Full Description
Well-known for leading audiences to a new appreciation of Verdi as a subtle and elaborate musical thinker, Pierluigi Petrobelli here turns his attention to the intriguing question of how musical theater works. In this collection of lively, penetrating essays, Petrobelli analyzes specific operas, mainly by Verdi, in terms of historical context, musical organization, and dramaturgical conventions. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Contents
AcknowledgmentsA Note on Italian ProsodyIntroduction31From Rossini's Mose to Verdi's Nabucco82Verdi and Don Giovanni: On the Opening Scene of Rigoletto343Remarks on Verdi's Composing Process484Thoughts for Alzira755Toward an Explanation of the Dramatic Structure of Il trovatore1006Music in the Theater (apropos of Aida, Act III)1137More on the Three "Systems": The First Act of La forza del destino1278Verdi's Musical Thought: An Example from Macbeth1419The Musico-Dramatic Conception of Gluck's Alceste (1767)15310Notes on Bellini's Poetics: Apropos of I puritani16211Bellini and Paisiello: Further Documents on the Birth of I puritani176
