Curtis Price – författare

This interdisciplinary study attempts to make sense of what has long been regarded as a chaotic period in the history of opera in London. In 1778 R. B. Sheridan acquired the King's Theatre and its resident opera company in what we would now call a leveraged buy-out, plunging the opera into escalating debts that were to haunt it into the 1840s. The 1780s and early 1790s were a stormy but exciting era: the company hired some of the foremost singers and dancers in Europe; ballet d'action came to London, with Noverre himself as ballet master; the company employed such composers as Sacchini, Anfossi, Cherubini and ultimately Haydn; it went bankrupt and carried on through years of wrangling in Canchery; the King's Theatre burned down in 1789 and was rebuilt and re-opened in defiance of the Lord Chamberlain's refusal to license the new building. Drawing on librettos and scores, ballet scenarios, pamphlets, scattered manuscripts, legal records, architectural drawings, newspapers and other sources, the authors reconstruct the history of the company its shifting artistic policies, analysing opera and ballet repertoy, performers, production circumstances, finances and managerial infighting.

This work begins with the innovations of Monteverdi and developments in Northern Italy. By the end of the period under discussion the Baroque spirit is flourishing north of the Alps, at the courts in Paris, Vienna, London and the German states. Spain and Portugal also made distinctive contributions to the culture of the Baroque. Part of the "Man and Music" series, this book surveys music in its broadest social, political and cultural context.

Music examples and charts illustrate the analyses, and each essay is fully annotated by the editor. In some cases, the results of original research by the editor or by others working in the field are published here for the first time. Much of the material has never before appeared in English.A score embodying the best available musical text.Historical background-what is known of the circumstances surrounding the origin of the work, including (where relevant) original source material.A detailed analysis of the music, by the editor of the volume or another well-known scholar.Other significant analytic essays and critical comments, exposing the student to a variety of opinions about the music.

The tercentenary of Henry Purcell's death fell in 1995, and this 1995 volume of specially commissioned essays was collected to celebrate Purcell's music in his tercentenary year. The essays are representative of the best research and deal mainly with the autograph manuscripts, Purcell's compositional technique, the relationship between Purcell and his teacher John Blow, a reassessment of Purcell court odes, performance practice and wordsetting, and eighteenth-century reception history, particularly regarding King Arthur. The volume is well illustrated with music examples and photographs of important manuscripts. It also analyses Purcell's compositional techniques through detailed study of his manuscripts and reports on the discovery of two important autograph manuscripts. The book opens with an assessment of Purcell's illusive personality.

The tercentenary of Henry Purcell's death fell in 1995, and this 1995 volume of specially commissioned essays was collected to celebrate Purcell's music in his tercentenary year. The essays are representative of the best research and deal mainly with the autograph manuscripts, Purcell's compositional technique, the relationship between Purcell and his teacher John Blow, a reassessment of Purcell court odes, performance practice and wordsetting, and eighteenth-century reception history, particularly regarding King Arthur. The volume is well illustrated with music examples and photographs of important manuscripts. It also analyses Purcell's compositional techniques through detailed study of his manuscripts and reports on the discovery of two important autograph manuscripts. The book opens with an assessment of Purcell's illusive personality.

The extraordinary correspondence between the impresario Felice Giardini and his friend Gabriele Leone lies at the centre of this study of Italian opera in London in the eighteenth century. Hired by Giardini in 1763 to engage Italian performers for a season of opera and ballet at The King's Theatre, Leone was sued by the impresario when the performers he had recruited proved to be second rate. His response was to publish the letters and instructions that Giardini had sent to him, which feature the impresario's ten commandments for the novice foreign opera agent. These letters are transcribed and translated in this volume. As the authors reveal, the documents provide a vivid and detailed source of information about the world of eighteenth-century Italian opera, both in London and in Italy.