LOGIN TO YOUR ACCOUNT

Username
Password
Remember Me
Or use your Academic/Social account:

CREATE AN ACCOUNT

Or use your Academic/Social account:

Congratulations!

You have just completed your registration at OpenAire.

Before you can login to the site, you will need to activate your account. An e-mail will be sent to you with the proper instructions.

Important!

Please note that this site is currently undergoing Beta testing.
Any new content you create is not guaranteed to be present to the final version of the site upon release.

Thank you for your patience,
OpenAire Dev Team.

Close This Message

CREATE AN ACCOUNT

Name:
Username:
Password:
Verify Password:
E-mail:
Verify E-mail:
*All Fields Are Required.
Please Verify You Are Human:
fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Languages: English
Types: Doctoral thesis
Subjects: M1
Studies of Italian opera in London during the first half of the eighteenth century have focussed on George Frideric Handel (1685-1759). As the most prolific composer of this genre in the English capital, this is unsurprising, but it has meant that other composers, contemporaneously active in this field, have been relatively neglected. This is especially true of the period 1733 – 1737, during which time two Italian opera companies attempted\ud to co-exist in the city. Leading one of the companies was Handel, with the Neapolitan, Nicola Porpora (1686-1768), recruited to compose the works for the rival opera company, the so-called ‘Opera of the Nobility’.\ud This study therefore discusses Porpora’s contribution of five operas to the London operatic stage during his three year residency between 1733 and 1736, in opposition to Handel’s company. This has required an investigation into the circumstances surrounding\ud the formation of the rival opera company, its operation in terms of repertoire and the influence of its librettists on Porpora’s works. Detailed analysis of the music has been undertaken to consider Porpora’s style, establish how he adapted this in London for an English, rather than Italian audience, and determine the efficacy of his communication of\ud the drama through his music. This thesis is the first large-scale detailed study of Porpora and his operas. Although the primary focus of this work is his London operas, the necessity of providing a context for\ud these has resulted in a contribution to greater knowledge of Porpora’s overall style. There is\ud still much work to be done on a full study of all of Porpora’s 44 operas and other compositions. This study also significantly adds to the current knowledge of operatic rivalry in London between 1733 and 1736, for the first time evaluating the fabric and importance of Porpora’s operas within this period.
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • Aspden, S. (2001). Ariadne's clew: politics, allegory, and opera in London (1734). The Musical Quarterly, 85(4), 735-770.
    • Aspden, S. (2013). The rival sirens: performance and identity on Handel's operatic stage. Cambridge, England: Cambridge University Press.
    • Barbier, P. (1998). The world of the castrati. London, England: Souvenir Press.
    • Barker, R. H. (1939). Mr. Cibber of Drury Lane. New York, NY: Columbia University Press.
    • Beakes, J. (2007). The horn parts in Handel's operas and oratorios and the horn players who performed in these works. New York, NY: City University of New York.
    • Bertoni, G. (1927). Giuseppe Riva e l'opera italiana a Londra. [Giuseppe Riva and Italian opera in London]. Giornale Storico della Letteratura Italiana 89, 317-324.
    • Black, J. (1992). The British abroad. The grand tour in the eighteenth century. New York, NY: St Martin's Press.
    • Burney, C. (1773). The present state of music in Germany, the Netherlands and United Provinces (Vol. I). London, England: T. Becket.
    • Burney, C. (1775). The present state of music in Germany, the Netherlands and United Provinces (Vol. II). London, England: T. Becket.
    • Burney, C. (1789). A general history of music from the earliest ages to the present period (Vol.II). (F. Mercer, Ed.). New York, NY: Harcourt, Brace and Company. (Repr. 1935).
    • Cervantes, X. (1999). "Touching Handel Yields to Trifling Hasse". Handel, the opera of the nobility, and the new style: some new insights. Händel-Jahrbuch 45, 261-269.
    • Cervantes, X., & McGeary, T. (2001). Handel, Porpora and the 'Windy Bumm'. Early Music 29(4), 607-616.
    • Chrissochoidis, I. (Ed.). (2008). The fourth Earl of Shaftesbury's memoirs of Handel (1760). Handel reference database. Retrieved from http://ichriss.ccarh.org/HRD/
    • Chrissochoidis, I. (2009). Handel at a crossroads: his 1737-1738 and 1738-1739 seasons. Music & Letters 90(4), 599-635.
    • Cibber, C. (1822). An apology for the life of Mr. Colley Cibber. London, England: W. Simpkin & R. Marshall.
    • Clapton, N. (1981). Scores of operas by Nicola Porpora in British libraries (Unpublished MA dissertation). University of London, England.
    • Corri, D. (c.1810). The singer's preceptor. Retrieved from http://imslp.org/wiki/The_Singer's_Preceptor_(Corri,_Domenico)
    • Croce, B. (1947). Don Gaspare Selvaggi. Quaderni della "Critica" 9, 80-87.
    • Cummings, G. H. (1982). Reminiscence and recall in three early settings of Metastasio's 'Alessandro nell'Indie'. Proceedings of the Royal Musical Association, 109(1), 80-104.
    • Cummings, G. H. (1991). A study of Handel's opera Poro and its history (Unpublished PhD thesis). University of Birmingham, England.
    • Cummings, G. H. (2007). Handel's organ concertos (HWV 290-93) and operatic rivalry. GFHandel.org. Retrieved from http://gfhandel.org/gfhjournal/gfhjournal_1.html
    • Cummings, W. (1914). The Lord Chamberlain and opera in London, 1700-1740. Proceedings of the Musical Association XL, 37-72.
    • Daub, P. (1994). Queen Caroline of England's music library. In D. Hunter (Ed.), Music publishing & collecting essays in honor of Donald W. Krummel (pp. 131-167). UrbanaChampaign, IL: University of Illinois.
    • Dean, W. (1959). Handel's dramatic oratorios and masques. London, England: Oxford University Press.
    • Dean, W. (1969). Handel and the opera seria. Berkeley, CA: University of California Press.
    • Dean, W. (1977). Performance of recitative in late baroque opera. Music & Letters 58(4), 389-402.
    • Dean, W. (2001). Rochetti (Gaetano), Filippo. In S. Sadie & J. Tyrrell (Eds.), The new Grove dictionary of music and musicians. Oxford Music Online (2nd ed.). Retrieved from http://oxfordmusiconline.com
    • Dean, W. (2006). Handel's operas 1726-1741. Woodbridge, England: The Boydell Press.
    • Dean, W. (2009). Montagnana, Antonio. In S. Sadie & J. Tyrrell (Eds.), The new Grove dictionary of music and musicians. Oxford music online (2nd ed.). Retrieved from http://oxfordmusiconline.com
    • Dean, W., & Knapp, J. M. (1987). Handel's operas 1704-1726. Oxford, England: Clarendon.
    • DelDonna, A., & Polzonetti, P. (Eds.). (2009). The Cambridge companion to eighteenthcentury opera. New York, NY: Cambridge University Press.
    • Deutsch, O. (1955). Handel. A documentary biography. London, England: Adam & Charles Black.
    • Dorris, G. E. (1967). Paolo Rolli and the Italian circle in London 1715-1744. The Hague, Netherlands: Mouton & Co.
    • Downes, E. (1961). "Secco" recitative in early classical opera seria (1720-80). Journal of the American Musicological Society 14(1), 50-69.
    • Dumigan, D. (2005). Carlo Francesco Pollarolo's Saule indemoniato (Unpublished MA dissertation). University of Huddersfield, England.
    • Egmont, Earl of. (1920). Manuscripts of the Earl of Egmont. Diary of the First Earl of Egmont (Viscount Percival) (Vol. I, 1730-1733). London, England: His Majesty's Stationery Office.
    • Egmont, Earl of. (1923). Manuscripts of the Earl of Egmont. Diary of the First Earl of Egmont (Viscount Percival) (Vol. II, 1734-1738). London, England: His Majesty's Stationery Office.
    • Eisen, W., & Eisen, M. (1978, 1984-6). Händel-Handbuch, vol.IV, Dokumente zu Leben und Schaffen. Kassel, Germany: Bärenreiter.
    • Gibson, E. (1989). The Royal Academy of Music, 1719-1728: the institution and its directors. New York, NY: Garland Publishing.
    • Gorry, L. (2012). Handel and his accompanied recitatives (Unpublished PhD thesis). Queen's University Belfast, Northern Ireland.
    • Grout, D. J. (2003). A short history of opera. New York, NY: Columbia University Press.
    • Hansell, S. H. (1968). The cadence in 18th-century recitative. The Musical Quarterly 54(2), 228-248.
    • Hansell, S. H. (1970). Sacred music at the Incurabili in Venice at the time of J.A. Hasse - I. Journal of the American Musicological Society 23(2), 282-301.
    • Harris, E. (1989). The librettos of Handel's operas (Vol. 3). New York, NY: Garland Publishing.
    • Hawkins, J. (1963). A general history of the science and practice of music. New York, NY: Dover Publications.
    • Heartz, D. (1984). Farinelli and Metastasio: rival twins of public favour. Early Music 12(3), 358-368.
    • Heartz, D. (1990). Farinelli revisited. Early Music 18(3), 430-443.
    • Heartz, D. (2003). Music in European capitals, the galant style, 1720-1780. New York, NY: Norton.
    • Heawood, E. (1950). Watermarks, mainly of the 17th and 18th centuries. Hilversum, Netherlands: Paper Publications Society.
    • Heriot, A. (1956). The castrati in opera. London, England: Secker & Warburg.
    • Hervey, L. J. (1931). Some materials towards memoirs of the reign of King George II (Vol.I). (R. Sedgwick, Ed.). London, England: Eyre & Spottiswoode.
    • Hervey, L. J. (1950). Hervey and his friends, 1726-38: based on letters from Holland House, Melbury and Ickworth. (Earl of Ilchester, Ed.). London, England: John Murray.
    • Hicks, A. (1992). Radamisto. In S. Sadie (Ed.), The new Grove dictionary of opera. Oxford music online. Retrieved from http://oxfordmusiconline.com
    • LaRue, C. S. (1995). Handel and his singers. Oxford, England: Clarendon Press.
    • Leichentritt, H. (1935). Handel's harmonic art. The Musical Quarterly 21(2), 208-223.
    • Lindgren, L. (1987). The Staging of Handel's Operas in London. In S. Sadie & A. Hicks (Eds.), Handel tercentenary collection (pp. 93-120). London, England: For the Royal Musical Association by Macmillan Press.
    • Markstrom, K. S., & Robinson, M. F. (1992). Porpora, Nicola (Antonio). In S. Sadie (Ed.), The new Grove dictionary of opera. Oxford music online. Retrieved from http://oxfordonline.com
    • Marpurg, F. W. (1760). Kritische Briefe über die Tonkunst: mit kleinen Clavierstücken und Singoden begleitet . [Critical letters about the art of music: accompanied with small clavier pieces and songs] (Vol. 1). Berlin, Germany: Friedrich Wilhelm Birnstiel. Repr. 1974 Hildesheim, Germany: Gorg Olms Verlag.
    • Marvin, C. K. (1978). Accompanied recitative in Neapolitan opera seria ca 1700-1740 (Unpublished MA thesis), Columbia University, NY.
    • McCleave, S. (2013). Dance in Handel's London operas. New York, NY: University of Rochester Press.
    • McGeary, T. (1998a). Farinelli in Madrid: opera, politics, and the war of Jenkins' ear. Musical Quarterly 82(2), 383-421.
    • McGeary, T. (1998b). Handel, Prince Frederick, and the opera of the nobility reconsidered. In H. J. Marx (Ed.), Göttinger Händel Beiträge 7, 156-178.
    • McGeary, T. (1998c). Thomas Clayton and the introduction of Italian opera to England. Philological Quarterly 77(2), 171-186.
    • McGeary, T. (2005). Farinelli's progress to Albion: the recruitment and reception of opera's 'Blazing Star'. Journal for Eighteenth-Century Studies 28(3), 339-360.
    • McGeary, T. (2009). John Brindley's bookbindings for Frederick, Prince of Wales. The Bookcollector, 58(2), 219-240.
    • Milhous, J., & Hume, R. (1978). Box office reports for five operas mounted by Handel in London 1732-1734. Harvard Library Bulletin 26, 245-266.
    • Milhous, J., & Hume, R. (Eds.). (1982). Vice Chamberlain Coke's theatrical papers, 1706-1715. Carbondale, Il: Southern Illinois University Press.
    • Milhous, J., & Hume, R. D. (1984). Handel's opera finances in 1732-3. The Musical Times 125(1692), 86-89.
    • Milhous, J., & Hume, R. (1997). J.F.Lampe and English opera at the Little Haymarket in 1732- 3. Music & Letters 78(4), 502-531.
    • Milhous, J., & Hume, R. (2005). Construing and misconstruing Farinelli in London. Journal for Eighteenth-Century Studies 28 (3), 361-385.
    • Millner, F. (1974). Hasse and London's opera of the nobility. Music Review 35, 240-246.
    • Porpora, N. (1858). Porpora's elements of singing. (M. Harris,Ed.). GB-Lbl H.2245.(2.).
    • Ritzarev, M. (2006). Eighteenth-century Russian music. Farnham, England: Ashgate.
    • Robinson, M. (1962). The aria in opera seria, 1725-1780. Proceedings of the Royal Musical Association 88, 31-43.
    • Robinson, M. (1971/2). Porpora's operas for London, 1733-1736. Soundings ii, 57-87.
    • Salmon, E. (2012). Cibber, Colley (1671-1757). In L. Goldman (Ed.), Oxford dictionary of national biography. Retrieved from http://oxforddnb.com
    • Sartori, C. (1990-1994). I libretti italiani a stampa dalle origini al 1800. Catalogo analitico con 16 indici. Cuneo, Italy: Bertola & Locatelli.
    • Scouten, A. (Ed.). (1961). The London stage, 1660-1800. Part 3: 1729-1747. Carbondale, IL: Southern Illinois University Press.
    • Spitzer, J., & Zaslaw, N. (2004). Birth of the orchestra: history of an institution, 1650-1815. Oxford, England: Oxford University Press.
    • Telemann, G. (1733/34). Singe-, Spiel- und Generalbassübungen. [Sing, play and figured bass exercises]. Hamburg, Germany: Petrucci.
    • Gavardo da Gavardo (1736). Mitridate. GB-Lbl 162.e.54
    • Rolli, P. (1733). Arianna in Naxo. GB-Lbl 639.d.21.(6.)
  • No related research data.
  • Discovered through pilot similarity algorithms. Send us your feedback.

Share - Bookmark

Cite this article