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Book Categories |
List of Figures | ||
List of Tables | ||
List of Music Examples | ||
Abbreviations | ||
1 | Cast, Librettist, Composer | 1 |
2 | A General Description of the Sources | 8 |
3 | Francesco Borosini and the Two First Versions of Tamerlano (1724) | 17 |
4 | Margherita Durastanti as Leading Man and Leading Woman | 80 |
5 | Senesino and the Heroic-Anti-Heroic Male Role | 105 |
6 | The Singer as Specific Character Type | 125 |
7 | Francesca Cuzzoni and Faustina Bordoni: The Rival Queens | 144 |
8 | Conclusion | 182 |
Appendix 1. Synopsis of Piovene's Tamerlano (1710) | 191 | |
Appendix 2. Comparison of Piovene, Tamerlano (1710) with Haym, Tamerlano (23 July 1724) | 195 | |
Appendix 3. Projected and Actual Casts for the First Season of the Royal Academy of Music, 1720-1721 | 203 | |
Bibliography | 205 | |
Index | 211 |
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Add Handel and His Singers: The Creation of the Royal Academy Operas, 1720-1728, From the early 18th century until the present day, opera seria as practised by Handel and his contemporaries has been the subject of satire and even derision for its dramatic artifice and virtuosic displays. Close examination of Handel's autograph manuscr, Handel and His Singers: The Creation of the Royal Academy Operas, 1720-1728 to the inventory that you are selling on WonderClubX
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Add Handel and His Singers: The Creation of the Royal Academy Operas, 1720-1728, From the early 18th century until the present day, opera seria as practised by Handel and his contemporaries has been the subject of satire and even derision for its dramatic artifice and virtuosic displays. Close examination of Handel's autograph manuscr, Handel and His Singers: The Creation of the Royal Academy Operas, 1720-1728 to your collection on WonderClub |