The course deals with musical theatre from a theoretical and historical point of view, in its components (music, text, staging) and concerning the production system. The second part of the course analyzes significant pages of the operatic repertoire according to the criteria defined in the introductory part. At the end of the course, the student can approach the study of the operatic repertoire.
Course Prerequisites
Knowledge of the general lines of the history of music with particular reference to theatrical music is assumed. Knowledge of the fundamental principles of Italian versification will be helpful.
Teaching Methods
In attendance class.
Assessment Methods
Oral interview. The student must demonstrate that he/she has acquired the methodological tools explained during the course and/or through readings and in-depth knowledge of the chosen works. Non-attending students must agree on the operas to be studied with the teacher and must study at least one of the texts recommended for further study in addition to the mandatory texts.
Texts
Students must demonstrate knowledge of two operas among those covered during the class or of others operas chosen by the student in agreement with the teacher; "knowledge" means in-depth reading of the libretto and score and listening/viewing of at least one audio or audio-video performance. Paper and digital editions are available in the Department Library and on the main media channels (YouTube, Spotify, etc.); the relevant links will be provided via the Kiro platform. It is also mandatory for everyone to read: - Fabrizio Della Seta, Not without madness: Perspectives on opera, Chicago: University of Chicago Press, 2013, “Introduction” (pp. 1-11), Ch. 1 (pp. 15-23), one chapter at choice between Ch. 2 (pp. 24-37), Ch. 3 (pp. 28-51), Ch. 4 (pp. 52-82), and related notes (pp. 225-247). To delve deeper into the theoretical concepts, it will be helpful to read: - Lorenzo Bianconi, Il teatro d’opera in Italia: geografia, caratteri, storia, Bologna: Il Mulino, 1993; - Gloria Staffieri, Un teatro tutto cantato: introduzione all’opera italiana, Rome: Carocci, 2012; - Carl Dahlhaus, The Dramaturgy of Italian Opera,” in Lorenzo Bianconi and Giorgio Pestelli, eds., Opera in Theory and Practice, Image and Myth [The History of Italian Opera, vol. 6, part II, “Systems”] (Chicago: The University of Chicago Press, 2003), pp. 73-150.
Contents
1. Definition of the discipline and its basic concepts: spectacle, theater, theater with/for/in music. Classical and modern theories of theater and drama and their applicability to musical theater. The genres of musical theater: opera, operetta, oratorio and others. The libretto and its components. The visual dimension: scenography, costume, acting. Function of music in musical theater: music and words, music and show, music and dramatic action. Spectacular text and dramatic text. Methods of analysis of musical theater.
2. Application of theoretical and analytical concepts to selected pages of the operatic repertoire, with particular reference to Italian opera from Mozart to Puccini, but without excluding essential works from other repertoires (French, German, contemporary).
Course Language
Italian
More information
Due to the course's nature, class attendance is highly recommended.
For all students, teaching will be in person (except in cases of force majeure). However, as per the resolution of the governing bodies, during the course, some inclusive teaching methods will be implemented upon request for some categories of students (see https://www.unipv.news/notizie/modalita-didattiche-lezioni-ed-esami-il-prossimo-anno-accademico-20232024): online office hours, provision of material on the Kiro platform and any seminars. However, it is essential that interested students report their situation in time in order to benefit from it.
