Description
Book SynopsisTrade Review"Esse argues brilliantly that the relationship between written and oral traditions is far more complicated than has hitherto been acknowledged. Her approach to this subject matter is unique, tracing the figure of Sappho, an 'iconic improviser, ' through a series of operas and narratives. This book adds critical new perspective to the field of opera studies, illuminating how prima donnas helped shape and 'create' the musical and artistic environment in which they worked."-- "Hilary Poriss, Northeastern University" "Esse's new book makes a vital contribution to the continuing debates surrounding nineteenth-century Italian opera: it offers us important new ways of looking at the repertory and will surely take its place among the very best of recent operatic scholarship."-- "Roger Parker, King's College London" "With her perceptive readings, Esse illuminates the role of the improvvisatrice in nineteenth-century opera and the musical dimensions of improvisation. Revealing that nineteenth-century authorship was a fluid combination of creative, performative, collaborative, and contingent elements, she challenges an accepted narrative about the increasing dominance of the written work and the composer's authority. This fascinating study is deeply relevant to literary-cultural studies as well as to musicology."-- "Angela Esterhammer, University of Toronto"
Table of ContentsIntroduction
Chapter 1 History’s Muse: The Spectacle of Poetic Improvisation
Chapter 2 Corinna’s Crown: Improvisation and Authority in Rossini’s
Il viaggio a Reims Chapter 3 Divinely Inspired: Incantation and the Making of Melody in Bellini’s
Norma Chapter 4 Saffo’s Lyre: Improvising Operatic Authorship
Chapter 5 A Sapphic Orpheus: Pauline Viardot and the Sexual Politics of Operatic Collaboration
Acknowledgments
Notes
Bibliography
Index
