Opera in Theory and Practice, Image and Myth. Edited by Lorenzo Bianconi and Giorgio Pestelli. Translated by Kenneth Chalmers and Mary Whitall. Chicago: University of Chicago Press, 2003. [xiv, 456 p. ISBN 0-22644592-7. $70.] Music examples, illustrations, index. Originally published in 1988 in Italian as volume 6 of the Storia dett'opera italiana, this welcome and useful book is the second from the original series to appear in English translation. other, Opera Production and its Resources, was published in Italian in 1987 and in English in 1998. These two selections from the original series seem to represent a decision to provide translations of items of interest to academics, students, and others attracted to substantive writing about opera where Italian scholarship provides insight not readily available in English. Although variable in quality, these essays will appeal to all serious students of Italian opera. Written by different authors, each of the six chapters does not center on a single, easily articulated theme. Indeed the title of the book fails to provide a coherent notion of its contents. They combine, however, to form a reasonably unified collection of essays addressing various aspects of the aesthetics, meaning, reception, and diffusion of Italian opera primarily within its native culture. These aspects are essential to understanding Italian opera fully, yet they can be rather difficult to access by those who were not raised in an Italian context, let alone those who struggle with the language. first half of the volume includes three chapters, the first on treatises and other writings on opera, the second on dramaturgy, and the third on poetic structures and their relationships to musical composition. These topics form the most useful and closely united part of the book. editors have included bibliographic notes at the end of each of these chapters that guide the user into more detailed writings. essays coupled with the notes serve as excellent introductions to the individual topics. first chapter, Poetics and Polemics, by Renato di Benedetto, provides an overview of polemical writing on opera primarily by Italians in Italy beginning in the late sixteenth century and extending into the twentieth. Criticisms by non-Italians are addressed only when there was a direct connection to the thinking and writing on the Italian peninsula. For example, di Benedetto refers to the well-known preface to Gluck's Alceste pointing out that one of its most celebrated passages repeats almost word for word a concept expressed before by Francesco Algarotti in his Saggio sopra l'opera in musica (p. 25). Di Benedetto notes that all of the arguments for and against opera begin with the question of its aspirations. Can, or even should, opera aspire to assume the role of legitimate heir to ancient tragedy and restorer of the mythical, lost unity of text, music, and action? (p. 3). As time passed, the precise nature of the query evolved, yet the question of what opera should be or become, and comparisons to other art forms, frequently of the past, persisted. Such polemical writing stands in contrast to contemporary descriptions by authors who seem content with opera as itself. Of course, the arguments ultimately underscore the cultural, intellectual, and even political investment in Italian opera. It is hard to imagine that such a struggle would even occur without considerable cultural and political capital in play. Immediately following the discussion of polemics, Carl Dahlhaus brings his considerable intellect to bear on The Dramaturgy of Italian Opera. This is a notable exception to the rest of the volume, which could be characterized as Italian opera as viewed by Italians. Appearing in the original volume in Italian translation from the original German and translated directly from the German for this volume, Dahlhaus provides a logical oudine in considering the dramaturgy of the genre (or perhaps better stated, genres) beginning with a discussion of what operatic dramaturgy is. …
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