Italian Opera in Central Europe 1614-1780

The general theme of this second volume of Italian opera in Central Europe, 1614 1780 is the question of the "italianness" of Italian opera. Italianità is a cultural phenomenon which is equally apparent in the fields of music, literature and the visual arts. Some of the significant questions posed in this volume concern the reception and transformation of Italian elements in opera by non-Italians, who in this period were attracted to, but also bewildered by, the Mediterranean art- form. Soon after its creation at the end of the sixteenth century, Italian opera conquered virtually all of Europe, and this rapid cultural transfer makes a particularly good case study. Unlike the situation in the nineteenth century, in earlier times the geographical expansion of Italian opera was determined not by europe's national borders but by the cultural, social and religious cohesiveness of its various regions. This volume's studies of italianità in the Italian operas of central Europe embraces a large area politically and culturally diverse today that stretches from Austria, Hungary, Poland, Slovenia and the Czech Republic across large parts of germany. The fifteen papers in this volume concentrate on three fields. Since the classical status and the literary or philosophical meanings of Italian libretti were particularly appreciated, quite apart from the music itself, the papers of the first part deal with italianità as the formation and reception of classical texts and topics. In the second part the dissemination of italian opera through local centres is explored, and its reflection of cultural diversity examined. The papers of the third part analyse the image and transformation of italianità, as, through the processes of cultural transfer discussed in this volume, it became a feature of opera throughout Europe.

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