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How do you create a style of opera that speaks to everyone, when no
one agrees on what it should say -- or how? French and Italian
varieties of opera have intermingled and informed one another from
the genre's first decades onward. Yet we still have only a hazy
view of why and how those intersections occurred and what they
meant to a givenopera's creators and audiences. Margaret Butler's
Musical Theater in Eighteenth-Century Parma: Entertainment,
Sovereignty, Reform tackles these issues, examining performance,
spectatorship, and politics in the Bourbon-controlled, northern
Italian city of Parma in the mid-eighteenth century. Reconstructing
the French context for Tommaso Traetta's Italian operas that
consciously set out to fuse French and Italian elements, Butler
explores Traetta's operas and recreations in Parma of operas and
ballets by Jean-Philippe Rameau and other French composers. She
shows that Parma's brand of entertainment is one in which Traetta's
operas occupy points along a continuum representing a long and rich
tradition of adaptation and generic play. Such a reading calls into
question the very notion of operatic reform, showing the need for a
more flexible conception of a volatile moment in opera's history.
The book elucidates the complicated circumstances in which
entertainments were created that spoke not only to Parma's
multicultural audiences but also to an increasingly cosmopolitan
Europe. MARGARET R. BUTLER is Associate Professor at the University
of Wisconsin-Madison.
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone!
Relations between France and Britain have always been uneasy and
ambivalent. But in cinema the Second World War changed all that for
a time. Although the two countries' wartime fortunes differed,
post-war both were busy reintegrating returning servicemen and
prisoners of war and accommodating the changed aspirations of
women. Margaret Butler examines these subjects and more in her
comparative study of the cinemas of Britain and France during and
after the war. Using the concept of community, she shows how cinema
dealt with ideas of belonging and alienation, inclusion and
exclusion, unity and division. She also draws on contemporary
debates and a perceptive reading of key films, to reveal afresh the
meaning and appeal of such French classics as "Le Corbeau" and "Les
Enfants du Paradis" and notable British productions such as
"Waterloo Road" and "Passport to Pimlico."
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