Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications
Rev3b bonnet
Rev3c naudeix
Rev3d silvio
Rev3e quetin
Rev3a preface
Rev3f gier
Rev3g cazaux
Rev3n loubinoux
Rev3l kondyli
Rev3k panighini
Rev3j angermuller
Rev3i guertin
Rev3h champonnois
Rev3 representations
Rev3m parodi

 The opera Arsinoe travelled throughout Europe from 1676 to 1705. From its creation in Bologna until its performance at Drury Lane in London, the work developed according to local operatic practice. The first alterations were made for the Venetian stage, when one character was replaced by another, and where new scenes were added to satisfy the Venetians’ excessive taste for machinery. This lyrical drama was revived in London thirty years later. Among other transformations, the major change consisted in Peter Antony Motteux’s translation of Tommaso Stanzani’s text into English. However, the recitative style was preserved to give birth to the first opera « after the Italian manner », Arsinoe, Queen of Cyprus. The progress of this work gives valuable information on operatic practice in Venice and London in the late seventeenth and early eighteenth centuries. Thomas Clayton’s original work paved the way for the introduction of Italian opera in a hybrid form. This opera « after the Italian manner » can certainly be seen as a bridge between the English semi-opera of the Restoration and the Italian opera which was to prevail on the London stage from 1711 onwards, mainly through its principal exponent: George Frederic Handel.

Migrations culturelles de l'histoire de la représentation aux XVIIIème et XIXème siècles en Europe

N° 3 b

Jérome Bonnet

Université de Tours

Arsinoe de Tommaso Stanzani : voyage d'un drame lyrique de Bologne (1676) à Londres (1705)

Jérome Bonnet
Jérome Bonnet - Arsinoe de Tammaso Stanzani

Laura Naudeix
Laura Naudeix - Présence de la tragédie en musique française

Sandrah Silvio
Sandrah Silvio - Style et technique des chanteuses lyriques italiennes

Laurine Quetin
Laurine Quetin - Réception de l'art lyrique italien en Russie


Albert Gier
Albert Gier - Zwischen Tragödie und Melodram

Chantal Cazaux
Chantal Cazaux - Gaetano Donizetti de Naples à Paris et Vienne

Gérard Loubinoux
Gérard Loubinoux - Castil-Blaze, héritier des querelles du XVIIIè siècle

Georgia Kondyli
Georgia Kondyli - Les Danaïdes ou les migrations d'un mythe

Stefania Panighini
Stefania Panighini - Analisi della messinscena del Così fan tutte

Rudolf Angermüller
Rudolf Angermüller - Così fan tutte auf europäischen Bühnen

Ghyslaine Guertin
Ghyslaine Guertin - L'Europe musicale d'après un migrant du XVIIIè siècle

Cécile Champonnois
Cécile Champonnois - Travellers and Amateur Opinions on XVIIIth Century


Elena Biggi Parodi
Elena Biggi Parodi - "Les Danaïdes" di Salieri diretta da Gaspare Spontini