Yordanova / Maione Serenata and Festa Teatrale in 18th Century Europe

1. Auflage 2018
ISBN: 978-3-99012-521-2
Verlag: Hollitzer
Format: EPUB
Kopierschutz: 6 - ePub Watermark

E-Book, Multiple languages, Englisch, Italienisch, Band 1, 568 Seiten, Format (B × H): 175 mm x 245 mm

Reihe: Cadernos de Queluz

Serenata and Festa teatrale. Music dramatic genres for aristocratic festivities

This publication investigates the distinctive character and contexts of "Festa teatrale" and "Serenata" at a time when musical theatre was an integral part of the court ceremonial as well as a privileged ritual of "repraesentatio maiestatis". This implies an approach to these works full of metaphors and symbolic allusions which takes into account the context of celebration and the resulting multiplicity of aspects: the choice of themes, the dramaturgical forms, textual and musical structures, the vocal and instrumental ensembles, and the various options with regard to the stage apparatus.

Contributions by Andrea Chegai, Teresa Chirico, Annarita Colturato, Giulia Giovani, Thomas Griffin, Ilaria Grippaudo, Armando Fabio Ivaldi, Danièle Lipp, Paologiovanni Maione, Giuseppina Raggi, Andrea Sommer-Mathis, Giovanni Polin, Paolo Russo, Giovanni Andrea Sechi, Silvia Tatti, Giada Viviani

Autoren/Hrsg.

Yordanova, Iskrena

Maione, Paologiovanni

Fachgebiete

• Geisteswissenschaften Geschichtswissenschaft Weltgeschichte & Geschichte einzelner Länder und Gebietsräume Europäische Geschichte
• Geisteswissenschaften Geschichtswissenschaft Geschichtliche Themen Kultur- und Ideengeschichte
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Theaterwissenschaft Theatergeschichte

Inhaltsverzeichnis

Prefaces

Cadernos de Queluz
MASSIMO MAZZEO - HANS ERNST WEIDINGER

Introduction
ISKRENA YORDANOVA - PAOLOGIOVANNI MAIONE

PART I

THE HOUSES OF PORTUGAL AND AUSTRIA

BARCELONA (1709)

'Numeroso Culto, músico festejo, en aplauso de las felicissimas, y reales bodas'
A Spanish Serenata at Archduke Charles’ Court in Barcelona Celebrating the Marriage of his Sister Marianna of Austria with King João V of Portugal on 5th February 1709. A Brief Analysis of Court Ceremonial in Barcelona During the War of Spanish Succession Based on Contemporary Descriptions of this Celebration
DANIÈLE LIPP

LISBON (1708-1754)

O espaço teatral na corte de D. João V e o papel da rainha Maria Ana
de Áustria na promoção da ópera em Portugal
GIUSEPPINA RAGGI

VIENNA (1705-1740)
Festa teatrale e serenata alla corte imperiale di Vienna nella prima metà del Settecento
ANDREA SOMMER-MATHIS


PART II

ITALIAN COURTS AND CITIES

TUSCANY (1658-1737)

Francesco Baldovini e le serenate “rustico civili” per Calendimaggio
GIULIA GIOVANI

ROME (1681-1740)

Serenate e cantate nel sistema culturale romano del primo Settecento
SILVIA TATTI

Serenate alla corte romana del cardinale Pietro Ottoboni (1667–1740) nell’epoca di Arcangelo Corelli: storia e proteizzazione di un genere
TERESA CHIRICO

NAPLES (1709-1736)

A Survey of Alessandro Scarlatti’s Late Serenatas (1709–1723)
THOMAS GRIFFIN

Nuove fonti per l’Andromeda liberata: Albinoni, Caldara, Porpora
GIOVANNI ANDREA SECHI

VENICE (1716-1782)

A cavallo tra i generi: le serenate di Vivaldi e gli autoimprestiti dalle opere
GIADA VIVIANI

' Onori et accoglimento ': qualche nota su musica per la politica e politica musicale a Venezia nella seconda metà del Settecento
GIOVANNI POLIN

SAVOY (1713-1789)

I festeggiamenti per le incoronazioni a Palermo di Vittorio Amedeo II (1713) e Carlo III (1735): musica, spettacolo e cerimonia
ILARIA GRIPPAUDO

Non nisi grandia canto: feste teatrali e spettacoli d’occasione alla corte sabauda nel secondo Settecento
ANNARITA COLTURATO

PART III

THE HOUSES OF FRANCE AND AUSTRIA

THE BOURBONS IN NAPLES AND PARMA (1745-1782)

La marina risplendente ' per le nozze del real delfino colla reale infante di Spagna ' (Napoli 1745)
PAOLOGIOVANNI MAIONE

' Inebriati d’un nuovo genere di piaceri '. Alessandro e Timoteo a Parma: metamorfosi della festa teatrale
PAOLO RUSSO

METASTASIO POETA CESAREO (1760-1799)

Un’' ingegnosa congiunzione '. La serenata Tetide di Gluck per una pace asburgica europea (1760)
ARMANDO FABIO IVALDI

L’Isola disabitata di Metastasio ripresa per Maria Carolina (Bologna 1768). Storia di un ripopolamento, fra canto e danza
ANDREA CHEGAI


APPENDIX

INDEX OF PERSONS

LIST OF ILLUSTRATIONS

Prefaces
* Cadernos de Queluz (Massimo Mazzeo - Hans Ernst Weidinger)
* Introduction (Iskrena Yordanova - Paologiovanni Maione)

PART I: THE HOUSES OF PORTUGAL AND AUSTRIA

Barcelona (1709)
* " Numeroso Culto, músico festejo, en aplauso de las felicissimas,
y reales bodas " A Spanish Serenata at Archduke Charles' Court in Barcelona Celebrating the Marriage of his Sister Marianna of Austria with King João V of Portugal on 5th February 1709. A Brief Analysis of Court Ceremonial in Barcelona During the War of Spanish Succession Based on Contemporary Descriptions of this Celebration (Danièle Lipp)

Lisbon (1708-1754)
* O espaço teatral na corte de D. João V e o papel da rainha Maria Ana de Áustria na promoção da ópera em Portugal (Giuseppina Raggi)

Vienna (1705-1740)
* Festa teatrale e serenata alla corte imperiale di Vienna nella prima metà del Settecento (Andrea Sommer-Mathis)


PART II: ITALIAN COURTS AND CITIES

Tuscany (1658-1737)
* Francesco Balvovini e le serenate "rustico civili" per Calendimaggio (Giulia Giovani)

Rome (1681-1740)
* Serenate e cantate nel sistema culturale romano del primo Settecento (Silvia Tatti)

* Serenate alla corte romana del cardinale Pietro Ottoboni (1667–1740) nell'epoca di Arcangelo Corelli: storia e proteizzazione di un genere (Teresa Chirico)

Naples (1709-1736)
* A Survey of Alessandro Scarlatti's Late Serenatas (1709–1723) (Thomas Griffin)

* Nuove fonti per l'"Andromeda liberata": Albinoni, Caldara, Porpora (Giovanni Andrea Sechi)

Venice (1716-1782)
* A cavallo tra i generi: le serenate di Vivaldi e gli autoimprestiti dalle opere (Giada Viviani)

* " Onori et accoglimento ": qualche nota su musica per la politica
e politica musicale a Venezia nella seconda metà del Settecento (Giovanni Polin)

Savoy (1713-1789)
* I festeggiamenti per le incoronazioni a Palermo di Vittorio Amedeo II (1713) e Carlo III (1735): musica, spettacolo e cerimonia (Ilaria Grippaudo)

* "Non nisi grandia canto": feste teatrali e spettacoli d'occasione alla corte sabauda nel secondo Settecento (Annarita Colturato)


PART III: THE HOUSES OF FRANCE AND AUSTRIA

The Bourbons in Naples and Parma (1745-1782)
* La marina risplendente "per le nozze del real delfino colla reale infante di Spagna" (Napoli 1745) (Paologiovanni Maione)

* " Inebriati d'un nuovo genere di piaceri ". Alessandro e Timoteo a Parma: metamorfosi della festa teatrale (Paolo Russo)

Metastasio Poeta Cesareo (1760-1799)
* Un'" ingegnosa congiunzione ". La serenata "Tetide" di Gluck per una pace asburgica europea (1760) (Armando Fabio Ivaldi)

* "L'Isola disabitata" di Metastasio ripresa per Maria Carolina (Bologna 1768). Storia di un ripopolamento, fra canto e danza (Andrea Chegai)

APPENDIX
* Index of persons
* List of illustrations

Leseproben

«NUMEROSO CULTO, MÚSICO FESTEJO, EN APLAUSO DE LAS FELICISSIMAS, Y REALES BODAS»
A Spanish Serenata at Archduke Charles’ Court in Barcelona Celebrating the Marriage of his Sister Marianna of Austria with King João V of Portugal on 5th February 1709. A Brief Analysis of Court Ceremonial in Barcelona During the War of Spanish Succession Based on Contemporary Descriptions of this Celebration DANIÈLE LIPP
From 1705 to 1713, during the War of Spanish Succession, Archduke Charles of Austria, the son of Emperor Leopold I, resided in Barcelona with his court as the Habsburg candidate to the Spanish throne. His regency as King Charles III completely changed the cultural life of the Catalan capital because he introduced regular performances of operas, drammi per musica and serenatas, at his court.1 On the occasion of the wedding of his sister Marianna of Austria with King João V of Portugal, the Portuguese ambassador in Barcelona Count Assumar organized the production and performance of a Spanish serenata with the title Numeroso Culto, Musico festejo, en Aplauso de las felicissimas, y reales bodas, of which merely the text has survived. I will focus in this article first on the importance of the ceremonial in the Catalan court society analysing the three descriptions of this serenata and the festivity and end with a short comparison of the strong cultural relations between the Catalan and the Viennese court. On 5th February 1709, we can find in the Official Diary of the Generalitat, the government of Catalonia, the following entry:2 On this day the Excellentissim Senyor Compte de Assumar, ambassador of the King of Portugal, organized an enormous feast in the big Georg’s Hall to show his great delight because of the joyful arrival of Her Majesty the Queen of Portugal in Lisbon, our King’s Sister – may God protect him. It consisted in a Serenata represented in Spanish Language.3 The detailed entry of the Official Diary documented further that the Spanish serenata was a «very admirable thing» («cosa molt admirable») meaning the music as well as the «stage design» («las perspectivas»). Besides this, the document’s author noted that the royal couple entered the hall only after the performance, but then participated in the dances. In addition, the author criticized that the government had been asked to provide the hall but, at the same time, the representatives of the government had not been invited to the celebration. It is not surprising that this event was important enough to be mentioned in the Diary. The spectacular performances of music dramas had started only recently in Barcelona and this serenata was something completely new for the members of the Catalan government. During several years, there were many performances of operas composed mainly by Antonio Caldara, Francesco Gasparini, Andrea Fiorè, and Tomaso Albinoni. These events were possible because Charles organized a professional royal music chapel, employing more than 60 musicians. They came not only from Vienna but also from Naples, Milan and Rome.4 However, why did the event take place in Barcelona and not in Madrid, the Spanish capital and city of the former royal court of the Habsburgs? Due to the War of Spanish Succession Archduke Charles from the house of Habsburg – later known as Charles VI – chose Barcelona as his royal seat in November 1705. Once the war would have ended, his intention was to take over the court in Madrid where his Bourbon opponent Felipe V, the grandson of Louis XIV, resided. Still, as long as the question concerning the succession had not been solved, Charles had to stay in Barcelona. His German bride Elisabeth Christine of Brunswick-Wolfenbüttel arrived in Barcelona in the summer of 1708. The couple married on 1st August at the church Santa Maria del Mar and from this day on opera performances took place regularly at the Catalan court. It was common at the Viennese Court that spectacular musical performances were held at important royal or political events, like weddings, name days or birthdays, but also during the carnival. Charles continued with these traditions in Barcelona, which he had become acquainted with during the regency of his father Leopold I. On the one hand, their purpose was to entertain the court: and as it is well known, Emperor Leopold I, his son Joseph I, as well as Charles, enjoyed musical entertainment very much. Yet, on the other hand – and this was the main reason – the performances and the ceremonial were supposed to demonstrate the political power of the Emperor, and in this particular case the political power of King Charles. The Official Diary is not the only source describing the festivity. Two other contemporary sources deal with this evening: the memoirs of Francisco de Castellví5 and the notes of the Italian traveller Gemelli Careri. The Catalan aristocrat Castellví described, although very briefly, the celebration in his Narraciones históricas – the handwritten original can be found in the Austrian State Archives in Vienna.6 Castellví noted that: […] at 5 pm the court musicians played with beautiful harmony on their instruments ingenious lyrics for six voices in Spanish in honour of the royal wedding. The dances started with minuets or other French dances, later they danced Catalan dances and at approximately 10 pm a few Spanish dances were played. At that time, the royal couple arrived.7 Although Castellví wrote so little about the festivity, he has given another important information: the court musicians played the serenata that was performed at the beginning. The third description of the festivity – written by the Italian traveller Giovanni Francesco Gemelli Careri – is far more detailed. He arrived in Barcelona in 1708 together with Elisabeth Christine, and stayed at the court for almost one and a half years.8 His description of three pages can be summarized as follows: The royal musicians played the serenata for six voices. The ambassador had ordered to set up a stage with two stairways. The dances started after the serenata. The hall was illuminated with 240 candles. The royal couple arrived at 10 pm, and then the Queen and the King danced together. After these dances the King danced amongst others. Gemelli mentioned even with whom Charles danced, and it is not surprising that it was with Caroline von Liechtenstein, the daughter of Obersthofmeister Anton Florian von Liechtenstein, the most important noble man of the court. The King also danced with Marianna Pignatelli, member of the high Spanish nobility and fiancée of his friend count Johann Michael Althann.9 Every time the Queen rose, more than 200 ladies of the nobility were also required to get up. They all danced until after midnight.10 It was the ambassador of Portugal João de Almeida, Count of Assumar, who had organized this celebration on the occasion of the wedding between the King’s sister and the Portuguese King João V. In 1705, the Portuguese Count had travelled as ambassador from Lisbon to Barcelona with Charles and lived there during the whole stay of the Habsburgs. The reason for the festivity seems to be obvious: the wedding of the Portuguese royal couple in autumn 1708. Two European dynasties were united through this marriage: the House of Braganza and the House of Habsburg – two of the most powerful members of the baroque nobility. However, when analysing the text it becomes obvious that the serenata is as much a homage to Charles of Habsburg and his political alliance with João V and his brother Joseph as is a celebration of a royal wedding. The whole festivity reflects the ceremonial of the court, in this case especially the Habsburg court society. What function did the performance of this serenata have in the ceremonial of baroque court society? The baroque society was based upon a strict ranking and social order and the ceremonial was the expression of the rigid rules and regulative systems, which had to secure this order. In 2006, the Austrian researcher Andrea Sommer-Mathis remarked in her contribution ‹Opera and Ceremonial at the Imperial Court of Vienna›11 that: […] by means of the ceremonial they [the Austrian Habsburgs] affirmed their territorial power and dynastic prestige to the other European courts and palpably represented the hierarchical order of court society.12 Although Sommer-Mathis referred to Vienna and not to Barcelona, her remarks are also valid for the Catalan court because Charles III considered himself a Habsburg and the legitimate King of Spain, and his wife Elisabeth Christine, his brother Emperor Joseph I and the newly-wed Portuguese royal couple as the most important and powerful members of the European court society. The ceremonial frame strictly regulated everything: the organization of the court household as well as representative forms at court, such as music and theatre. At the beginning of the 18th century opera in all its variety (Dramma per musica, componimento da camera per musica, festa pastorale, serenata, etc.) had become a normal musical practice in many European courts, especially in Vienna. At first, the performances only took place for dynastic and political festivities such as royal marriages, but turned later into more regular performances in order to celebrate birthdays and name days of the whole royal family. As Norbert Dubowy13 stated in the introduction to the publication Italian Opera in Central Europe: If we consider opera as a mirror of reality, the same ceremonial rules and...

Über Autor(innen)

Iskrena Yordanova is violinist and musicologist. Her main research interest focuses on Portuguese and Italian 18th-century repertoire. Since 2014 she is coordinating the research activities and international conferences at "Divino Sospiro – Centro de Estudos Musicais Setecentistas de Portugal". She edited serenatas and oratorios by D. Perez, N. Jommelli, J. Cordeiro da Silva, J. de Sousa
Carvalho and P. A. Avondano, performed widely with great success.

Paologiovanni Maione is professor for the history of music at the Conservatorio San Pietro a Majella and scholar at the Istituto italiano per gli Studi filosofici, both in Naples, as well as member of
the scientific committees of various international institutions, e.g. of "Divino Sospiro – Centro de Estudos Musicais Setecentistas de Portugal". He has published several books especially on the musical life in Naples in the 18th Century.