03522 - Musical Dramaturgy

Learning outcomes

Basic skills in the field of musical dramaturgy:

- how to read an opera libretto; how to grasp its poetic, dramatic, theatrical structure;

- how to read an operatic score; how to grasp its poetic-musical, dramatic, theatrical structure;

- the outline of the history of opera, esp. of Italian opera.

Course contents

module 1 (17 Febr - 19 March 2009; Dipartimento di Musica e Spettacolo, via Barberia 4, Aula Donatoni (first floor): Wednesday and Thursday, 5-7 p.m.; Friday, 11 a.m. - 1 p.m.);

module 2 (14 April - 14 May 2009; Dipartimento di Musica e Spettacolo, via Barberia 4, Aula Donatoni (first floor): Wednesday and Thursday, 5-7 p.m.; Friday, 11 a.m. - 1 p.m.).

European Opera in the 19th Century

Readings/Bibliography

- G. Pestelli, Opera in musica e teatro nell'Ottocento, in: Storia del teatro moderno e contemporaneo, II: Il grande teatro borghese. Settecento-Ottocento, ed. R. Alonge and e G. Davico Bonino, Torino, Einaudi, 2000, pp. 1145-1162;
- F. Della Seta, Italia e Francia nell'Ottocento, Torino, EDT, 1993 (= "Storia della musica", 9), §§ 4-5, 9, 12, 14; Letture 1, 8 e 12;
- R. Di Benedetto, Romanticismo e scuole nazionali nell'Ottocento, Torino, EDT, 1991 (= "Storia della musica", 8), §§ 18 e 21; Letture 8 e 9;
- M. Beghelli, Voci e cantanti, in: Enciclopedia della musica, a cura di J.-J. Nattiez, V: L'unità della musica, Torino, Einaudi, 2005, pp. 814-841.

The candidate is expected to have a grasp on at least an outline of the history of Italian opera:
- L. Bianconi, Il teatro d'opera in Italia, Bologna, Il Mulino, 1993 (in English as entry 'Italy' in New Grove Dictionary of Opera, II, London, Macmillan, 1992, pp. 837-860)
or, as an alternative,
- G. de Van, L'opera italiana, Rome, Carocci, 2002 (also available in French).

Teaching methods

Lectures

Assessment methods

Interview

Candidates for 10-12 credits are expected to know at least two operas selected form the list here below; candidates for 5-6 credits are expected to know at least one of these:
-  L. v. Beethoven, Fidelio (1814);
- G. Rossini, Il barbiere di Siviglia (1816);
- G. Verdi, Il trovatore (1853);
- G. Verdi, Un ballo in maschera (1859);
- R. Wagner, Goetterdaemmerung (The Twilight of the Gods,1876);
- G. Bizet, Carmen (1875);
- M. Musorgsky, Boris Godunov (1874);
- P. I. Tchaikovsky, Pikovaya dama (The Queen of Spades, 1890).
More specific bibliographic references for these eight operas will be supplied during the course. The 'knowledge' of any opera implies (1) an analytic reading of its libretto (metrical, poetic, narratologic, dramatic structure), (2) listening integrally and repeatedly to a sound or video recording of it, as well as (3) consulting the critical literature. For the three titles in Italian (Rossini, Verdi) the candidate may grasp to Libretti d'opera italiani dal Seicento al Novecento, ed. G. Gronda and P. Fabbri, Milan, Mondadori, 1997, pp. 1003-1074, 1361-1404 e 1405-1452.

Students are expected to be acquainted with the outline of the history of Italian opera from the 17th to the 20th century:
- L. Bianconi, Il teatro d'opera in Italia, Bologna, Il Mulino, 1993 (in English as entry 'Italy' in New Grove Dictionary of Opera, II, ed. S. Sadie, London, Macmillan, 1992, pp. 837-860)
or, as an alternative,
- G. de Van, L'opera italiana, Rome, Carocci, 2002 (also available in French).

The candidate is expected to bring with him the libretto(s) selected for the interview.

Teaching tools

have a look at these sites (not specific for this year's courses, but nevertheless useful as orientation!):

http://www.muspe.unibo.it/corso/corsi/dramus/index.htm

http://www.muspe.unibo.it/corso/corsi/fppm/index.htm

Office hours

See the website of Lorenzo Gennaro Bianconi