The Assoluta Voice in Opera, 1797–1847
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About the Book
It is unusual for styles in opera to carry over from one era into another—and even more unusual to linger two generations. Yet this is what happened during the first half of the nineteenth century, when the intricacies of the fleet bel canto style were combined with the Romantic era’s heroic declamation and formidable orchestral emphasis, resulting in the creation of the assoluta voice. This work traces that phenomenon and also covers the uniquely versatile divas who made their mark from the time of Cherubini to that of a young Verdi.
About the Author(s)
Bibliographic Details
Geoffrey S. Riggs
Format: softcover (6 x 9)
Pages: 271
Bibliographic Info: photos, chronology, appendices, notes, bibliography, index
Copyright Date: 2009 [2003]
pISBN: 978-0-7864-4077-1
Imprint: McFarland
Table of Contents
Acknowledgments vi
Preface 1
1 Earliest Virtuosi 3
2 Women’s Voices 6
3 Luigi Cherubini (1760–1842): Médée 11
4 Gioacchino Rossini (1792–1868): Armida 37
5 Assoluta Manquée (I) 45
6 Carl Maria von Weber (1786–1826): Oberon 50
7 Gaetano Donizetti (1797–1848): Anna Bolena 64
8 Vincenzo Bellini (1801–1835): Norma 90
9 Donizetti (1797–1848): Gemma di Vergy 137
10 Donizetti (1797–1848): Roberto Devereux 146
11 Time of Transition 168
12 Giuseppe Verdi (1813–1901): Nabucco 173
13 Verdi (1813–1901): Macbeth 187
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14 Assoluta Manquée (II) 222
15 Voices from the Past 226
16 Conclusion 231
Appendices 233
Chapter Notes 241
Bibliography 247
Index 249
Book Reviews & Awards
“extensive chapter notes…fascinating information…recommended”—Choice; “superb…this book belongs in the hands of every opera lover…indispensable detailed analysis…highly recommended”—The Opera Journal; “a fascinating book”—American Record Guide.