Serenata And Festa Teatrale In 18th Century Europe

This volume is dedicated to "Serenata and Festa Teatrale in 18th Century Europe", especially to the production of this music-dramatic genre at the courts on the Iberian Peninsula, in Italy, and the Holy Roman Empire where it was an integral part of court ceremonials and a privileged ritual of repraesentatio maiestatis. The 16 studies on patrons and artists, exceptional events and local traditions, reveal highly interesting material for the research on these up to now largely neglected genre. Any approach to these works full of metaphors, symbols and allusions has to take into account the context of the celebration and the resulting multiplicity of aspects: choice of themes, dramaturgical forms, textual and musical structures, vocal and instrumental ensembles, and the various options regarding the stage apparatus. "Serenata and Festa Teatrale in 18th Century Europe", edited by Iskrena Yordanova (Lisbon) and Paologiovanni Maione (Naples), inaugurates the series "Cadernos de Queluz", a subseries of "Specula Spectacula" by Don Juan Archiv Wien.

In Early Modern times, techniques of assembling, compiling and arranging pre-existing material were part of the established working methods in many arts. In the world of 18th-century opera, such practices ensured that operas could become a commercial success because the substitution or compilation of arias fitting the singer's abilities proved the best recipe for fulfilling the expectations of audiences. Known as »pasticcios« since the 18th-century, these operas have long been considered inferior patchwork. The volume collects essays that reconsider the pasticcio, contextualize it, define its preconditions, look at its material aspects and uncover its aesthetical principles.

This volume explores the dense networks created by diplomatic relationships between European courts and aristocratic households in the early modern age, with the emphasis on celebratory events and the circulation of theatrical plots and practitioners promoted by political and diplomatic connections. The offices of plenipotentiary ministers were often outposts providing useful information about cultural life in foreign countries. Sometimes the artistic strategies defined through the exchanges of couriers were destined to leave a legacy in the history of arts, especially of music and theatre. Ministers favored or promoted careers, described or made pieces of repertoire available to new audiences, and even supported practitioners in their difficult travels by planning profitable tours. They stood behind extraordinary artists and protected many stage performers with their authority, while carefully observing and transmitting precious information about the cultural and musical life of the countries where they resided.

The book series "Diplomatica" of the Don Juan Archiv Wien researches cultural aspects of diplomacy and diplomatic history up to the nineteenth century. This second volume of the series features the proceedings of the Don Juan Archiv's symposium organized in March 2016 in cooperation with the University of Vienna and Stvdivm fÆsvlancm to discuss the topic of gender from a diplomatic-historical perspective, addressing questions of where women and men were positioned in the diplomacy of the early modern world. Gender might not always be the first topic that comes to mind when discussing international relations, but it has a considerable bearing on diplomatic issues. Scholars have not left this field of research unexplored, with a widening corpus of texts discussing modern diplomacy and gender. Women appear regularly in diplomatic contexts. As for the early modern world, ambassadorial positions were monopolized by men, yet women could and did perform diplomatic roles, both officially and unofficially. This is where the main focus of this volume lies. It features sixteen contributions in the following four "acts": Women as Diplomatic Actors, The Diplomacy of Queens, The Birth of the Ambassadress, and Stages for Male Diplomacy. Contributions are by Wolfram Aichinger | Roberta Anderson | Annalisa Biagianti | Osman Nihat Bişgin | John Condren | Camille Desenclos | Ekaterina Domnina | David García Cueto | María Concepción Gutiérrez Redondo | Armando Fabio Ivaldi | Rocío Martínez López | Laura Mesotten | Laura Oliván Santaliestra | Tracey A. Sowerby | Luis Tercero Casado | Pia Wallnig

On the "Rio Don-Giovanni-Day", 20 September 2021, a concert is dedicated to the works of Sigismund Neukomm composed in and for Brazil. The programme also includes a composition by the Brazilian composer José Maurício Nunes Garcia (Rio 1767–1858), highly esteemed by Neukomm and occasionally described as "the Brazilian Mozart". He conducted the first performance of Mozart's Requiem with Neukomm's "Libera me" in the Igreja Nossa Senhora do Parto on 19 December 1819. The concert is a cooperation of Don Juan Archiv Wien with partners in Austria, Portugal, and Brazil: the Mozarteum University Salzburg, Divino Sospiro – Centro de Estudos Musicais Setecentistas de Portugal, and Musica Brasilis. Accordingly, the music will be performed in four locations: Vienna, Salzburg, Queluz/Lisbon, and Rio de Janeiro. While the partnering institutions' concerts with commentaries are recorded especially for this occasion, the performances in Vienna will be broadcast live.

This book explores the specificity and the heterogeneity of spaces for opera during the eighteenth century from a multidisciplinary point of view. Architects, musicologists and theatre specialists are discussing various cases that concern the dense network of court and public theatres, including the ephemeral ones, the multiple aspects of theatre presentations in different architectonic spaces, the contexts and the occasions of social life and representativity.

The fifth volume of the series Cadernos de Queluz intends to broaden the conceptual and geographical perspectives on the pan-European history of music theatre. The cultural and ceremonial patterns common to eighteenth-century European courts created complex webs of meaning around the sovereigns who communicated via the arts, which found expression in an architectural, artistic, and musical code. The existence of a common artistic language among European countries facilitated the circulation of musicians, theatrical companies, architects, librettists, and craftsmen within a single network, challenging the orthodox conceptual distinctions between European cultural traditions. This book is a virtual journey among the artistic exchanges between the European capitals, weaving them into one single narrative, underlining the common patterns of musical practices throughout the Continent, from West to East. The road map starts from the kingdom of Portugal and passes through Madrid, Paris, the Papal States, Naples, Milan, Vienna, and ends in St. Petersburg.