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Mozart's 'La clemenza di Tito': A Reappraisal

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Book Series: Stockholm Studies in Culture and Aesthetics ISBN: 9789176350553 9789176350522 9789176350539 9789176350546 Year: Pages: 194 DOI: 10.16993/ban Language: English
Publisher: Stockholm University Press
Subject: History --- Languages and Literatures --- Music --- Performing Arts
Added to DOAB on : 2018-05-09 11:01:53
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Abstract

"In the two centuries since Mozart’s La clemenza di Tito was first performed, and the almost three centuries since Metastasio created the libretto, many rumours, myths and prejudiced opinions have gathered around the work, creating a narrative that Mozart, Mazzolà and their contemporaries would scarcely recognise. The essays in this book contribute ideas, facts and images that will draw the twenty-first-century reader closer to the events of Central Europe in the late eighteenth century, and these new facts and ideas will help peel off some of the transmitted accretions that may hinder a modern listener from enjoying and understanding the opera in all its fullness. In this sense the essays present the reappraisal promised in the title. The book is a product of the Performing Premodernity research project, funded by the Swedish Foundation for Humanities and Social Sciences and based at the department of theatre studies of Stockholm University. Envisioned and edited by Magnus Tessing Schneider and Ruth Tatlow, the five essays by internationally renowned Mozart scholars are preceded by a chronology and a selection of original documents presented in new and revised parallel translations."

Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance

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Book Series: Stockholm Studies in Culture and Aesthetics ISBN: 9789176350232 9789176350201 9789176350218 9789176350225 Year: Pages: 264 DOI: 10.16993/baf Language: English
Publisher: Stockholm University Press Grant: Royal Swedish Academy of Sciences
Subject: Social Sciences --- Music --- Performing Arts --- Arts in general
Added to DOAB on : 2016-06-08 11:01:14
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This collection of essays investigates elements of the human voice and performance, and their implications for gender and sexuality. The chapters address affect, pleasure, and memory in the enjoyment of musical and theatrical performance. Rosenberg also examines contemporary feminist performance, anti-racist interventions, activist aesthetics, and political agency especially with regard to feminist and queer interpretations of opera and theatre. She contextualizes her work within broader developments in gender and queer studies, and within the feminist movement by highlighting important contributions of artists who draw from the above to create performance. The book will be welcomed by opera and theatre lovers, students, academics, and the wider public that is interested in the performing arts and its queer feminist potential.

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