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Présentation The Singing Turk de Format Broché
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Résumé :
Larry Wolff is Professor of History and Director of the Center for European and Mediterranean Studies at New York University. He is the author of Paolina's Innocence: Child Abuse in Casanova's Venice, The Idea of Galicia: History and Fantasy in Habsburg Political Culture, Venice and the Slavs: The Discovery of Dalmatia in the Age of Enlightenment, and Inventing Eastern Europe: The Map of Civilization on the Mind of the Enlightenment?all published by Stanford University Press. Visit Larry Wolff's website at www.singingturk.com
Biographie:
Introduction
1. The Captive Sultan: Operatic Transfigurations of the Ottoman
Menace after the Siege of Vienna
2. The Generous Turk: Captive Christians and Operatic Comedy in Paris
3. The Triumphant Sultana: Suleiman and His Operatic Harem
4. The Turkish Subjects of Gluck and Haydn: Comic Opera in War And Peace
5. Osmin in Vienna: Mozart's Abduction and the Centennial of the Ottoman Siege
6. To Honor the Emperor: Pasha Selim and Emperor Joseph Ii in the Age of Enlightened Absolutism
7. The Ottoman Adventures of Rossini and Napoleon: Kaimacacchi and Missipipi at La Scala
8. Pappataci and Kaimakan: Reflections in a Mediterranean Mirror
9. An Ottoman Prince in the Romantic Imagination: The Libertine Adventures of Rossini's Turkish Traveler
10. Maometto in Naples and Venice: The Operatic Charisma of the Conqueror
11. Rossini's Siege of Paris: Ottoman Subjects in the French Restoration
12. The Decline and Disappearance of the Singing Turk: Ottoman Reform, the Eastern Question, and the European Operatic Repertory
Conclusion
...
Sommaire: The introduction sets the problem of operatic representation in the context of the Triplex Confinium, the adjacency of the Ottoman, Venetian, and Habsburg states in the eighteenth century, creating circumstances of war and hostility, but also coexistence and familiarity. Venice and Vienna were significant both as capitals of the Triplex Confinium and as operatic centers for works on Turkish themes. Some familiarity and fascination with elements of Turkish musical style- Janissary or alla turca style- was one aspect of this geopolitical situation, and the introduction makes the case for thinking about musical issues in the context of international relations and the dynamics of war and peace. Finally, the introduction considers how the singing Turk on the operatic stage addressed issues of European identity in the age of Enlightenment, in matters of political theory, emotional discipline, and the presumption of civilization. This chapter suggests that, following the failed Ottoman siege of Vienna in 1683, a lessening of fear and anxiety in Europe coincided with the emergence of operas about Turks as European entertainment-even as Ottoman territorial recession was articulated in the treaties of Karlowitz (1699) and Passarowitz (1718). The most important subject of such operas, initially, was Tamerlane's capture of Sultan Bajazet, with the sultan singing in captivity as the emblem of Ottoman defeat, engaging European sympathy rather than dread. Such operas appeared first in Venice and Hamburg in 1689 and 1690, and then found definitive form with the libretto by Agostino Piovene and music by Francesco Gasparini in Venice in 1711, revised for Reggio Emilia in 1719. The most celebrated such work was Handel's Tamerlano, in London in 1724, borrowing Gasparini's tenor Francesco Borosini for the role of Bajazet. Vivaldi also set the Piovene libretto as Bajazet in 1735. This chapter considers Paris as an operatic perspective on the Ottoman empire, conditioned both by the relative remoteness of Paris from Istanbul and the longterm French solidarity with the Ottomans against the Habsburgs. The Paris fairs of the early eighteenth century served as a matrix for the emergence of new musical comedies on Turkish themes, including the comical figure of Arlequin (Harlequin). The Ottoman embassy to Paris in 1720-1721 stimulated a fashionable cultural interest in Turquerie, while the publication of Montesquieu's Persian Letters in 1721 as a foundational work of the French Enlightenment encouraged a philosophical perspective on the Muslim world. These new attitudes received their most important and influential operatic expression in Rameau's Les Indes galantes of 1735, with one act titled Le Turc g?n?reux. The generous Turk was a magnanimous and sympathetic pasha who ultimately emancipated a female European captive from his harem. This chapter presents the French musical comedy phenomenon of Charles-Simon Favart's The Three Sultanas (Les Trois Sultanes) of 1761, about Sultan Suleiman the Magnificent and the favorite of his harem, Roxelana, as performed by Marie-Justine Favart. In this Parisian work the Ottoman sultan was triumphantly civilized by Roxelana, who was fictively imagined as a Frenchwoman in Suleiman's harem. The work was staged and costumed in the spirit of cultural Turquerie, and was ...
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