Landscape and Gender in Italian Opera The Alpine Virgin from Bellini to Puccini (Cambridge Studies in Opera) : the Alpine virgin from Bellini to Puccini / Emanuele Senici
Main Author Senici, Emanuele, 1967- Language Inglês. Publication [s.l] : Cambridge University Press, 2005Description 366p. Series Cambridge studies in opera ISBN 0521834376 Abstract In this unusual study, Emanuele Senici explores the connection between landscape and gender in Italian opera through the emblematic figure of the Alpine virgin. In the nineteenth century, operas portraying an emphatically virginal heroine, a woman defined by her virginity, were often set in the mountains, most frequently the Alps. The clarity of the sky, the whiteness of the snow and the purity of the air were associated with the innocence of the female protagonist. Senici discusses a number of works particularly relevant to the origins, transformations and meanings of this conventional association including Bellinis La sonnambula (1831), Donizettis Linda di Chamounix (1842), Verdis Luisa Miller (1849), and Puccinis La fanciulla del West (1910). This convention presents an unusual point of view - a theme rather than a composer, a librettist, a singer or a genre - from which to observe Italian opera at work over a century. Subjects Heroines in opera
Mountains - Symbolic aspects
Mountains in opera
Ópera
Virginity in opera
Heroínas na ópera
Aspectos simbólicos
Montanhas
Montanhas na ópera
Ópera
Estudos de género CBC ML1733.4.S46 2005
| Item type | Library | Location | Form | Call number | Copy number | Status | Direct Acess | Date due | Fund | Barcode |
|---|---|---|---|---|---|---|---|---|---|---|
| Book | Biblioteca Vitorino Magalhães Godinho | Sala de Leitura | CESEM SOC 254 | 1 | Available | 4737CESEM |
In this unusual study, Emanuele Senici explores the connection between landscape and gender in Italian opera through the emblematic figure of the Alpine virgin. In the nineteenth century, operas portraying an emphatically virginal heroine, a woman defined by her virginity, were often set in the mountains, most frequently the Alps. The clarity of the sky, the whiteness of the snow and the purity of the air were associated with the innocence of the female protagonist. Senici discusses a number of works particularly relevant to the origins, transformations and meanings of this conventional association including Bellinis La sonnambula (1831), Donizettis Linda di Chamounix (1842), Verdis Luisa Miller (1849), and Puccinis La fanciulla del West (1910). This convention presents an unusual point of view - a theme rather than a composer, a librettist, a singer or a genre - from which to observe Italian opera at work over a century.
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