Search results for "Pergolesi"
showing 4 items of 4 documents
Una scheda per il «Flaminio» di Federico e Pergolesi: «Benedetto, maledetto» tra memoria della scena ed equivoci del popolare
2019
Checca’s canzona ‘Benedetto, maledetto’, the shortest number in "Il Flaminio" (1735) by Gennaro Antonio Federico and Giovanni Battista Pergolesi, has often been considered to be a direct quotation or a convincing inimitation of a popular song. In fact, its poetic text derives from the comedy "La Tancia" (1611) by Michelangelo Buonarroti the Younger. In both works the scene shows a therapeutic strategy adopted to stop a (presumed) epileptic seizure. The symbols and rituals described by Buonarroti and Federico refer to popular beliefs that were widespread in Italy, and that were brought to the stage also by the actors of the commedia dell’arte. Igor Stravisky uses Pergolesi’s short piece to i…
«Mostruoso a vedere un Pergolesi coi baffi». Il mito in scena nel 1857 tra Milano (Solera - Ronchetti Monteviti) e Napoli (Quercia - Serrao)
2015
During the Nineteenth Century, the fame reached by Giovanni Battista Pergolesi was so large that the historical figure of the composer born in Jesi was transformed in a “dramatis persona”. Pergolesi appears as a character in two different operas dated to 1857. The first one is “Pergolese” by Temistocle Solera and Stefano Ronchetti Monteviti, performed in Milan at the Teatro alla Scala; the second one is “Pergolesi”, a “melodramma semiserio” by Fedrico Quercia set to music by Paolo Serrao and staged at the Teatro del Fondo in Naples. The two works mix historical elements with details drawn from pure fantasy. Their main purpose is to exalt the figure of the unfortunate and tormented artist, t…
Combattimento con l'Angelo / La serva padrona
1997
Il testo su "Il combattimento con l'Angelo" descrive i percorsi biografici e artistici di Carlo Galante, soffermandosi in modo particolare sulla genesi e i caratteri musicali dell'opera; il testo su "La serva padrona" affronta invece il tema della centralità dell'Intermezzo di Pergolesi nel quadro del teatro musicale europeo del XVIII secolo, con particolare riferimento al rapporto fra la civiltà barocca e lo stile galante.
L’intermezzo, Napoli e l’Europa
2018
The essay is an attempt to summarize the most up-to-date knowledge related to the history of the comic intermezzo. Some crucial examples of the Neapolitan scenic tradition are analyzed in order to highlight the progressive emancipation of comic scenes. An examination of the main dramatic and musical characteristics of the genre follows. The last part of the article concerns the European circulation of the Italian creations, with special attention to the famous "querelle des bouffons", which broke out in the mid-eighteenth century Paris following the performance of Giovambattista Pergolesi's "La serva padrona".