Thesis (D.M.A.)--University of North Texas, 2001. / Includes bibliographical references (p. 155-160).

Inaug.-diss.--Leipzig. / "Literatur": verso of 3d p. l. Lebenslauf. "Beide Teile der Arbeit sind als selbständige Abhandlungen in den Sammelbänden der Internationalen Musikgesellschaft (IV. 2, 3) erschienen."--Pref.

Over the past hundred years, the operas of Claudio Monteverdi have become iconic symbols of the early music movement and have entered the canon of so-called great operas. The conventional explanation for their iconicity is that they are historically important works, the first to fully realise the potential of the operatic genre, and that they speak to us and relate to contemporary concerns. These definitions, though, are contingent on surrounding socio-cultural factors. Rather than trying to explain their immanent and autonomous greatness, this thesis examines how Monteverdi’s operas have actually been received and performed on stage, going beyond mere description and providing a deeper analysis of the political, cultural, and social contexts of their performative instances. There is no single explanation for why performers and scholars have so frequently engaged with Monteverdi’s operas, but it is clear that Monteverdi opera is now, as it was in the seventeenth century, a fluid entity. In the current stage of what Zygmunt Bauman calls ‘liquid modernity’ this fluidity and lack of single answers is particularly apparent in operatic performance. But where Bauman sees liquid life as a negative and troubling state, this thesis will show that, at least regarding early opera, not having one answer leads to great invention and thoughtful engagement with the contexts of the past and present. The thesis consists of five case studies, each examining in detail one particular issue brought up by the early opera revival. First, an examination of Monteverdi’s place in the earliest stages of the revival in the first half of the twentieth century challenges the view of the early music movement as primarily antiquarian. The thesis demonstrates the revival’s highly politicised underpinnings in France, Germany, and Italy and the varied effect politics had on how and why Monteverdi’s operas were performed in those countries. Next, audio and video evidence is used to investigate three aspects of modern Monteverdi performance in more depth, examining how stage directors have placed notions of community on stage in their interpretations of L’Orfeo, how stage and music directors have reshaped Il ritorno d’Ulisse in patria for widely varying dramaturgical and musical ends, and how singers have interpreted the role of Ottavia in L’incoronazione di Poppea vocally and dramatically. Finally, I examine three recent productions of L’incoronazione di Poppea from the perspective of a participant observer, focusing on how the opera functions in the real space of an opera house, and how the presence of performance is conveyed in early opera today through the use of directorial attitudes, space, and the staging of gender relations. This wide-ranging thesis demonstrates that the concept of a ‘Monteverdi opera’ is fundamentally fluid. This fluidity involves not only the texts themselves (cuts, rearrangements, transpositions, orchestrations, etc.) but also their medium (the stage, film, recording), their ideologies (nationalistic, fascist, communitarian), and their performances (in various singing and playing styles). While a large amount of valuable and rigorous work has been done in studying the early music movement, few of these studies find a significant place for early opera, and few recognise the basic fluidity and cultural contingency of performance and reception. This thesis hopes to correct those omissions, and to show how this fluidity manifests itself in the modern production of Monteverdi’s operas.

No description available.

Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. "Suggestions for performance practice": leaves 209-230. Includes bibliographical references (leaves 251-270). Also available for download via the World Wide Web; free to University of Oregon users.

This thesis presents the myth of Orpheus through each century of opera. Beginning with Claudio Monteverdi’s L’Orfeo in 1607, followed by Christoph Gluck’s Orfeo ed Euridice, Jacques Offenbach’s Orphée aux Enfers, Philip Glass’s Orphée, and finally, Ricky Ian Gordon’s Orpheus and Euridice in 2001. Through the analysis of plot changes, gender characteristics, and the symbolism of these five operas, the elements that have made Orpheus one of the most prominent figures in opera will be explored.

Este trabalho apresenta uma investigação acerca do Oitavo Livro de Madrigais de 1638, de Claudio Monteverdi (1567-1643), obra oferecida à Sacra e Cesárea Majestade Imperador Ferdinando III, ascensionado ao trono máximo do Ocidente em 1637. São delineados o contexto histórico que envolve a obra bem como questões relativas à publicação e dedicatória da coleção de madrigais. É apresentada também uma análise de seu prefácio segundo preceptivas retóricas do gênero demonstrativo ou epidíctico que revelam chaves discursivas e importantes e tópoi que são substanciais para o entendimento da questão ética e patética em música. Tais questões incidem diretamente nas diretrizes performáticas previstas por Monteverdi para realização do stile concitato, procedimento musical encontrado nos Madrigali Guerrieri. Também é realizada uma exegese do textos poéticos dos madrigais onde é revelada a figuração do Eros guerreiro e militante contemplado nas elegias de Propércio e Ovídio bem como nos livros de emblemas amatórios do XVI XVII. Por último, procura-se demonstrar que o stile concitato e seus procedimentos peculiares são dispositivos de ornato dos afetos sugeridos pelos textos dos madrigais, manejados habilmente na música do compositor. / The present work is an investigation about Claudio Monteverdi\'s (1567-1643) Eight Book of Madrigals of 1638, offered to the Sacre and Cesarean Majesty of the Emperor Ferdinand III, ascended to the Ocident high throne in the year 1637. We trace the work historical context and the questions about its publication and dedicatory. We present an analysis of its preface according to the rethoric prescriptions of the demonstrative or epidictic genre which reveals significant discoursive keys and tópoi to the comprehension of the ethical and pathetical matter in music. These questions directly affect Monteverdi\'s performatic guidelines in his stile concitato, a musical procedure found inside the Madrigali Guerrieri. We also do an exegesis of the poetic texts of the madrigals where is revealed the warrior and militant Eros figuration conceived in Propertius and Ovid\'s elegies as well as in the amatory emblem books of XVI and XVII centuries. Finally, we intend to demonstrate that the stile concitato and its procedures are embellishment devices of the affects of the poetic texts in the madrigals, artfully managed in the composer music.

Este trabalho apresenta uma investigação acerca do Oitavo Livro de Madrigais de 1638, de Claudio Monteverdi (1567-1643), obra oferecida à Sacra e Cesárea Majestade Imperador Ferdinando III, ascensionado ao trono máximo do Ocidente em 1637. São delineados o contexto histórico que envolve a obra bem como questões relativas à publicação e dedicatória da coleção de madrigais. É apresentada também uma análise de seu prefácio segundo preceptivas retóricas do gênero demonstrativo ou epidíctico que revelam chaves discursivas e importantes e tópoi que são substanciais para o entendimento da questão ética e patética em música. Tais questões incidem diretamente nas diretrizes performáticas previstas por Monteverdi para realização do stile concitato, procedimento musical encontrado nos Madrigali Guerrieri. Também é realizada uma exegese do textos poéticos dos madrigais onde é revelada a figuração do Eros guerreiro e militante contemplado nas elegias de Propércio e Ovídio bem como nos livros de emblemas amatórios do XVI XVII. Por último, procura-se demonstrar que o stile concitato e seus procedimentos peculiares são dispositivos de ornato dos afetos sugeridos pelos textos dos madrigais, manejados habilmente na música do compositor. / The present work is an investigation about Claudio Monteverdi\'s (1567-1643) Eight Book of Madrigals of 1638, offered to the Sacre and Cesarean Majesty of the Emperor Ferdinand III, ascended to the Ocident high throne in the year 1637. We trace the work historical context and the questions about its publication and dedicatory. We present an analysis of its preface according to the rethoric prescriptions of the demonstrative or epidictic genre which reveals significant discoursive keys and tópoi to the comprehension of the ethical and pathetical matter in music. These questions directly affect Monteverdi\'s performatic guidelines in his stile concitato, a musical procedure found inside the Madrigali Guerrieri. We also do an exegesis of the poetic texts of the madrigals where is revealed the warrior and militant Eros figuration conceived in Propertius and Ovid\'s elegies as well as in the amatory emblem books of XVI and XVII centuries. Finally, we intend to demonstrate that the stile concitato and its procedures are embellishment devices of the affects of the poetic texts in the madrigals, artfully managed in the composer music.

Thesis--University of Illinois, Urbana-Champaign. / Vita. "Musical supplement": v. 2, leaves 474-1103. Photocopy of typescript. Ann Arbor, Mich. : University Microfilms International, 1977. -- 21 cm. Bibliography: v. 1, leaves 439-473.

Publikasjonen skildrer et kunstnerisk prosjekt som tar utgangspunkt i verkene "Se i languidi miei sguardi" av Claudio Monteverdi (1567-1643), "Vanne, o carta amorosa" av Girolamo Frescobaldi (1583-1643) og "Scrivete, occhi dolenti" (1605-1674) av Giacomo Carissimi. Samtlige verk er for solo stemme og basso continuo.  Prosjektet problematiserer og undersøker mulighetene denne musikken har til å kommunisere så direkte som mulig med et moderne, ikke italiensk-språklig publikum. Den praktiske delen av undersøkelsen utgjøres av en workshop i historisk gestikk med en ekspert på emnet, Deda Cristina Colonna.  En sentral del av diskusjonen spinner rundt sangerens bevissthet rundt scenisk framtreden og nonverbalt uttrykk, og synet på disse aspektene ved scenisk vokalkunst i den tidlige barokkens Italia.