... moved away from Italian opera and toward English oratorio. While Fielding was critical of the former, the latter genre aligned with his aesthetic ideal, which favored word‐centric music performed in English with a minimum of “Tinsel, or . . . Ostentation.” Indeed, it is arguable that in his ballad‐opera...

...Amy Dunagin The first two sustained efforts to chronicle the history of English music were conducted independently during the 1710s and 1720s by Thomas Tudway and Roger North. They wrote in the context of the escalating popularity of Italian opera in England. Their histories also resonated...

...Keith Johnston Montesquieu's climatological theory of character played an important role in English musical criticism in the third quarter of the eighteenth century and helped form an intellectual basis for an English critique of Italian comic opera in the sentimental mode. Critics like Joseph...

... anniversaries. Of special interest is the author’s chapter entitled “Recycling and Russifying Seria,” in which she discusses the fate of “serious,” historical Italian operas (opera seria) on the Rus- sian soil. Naroditskaya argues that they not only functioned “as a decoration for the Russian crown...

...,” Journal of the American Musicological Society 48 (1995): 423 – 84, and Ralph P. Locke's “Alien Adventures: Exoticism in Italian-Language Baroque Opera,” Musical Times 150.1909 (2009): 53 – 69. 15. Dean's count totals thirty-nine because he includes the three surviving operas from Germany...

... of the opera house. Working on a history of Italian opera in late eighteenth-century London, my collaborators and I found some sixty bills of complaint and answers (some of them running to dozens of parch- ments containing detailed documentation), plus a wealth of depositions, affidavits, Chancery...

...,” in Essays on Handel and Italian opera (Cambridge: Cambridge Univ., 1985), 266. Winton Dean, in Handel’s Operas, 1726  –  1741, finds Strohm’s arguments for Haym’s authorship unconvincing, largely on the basis of chronology. Moreover, according to Dean, “The part of  Zoroastro was clearly conceived...

..., Judith Milhous, Robert D. Hume, and Gabriella Dideriksen, Italian Opera in Late Eighteenth-Century London: The King’s Theatre, Haymarket, 1778–1791 (Oxford: Oxford Univ., 1995); the quotation is on 49. The quotations about Holland’s reconstruction are from Theatre Royal, ed. Sheppard, 50 and 54...

...- ished under Anne, from the court odes composed in her honor, to the acces- sible hymns of Watts; from the older court masque, to the new Italian opera; from Restoration comedy, to humane comedy; and from heroicomical poetry, to the occasional and social verse of the miscellanies. An emphasis...

... of seasons listing the Italian opera circuit. As the Eternal City was the eventual goal of the Tour, an exhibition of the city’s cultural activities has been long overdue, an oversight magnificently ful- filled by the Philadelphia Museum of Art in 2000. The equally impressive cat- alog, edited by Edgar...

... after War (Stanford: Stanford Univ., 2009). Pp. xiv + 283. $60 Wanklyn, Malcolm. The Warrior Generals: Winning the British Civil Wars, 1642 – 1652 (New Haven: Yale Univ., 2010). Pp. xviii + 312. 8 ills. $55 Ward, Adrienne. Pagodas in Play: China on the Eighteenth-­Century Italian Opera...

..., a performance that was doubtlessly elaborated as the run went on, for Cibber was a great ad-libber.20 One can hardly sup- pose that anyone but the person who would give the performance would suggest adding an actual Italian aria to a stage play; Cibber must have had...

... long, an invaluable gathering together of the scholarly literature on Hogarth. There are extensive notes on each contributor, with a majority of them from Italian universities. Hogarth had a major influence on philosophy, drama, television, and video, on different forms of literature, ekphrastic poetry...

... J Seven of the ten essays in this collection have already appeared in print, yet this book is less repetitive than most sets of collected essays, thanks in large measure to the author’s astonishing range. Marshall Brown writes with author- ity about literature in English, French, Italian...

... with the shifting timetable of the urban elites, balls, concerts, theater, and opera also began to be held in the evening, right across Europe. In the major Italian and German cities, as in London and Paris, performances moved from late afternoon to evening, often ending around eleven or twelve. Visiting too became...

... glories of his cousin Louis XIV, to Kant’s participation in concluding the Enlightenment, and along the way, discussing Anglo-French dramatic rivalry, the rise and fall of Italian opera, as well as the exchanges between English and Continental philosophes and novelists. Barnouw should be commended...

... of a famous Italian castrato, which, however, is the same moment she becomes an object of amusement—she is sitting with her unruly, trading-class cousins, the Branghtons, who talk throughout the performance and mock Evelina for her affectation. “Tasteful attention,” and “taste as a social performance...

... is Professor of Art History and Head of the Department of History of Art at the University of Birmingham. She has written The Im- age of the Actor: Verbal and Visual Representation in the Age of Garrick and Kemble (1991) and edited Italian Culture in Northern Europe in the Eigh...

.... In their place succeed universal scepticism and unbounded libertinism.12 Unbounded libertinism is presumed throughout the era. A great many of our gentlemen travelers have reason enough to be cross on account of some modish distemper the Italian ladies have bestowed on them with the rest of their favours...

... Hunt, “Marital ‘Rights,’ ” 107 – 08. 20. Daily Journal, Monday, 25 March 1734. 21. Peter Thomson, “Yates, Mary Ann (1728 – 1787 ODNB, <httpwww .oxforddnb.com/view/article/30196>. 22. See Daniel Nalbach, The King’s Theatre, 1704  – 1867: London’s First Italian Opera House (London...