century AD): history, stories, and music; III. The cultural construction of gender roles: 1st century AD Rome, and 18th and 21st century AD Europe; IV. To conclude: some final thoughts; Bibliography; Valeska Hartmann: Cleopatra in Baroque Opera: the Stage Design Between Depiction of Powerand Adoption of Antiquity
  • I. The scene-painter Johann Oswald Harms and his depiction of Egypt in Cleopatra (1690)1. The image of Egypt in the 17th century as a basis of reception for the scene painters; 2. The conception of history and the function of opera in Baroque; II. The scene-painter Pelagio Palagi and his depiction of Egypt in La morte di Cleopatra (1797); 1. The image of Egypt in the 18th century as a basis of reception for the scene painters; 2. The conception of history and the function of opera at the end of 18th century; III. Conclusion; Bibliography; List of Contributors
Control code
ocn978604547
Dimensions
unknown
Extent
1 online resource (73 pages)
Form of item
online
Isbn
9783447107846
Media category
computer
Media MARC source
rdamedia
Media type code
  • c
Note
JSTOR
Other control number
9783447107846
http://library.link/vocab/ext/overdrive/overdriveId
22573/ctvcww7dk
Specific material designation
remote
System control number
(OCoLC)978604547

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      32.771354 -117.193327
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