Abstract
When the young Napoleon Bonaparte led a French army into Italy in 1796 it marked the end of an unusual half-century of peace for a much-invaded country. It also launched a series of revolutions, imposed by the French with the help of a minority of intellectuals rather than generated from within. Wars and repeated changes of government ensued until, nearly twenty years later, the victorious allies fastened on Italy an Austrian hegemony; this in turn lasted, with occasional troubles, until Austria and the other Italian states were severely shaken by the revolutions and nationalistic movements of 1848–9. Independence and unification were to follow within little more than a decade.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
See O. Chadwick, The Popes and European Revolution (Oxford, 1981), which gives particular attention to Italy.
M. F. Robinson, ‘The Governors’ Minutes of the Conservatorio Santa Maria di Loreto, Naples’, RMARC, x (1972), 1–97, gives detailed local reasons for the decline of the Naples schools. Inflation, documented in R. Romano, Prezzi, salait e servizi a Napoli nel secolo XVIII (Milan, 1965), may be over-arching explanation: it was damaging to institutions dependent on more or less fixed income such as rents.
S. Arteaga, Le rivoluzioni del teatro musicale italiano (Venice, 1785), iii, 321–2.
E. Rosmini, La legislazione e la giurisprudenza dei team (Milan, 1872), ii, 581ff.
C. Santley, Student and Singer (London, 1892), 83–4.
H. Berlioz, Voyage musical en Allemagne et en Italie (Paris, 1844), 218–20; Nicolai, Briefe, 58–60.
Stendhal, Life of Rossini, ed. and trans. R. N. Coe (London, 1956), 75–6
M. F. Robinson, Naples and Neapolitan Opera (Oxford, 1972), 208.
G. Valle, Cenni teorici-pratici sulle aziende teatrali (Milan, 1823), 8–10.
L. Bianconi and T. Walker, ‘Production, Consumption and Political Function of Seventeenth-Century Opera’, EMH, iv (1984), 224, 230; Rosselli, The Opera Industry, 50–65.
Berlioz, Voyage musical, 164, and Mémoires (Paris, 1870), chap.39. See also G. Radiciotti, Gioacchino Rossini (Tivoli, 1927–9), i, 177.
M. Lavagetto, Un caso di censura: il Rigoletto’ (Milan, 1979), 107–28.
M. Lessona, Volere è potere (Florence, 1869), 298.
G. B. Shaw, Music in London 1890–94 (London, 1932), ii, 178.
G. Vaccaj, Vita di Nicola Vaccaj (Bologna, 1882), 107–10.
J. Rosselli, ‘I costi dell’operazione’, in Musicacittà, ed. L. Berio (Rome and Bari, 1984) [programme of 47th Maggio Musicale, Florence].
J. Rosselli, ‘Verdi e la storia della retribuzione del compositore italiano’, Studi verdiani, ii (1983), 15, 21–3.
Editor information
Copyright information
© 1990 Granada Group and Palgrave Macmillan, a division of Macmillan Publishers Limited
About this chapter
Cite this chapter
Rosselli, J. (1990). Italy: the Centrality of Opera. In: Ringer, A. (eds) The Early Romantic Era. Man & Music. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-11297-5_6
Download citation
DOI: https://doi.org/10.1007/978-1-349-11297-5_6
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-11299-9
Online ISBN: 978-1-349-11297-5
eBook Packages: Palgrave Literature & Performing Arts CollectionLiterature, Cultural and Media Studies (R0)