La buona figliuola: Roman Intermezzos and Piccinni’s Wigs · The three-four voices intermezzo in Rome between 1760-1780 marked an important morphological pattern for the growth of «Dramma giocoso» and mixed Gol- doni’s dramaturgical schemes with musical style of the composers trained in the Neapolitan conservatories. Piccinni’s Il perucchiere demonstrates that inter- mezzo, born as a ploy to break the ban on staging comic operas in Rome, was a valid alternative to the dramma giocoso of which it summarized the stylistic fea- tures most appreciated by the public. Many of the greatest successes of operas of the second half of the eighteenth century can be better understood only when compared with Piccinni’s «farsette».
Dopo la Buona figliuola: gli intermezzi romani e le parrucche di Piccinni
Lorenzo Mattei
2023-01-01
Abstract
La buona figliuola: Roman Intermezzos and Piccinni’s Wigs · The three-four voices intermezzo in Rome between 1760-1780 marked an important morphological pattern for the growth of «Dramma giocoso» and mixed Gol- doni’s dramaturgical schemes with musical style of the composers trained in the Neapolitan conservatories. Piccinni’s Il perucchiere demonstrates that inter- mezzo, born as a ploy to break the ban on staging comic operas in Rome, was a valid alternative to the dramma giocoso of which it summarized the stylistic fea- tures most appreciated by the public. Many of the greatest successes of operas of the second half of the eighteenth century can be better understood only when compared with Piccinni’s «farsette».I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
