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03712aam a2200421 i 4500 001 1A97189672D911EDA0B05B7C49ECA4DB 003 SILO 005 20221203010154 008 170714t20172017gw a b 100 0 eng d 010 $a 2017287726 020 $a 3447107847 020 $a 9783447107846 035 $a (OCoLC)973877621 040 $a OHX $b eng $e rda $c DLC $d OCLCO $d SILO 042 $a lccopycat 050 00 $a ML1703 $b .G74 2017 082 04 $a 780 245 00 $a Great women on stage : $b the reception of women monarchs from antiquity in Baroque opera / $c edited by Kerstin Dross-KruÌpe. 260 $a Wiesbaden : $b Harrassowitz Verlag, $c 2017. 300 $a 72 pages : $b color illustrations ; $c 21 cm 500 $a ISSN 1860-1812 was erroneously printed in the book. 504 $a Includes bibliographical references. 505 00 $t Cleopatra in Baroque opera: the stage design between depiction of power and adoption of antiquity / $r Valeska Hartmann. $t The polyvalence of antiquity: remarks on the reception of classical antiquity in early modern Europe / $r Kerstin Weiand -- $t The construction of femininity in HaÌndel's Agrippina: from history to dramatic opera / $r AgneÌs Garcia Ventura & Marta Ortega Balanza -- $t Cleopatra in Baroque opera: the stage design between depiction of power and adoption of antiquity / $r Valeska Hartmann. 520 8 $a Baroque opera is entirely plurimedial. Like no other medium, it offers unique possibilities to create, transform and reinterpret common historical images and figures, using different but closely intertwined semantic levels (drama, music, acting). This makes baroque opera a promising subject of historical, political and gender-specific analysis. The present volume is based on a session of the Eleventh European Social Science History conference in 2016 and examines the (re-)presentation of antique female rulers in baroque opera. The volume is not about music history or music theory studies, but deals with how, in the baroque period, librettists, composers and stage processed the ancient material in order to present female rulers on stage. Baroque opera is a particularly suitable model of study, as ancient themes occupy a prominent place during that period of time. AgneÌs Garcia Ventura and Marta Ortega Balanza focus on Agrippina the Younger as adapted in a staging of Georg Friedrich HaÌndel?s opera 'Agrippina' at the Liceu opera house in Barcelona in 2013. They analyze the miscellaneous gender representations of Agrippina from ancient sources to HaÌndel?s opera and its Barcelona staging. In Valeska Hartmann?s contribution Cleopatra VII plays the lead. Hartmann focuses on the stage designs used to create an appropriate setting for this ambivalent and often highly sexualized ruler. Both case studies are preceded by an introductory chapter by Kerstin Dross-KruÌpe about the 'opera seria' as a source for the reception of antiquity and an essay by Kerstin Weiand about the polyvalence of antiquity in early modern Europe. 600 10 $a Handel, George Frideric, $d 1685-1759. $t Agrippina $v Congresses. 600 00 $a Agrippina, $c Minor, $d 15-59 $x In opera $v Congresses. 600 00 $a Cleopatra, $c Queen of Egypt, $d -30 B.C. $x In opera $v Congresses. 650 0 $a Opera $y 18th century $v Congresses. 650 0 $a Women in opera $v Congresses. 700 1 $a Dross-KruÌpe, Kerstin, $e editor. $e editor. 700 1 $a Garcia-Ventura, AgneÌs, $e author. 700 1 $a Hartmann, Valeska, $e author. 700 1 $a Ortega Balanza, Marta, $e author. 700 1 $a Weiand, Kerstin, $e author. 941 $a 1 952 $l PQAX094 $d 20231214050653.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=1A97189672D911EDA0B05B7C49ECA4DB 994 $a Z0 $b IOWInitiate Another SILO Locator Search