This book argues that England needs a National Opera to support homegrown opera and artists. The author examines opera's origins in Italy and its spread across Europe, noting how state patronage and finance were integral to its success. He examines the models of Italy, Germany, and France, highlighting the benefits of state subsidies, which enable theaters to price seats accessibly, produce new works, and pay artists fairly. In contrast, the author sees England's opera landscape as dominated by expensive, imported productions that do little to foster native talent. The author concludes that a National Opera, funded by the state and dedicated to supporting British composers and performers, would enrich England's cultural life and boost its music industry.
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The Operatic Problem that they were absolutely bewildered (attonitidi stupore). This style of music acquired a still greater number of fresh beauties in Euridice, a work by the same authors, and then in A riadne, by Signer Claudio Manteverde, to-day Maestro di Cape I la at Venice. Your modern theorist could hardly express his operatic creed with greater felicity than the Florentine noble, Ottavio Rinuccini, and the whole quotation breathes in its quaint phraseology, the spirit of love for all that is new and beautiful in A rt, which gave Italy her hegemony amongst other nations. The operatic spectacle, when first imported into France, was a Court entertainment for the privileged few, but it soon tempted private enterprise, and here, again, its importance, as an attraction, was not underrated, for the first impressario, one Pierre Perrin, took good care to obtain a monopoly for the new style of performances, whilst the royal privilege (letters -patent), granted to him, sets out their advantages in unmistakable terms. Here is an extract of this privilege :N ous avons au dit Perrin, accorde et octroye ,accordans et octroyons par les pre sentes signers de notre main la permission detablir en notre bonne ville de Paris et autres de nostrec Royaume, des Academies composers de tel nombre et qualite de personnes qu il avisera, pour yrepre senter et chanter en public des opdra et representations en musique eten vers franqais, pareilles et semblables a celles dltalie.
(Typographical errors above are due to OCR software and don't occur in the book.)
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Paperback. Etat : New. Print on Demand. This book argues that England needs a National Opera to support homegrown opera and artists. The author examines opera's origins in Italy and its spread across Europe, noting how state patronage and finance were integral to its success. He examines the models of Italy, Germany, and France, highlighting the benefits of state subsidies, which enable theaters to price seats accessibly, produce new works, and pay artists fairly. In contrast, the author sees England's opera landscape as dominated by expensive, imported productions that do little to foster native talent. The author concludes that a National Opera, funded by the state and dedicated to supporting British composers and performers, would enrich England's cultural life and boost its music industry. This book is a reproduction of an important historical work, digitally reconstructed using state-of-the-art technology to preserve the original format. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in the book. print-on-demand item. N° de réf. du vendeur 9781334046049_0
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PAP. Etat : New. New Book. Shipped from UK. Established seller since 2000. N° de réf. du vendeur LW-9781334046049
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PAP. Etat : New. New Book. Shipped from UK. Established seller since 2000. N° de réf. du vendeur LW-9781334046049
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