Add to ORKGThis essay focus his attention on Italian ballet librettos of the second half of Eighteenth-century. The author gathers Italians librettos of Giuseppe Canziani, Antonio Muzzarelli, Onorato Viganò e Francesco Clerico from 1769 to 1810 in order to outline the main features of this source and, at the same time, to deal with some of the methodological problems related to his use
Nel XIX secolo lo spettacolo coreico trova il proprio ineludibile punto di partenza in un testo scri...
© 2013 Nancy CaloPietro Alessandro Guglielmi’s opera buffa or bernesca, titled Lo spirito di contrad...
This manual represents one of the most important sources on dance technique for the second half of t...
L’articolo concentra la sua attenzione sul libretto di ballo della seconda metà del Settecento. Attr...
This work aims to investigate Italian pantomime ballet during the late forty years of the Eighteenth...
Uno sguardo complessivo sui caratteri evolutivi del libretto melodrammatico dalle sue origini nel co...
One of the most ambiguous question in the studying of pantomime ballet is its staging. The combinati...
The present essay aims at reviewing the issues and methodologies faced in my PhD research. The first...
Della prima collaborazione tra Gioachino Rossini musicista e Felice Romani librettista, l'Aureliano ...
The osmotic relationship between theatrical ballet and opera on the Milanese stage in twenty years (...
The paper focuses the ballet repertoire at the San Carlo Theatre (Naples) in the 18th century; speci...
The article examines the language used in some Italian opera librettos in XVII- XVIII centuries. The...
The aim of this thesis was to produce a performing edition of nine cantatas which form part of a col...
Ballets with the designation fantastico first appeared in Italy’s theaters during the Risorgimento p...
Nel 1765 Gasparo Angiolini presenta a Vienna il ballo pantomimo tragico Semiramide, corredandolo di ...
Nel XIX secolo lo spettacolo coreico trova il proprio ineludibile punto di partenza in un testo scri...
© 2013 Nancy CaloPietro Alessandro Guglielmi’s opera buffa or bernesca, titled Lo spirito di contrad...
This manual represents one of the most important sources on dance technique for the second half of t...
L’articolo concentra la sua attenzione sul libretto di ballo della seconda metà del Settecento. Attr...
This work aims to investigate Italian pantomime ballet during the late forty years of the Eighteenth...
Uno sguardo complessivo sui caratteri evolutivi del libretto melodrammatico dalle sue origini nel co...
One of the most ambiguous question in the studying of pantomime ballet is its staging. The combinati...
The present essay aims at reviewing the issues and methodologies faced in my PhD research. The first...
Della prima collaborazione tra Gioachino Rossini musicista e Felice Romani librettista, l'Aureliano ...
The osmotic relationship between theatrical ballet and opera on the Milanese stage in twenty years (...
The paper focuses the ballet repertoire at the San Carlo Theatre (Naples) in the 18th century; speci...
The article examines the language used in some Italian opera librettos in XVII- XVIII centuries. The...
The aim of this thesis was to produce a performing edition of nine cantatas which form part of a col...
Ballets with the designation fantastico first appeared in Italy’s theaters during the Risorgimento p...
Nel 1765 Gasparo Angiolini presenta a Vienna il ballo pantomimo tragico Semiramide, corredandolo di ...
Nel XIX secolo lo spettacolo coreico trova il proprio ineludibile punto di partenza in un testo scri...
© 2013 Nancy CaloPietro Alessandro Guglielmi’s opera buffa or bernesca, titled Lo spirito di contrad...
This manual represents one of the most important sources on dance technique for the second half of t...