The sounds of Paris in Verdi's La Traviata /
How did Paris and its musical landscape influence Verdi's La traviata? In this book, Emilio Sala re-examines La traviata in the cultural context of the French capital in the mid-nineteenth century. Verdi arrived in Paris in 1847 and stayed for almost two years: there, he began his relationship...
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| Format: | Electronic eBook |
| Language: | English Italian |
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Cambridge :
Cambridge University Press,
2013.
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| Series: | Cambridge studies in opera.
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| Subjects: | |
| Online Access: | CONNECT |
MARC
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| 240 | 1 | 0 | |a Valzer delle camelie. |l English |
| 245 | 1 | 4 | |a The sounds of Paris in Verdi's La Traviata / |c Emilio Sala ; translated by Delia Casadei. |
| 264 | 1 | |a Cambridge : |b Cambridge University Press, |c 2013. | |
| 300 | |a 1 online resource (xv, 206 pages) : |b digital, PDF file(s). | ||
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| 490 | 1 | |a Cambridge studies in opera | |
| 500 | |a Title from publisher's bibliographic system (viewed on 05 Oct 2015). | ||
| 500 | |a First published in the original Italian as Il valzer delle camelie: echi di Parigi nella Traviata by Emilio Sala. | ||
| 505 | 0 | |a Machine generated contents note: 1. Verdi and the Parisian boulevard theatre -- Verdi in Paris -- Le Chiffonnier de Paris -- Le Chevalier de Maison-Rouge -- Monte-Cristo -- Robert Macaire -- Le Pasteur ou L'Evangile et le foyer -- 2. Images and sounds in waltz (and polka) time -- The lady of the camellias -- The waltz -- The polka -- ̀A vaguely "Spanish" character' -- The lorette -- The camellia -- Interferences and condensations -- 3. Motifs of reminiscence and musical dramaturgy -- The ̀fatted ox' -- La Dame aux camelias at the Vaudeville -- Act -- The rest of the play -- Other musical deaths -- Cross-pollinations, actualisations, backdating -- System variants -- Violetta's body and her ̀musical gestures' -- Coda -- ̀Oom, oom-pah-pah-oom' -- Musicology and ethnomusicology. | |
| 520 | |a How did Paris and its musical landscape influence Verdi's La traviata? In this book, Emilio Sala re-examines La traviata in the cultural context of the French capital in the mid-nineteenth century. Verdi arrived in Paris in 1847 and stayed for almost two years: there, he began his relationship with Giuseppina Strepponi and assiduously attended performances at the popular theatres, whose plays made frequent use of incidental music to intensify emotion and render certain dramatic moments memorable to the audience. It is in one of these popular theatres that Verdi probably witnessed one of the first performances of Dumas fils' La Dame aux camélias, which became hugely successful in 1852. Making use of primary source material, including unpublished musical works, journal articles and rare documents and images, Sala's close examination of the incidental music of La Dame aux camélias - and its musical context - offers an invaluable interpretation of La traviata's modernity. | ||
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| 651 | 0 | |a Paris (France) |x In opera. | |
| 700 | 1 | |a Casadei, Delia, |e translator. | |
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