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- aggregation classification "C3".
- aggregation creator person.
- aggregation date "2010".
- aggregation hasFormat 910141.bibtex.
- aggregation hasFormat 910141.csv.
- aggregation hasFormat 910141.dc.
- aggregation hasFormat 910141.didl.
- aggregation hasFormat 910141.doc.
- aggregation hasFormat 910141.json.
- aggregation hasFormat 910141.mets.
- aggregation hasFormat 910141.mods.
- aggregation hasFormat 910141.rdf.
- aggregation hasFormat 910141.ris.
- aggregation hasFormat 910141.txt.
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- aggregation hasFormat 910141.yaml.
- aggregation language "eng".
- aggregation subject "Performing Arts".
- aggregation title "Habsburg opera under the 'Belgian climate': three Italian seasons at the Théâtre de la Monnaie, 1727-1730".
- aggregation abstract "Though generally dismissed as a dull episode in Belgian history, the government of Maria Elisabeth (1725-41) may prove more vital to the country’s (re-)Habsburgization than has been hitherto expected. With greater vigor than any of her predecessors, Charles VI’s sister acted along the lines of the Utrecht Peace Treaty (1713), systematically modifying Belgium’s Bourbon heritage through Habsburg policies. Thus, less than a month before her joyeuse entrée, she and her brother restored the three imperial Councils that had once been installed by Charles V but were abandoned under Philip V. No less significant was the orchestrated return, in 1727, of Italian opera to Brussels’ Francophile scene. Eighteen productions, spread over three seasons and introducing the latest trends in opera seria and intermezzo comico, put a temporary stop to Lully’s hegemony at the Théâtre de la Monnaie. Among the composers, we find the names of the ‘galant’ pioneers Porpora, Sarro, Vinci, and Vivaldi; among the librettists, those of the cesarean reformers Zeno and Pariati; among the singers, those of such international celebrities as the soprano Anna Dotti and the comic duo Ungarelli-Ristorini. With each opera celebrating a Viennese court festivity, furthermore, performances were framed by Te Deums, balls, and cannonades, and subjects chosen so that audiences were exposed to Habsburg’s hallmarks, most notably its clemency and love for the public good. A number of operas even forged direct links with Austria and its dominions: Faramondo (1727), for instance, harked back to a Neapolitan production given in 1719 for the Empress’s name-day, while Archelao (1728) was originally “performed on Austria’s scenes” in 1724 “by the first Nobility of Europe,” before the “first Monarch of the World”. By early 1730, however, dark clouds gathered over Maria Elisabeth’s operatic campaign. Joachim Landi, her second impresario, went bankrupt and could only escape jail through the Archduchess’s personal intervention. Attalo (1730), Landi’s last offering openly allegorized this “injustice” done to the “Italian Poetry and Music, so loved and appraised under the Austrian Sky, but derided and mocked under the Belgian climate”. What elements undermined Maria Elisabeth’s ambitious attempt to attune Brussels with Vienna? Various hypotheses can be deduced from archival sources, newspaper reports, and artistic artifacts, at least one of which will here be presented for the first time: Giuseppe Sammartini’s hybrid, Franco-Italian overture to Lucio Papirio (1727).".
- aggregation authorList BK253818.
- aggregation startPage "58".
- aggregation isDescribedBy 910141.
- aggregation similarTo LU-910141.