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opera

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Journal Article
Eighteenth-Century Life (2000) 24 (3): 19–30.
Published: 01 September 2000
...John Richardson The College of William & Mary 2000 John Gay, The Beggar’s Opera, and Forms of Resistance It is a truism that The Beggar’s Opera (1728) articulates dissent through form as much as through content...
Journal Article
Eighteenth-Century Life (2022) 46 (3): 83–100.
Published: 01 September 2022
... between. True, in his ballad operas from that period, he borrowed a number of the composer's melodies, but in multiple instances, he attached comic lyrics that mocked their seriousness. This paper contends that Fielding's apparent change in attitude in the 1740s was rooted in Handel's own change as he...
Journal Article
Eighteenth-Century Life (2022) 46 (3): 52–82.
Published: 01 September 2022
...Robert D. Hume Little scholarly attention has been devoted to the dramaturgy of Handel's operas, which seems secondary to musical and circumstantial matters of venue and performers. This article argues that important things can be learned by attempting to categorize, analyze, and assess...
Journal Article
Eighteenth-Century Life (2010) 34 (2): 65–82.
Published: 01 April 2010
...William Gibbons The magician Zoroastro plays a critical role in Handel's opera Orlando (1733). He opens the first act with a dramatic monologue, keeps the hero Orlando from wreaking too much havoc in his madness, and eventually brings the opera to a peaceful conclusion. Despite his importance...
Journal Article
Eighteenth-Century Life (2016) 40 (2): 36–65.
Published: 01 April 2016
...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...
Journal Article
Eighteenth-Century Life (2016) 40 (3): 36–67.
Published: 01 September 2016
...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...
Journal Article
Eighteenth-Century Life (2002) 26 (2): 23–44.
Published: 01 April 2002
..., while Aeneas’ abandonment of Dido warns William III against neglecting England— although it should be noted that that would have deeply offended the new monarchs.3 Many critics agree upon a première of 1689;4 but others object that the opera’s musical style pre-dates 1689...
Journal Article
Eighteenth-Century Life (2014) 38 (1): 137–140.
Published: 01 January 2014
...Oleg Timofeyev Naroditskaya Inna . Bewitching Russian Opera: The Tsarina from State to Stage . ( New York : Oxford Univ. , 2012 ). Pp. xvi + 401 . $74 Copyright 2013 by Duke University Press 2013 Review Essay Russia’s Male and Female...
Journal Article
Eighteenth-Century Life (2018) 42 (1): 84–101.
Published: 01 January 2018
... in the cartoon style of Hudibras. That they were rejected as “not finished” suggests that they were painted in the broken sketchy manner of Falstaff Examining his Recruits and The Beggar’s Opera. These, I suspect, are the earliest datable paintings, at least of any significance, both following close upon...
Journal Article
Eighteenth-Century Life (2001) 25 (2): 19–31.
Published: 01 April 2001
... What was the artistic climate that year? In the spring the opera com- pany was having its most profitable season (the only one in which it de- clared a dividend), with three new operas—Handel’s Floridante, and Griselda and Crispo by composer Giovanni Bononcini...
Journal Article
Eighteenth-Century Life (2009) 33 (1): 116–119.
Published: 01 January 2009
... writing career and to the literary trope, or myth, that coalesced from the tragic story of the American princess Yarico. The editors offer the farce Incle and Yarico (1787) and the comic opera The Incas (1792) not only to augment Thelwall’s growing canon, but also to illuminate his spirited...
Journal Article
Eighteenth-Century Life (2023) 47 (1): 88–96.
Published: 01 January 2023
.... In composing The Threepenny Opera , Brecht and Kurt Weill must, of course, have come across John Gay's ballad opera and somehow or other saw an engraving of Hogarth's A Scene from the Beggar's Opera (1731), perhaps the one by William Blake. Features of these Beggar's Opera pictures make them forerunners...
Journal Article
Eighteenth-Century Life (2017) 41 (3): 20–56.
Published: 01 September 2017
.... For example, Farquhar’s The Constant Couple (1699) may well have had the most performances in its first season of any play before The Beggar’s Opera (1728), which enjoyed 62. Far- quhar claimed 50 performances in five months in his preface to The Incon- stant (1702). Is this both possible and plausible...
Journal Article
Eighteenth-Century Life (2015) 39 (2): 30–65.
Published: 01 April 2015
... featured the motto on a banner in multiple versions of his paintings of John Gay’s The Beggar’s Opera—an element of Hogarth’s painting later reproduced by William Blake in his engravings of the image.5 But it is also during the eighteenth century that the tutorial role of the theater as mirror...
Journal Article
Eighteenth-Century Life (2019) 43 (3): 101–114.
Published: 01 September 2019
... of knowledgeable commentators like Benjamin Victor and Thomas Davies, did many of them very well indeed. Chapter 3, Portrait of a Theatrical Despot: Cibber the Manager, gets a bit bogged down in Cibber s quarrels with Pope, his rejection of The Beggar s Opera, and his ill reputation among playwrights for his...
Journal Article
Eighteenth-Century Life (2015) 39 (3): 83–86.
Published: 01 September 2015
... other plays (sometimes his own). They vary widely in tone and subject matter, from domestic comedy, to ballad opera, to mock-tragedy, to satire, to outright burlesque, and in form, from the short single-act afterpiece, to the traditional five-act drama, with many variations in between. What...
Journal Article
Eighteenth-Century Life (2014) 38 (3): 158–164.
Published: 01 September 2014
...” (1733), which ridicules the fine ladies at the opera: But ah! Beware, lest list’ning to the song, Your transport, or your sorrow, shou’d be wrong; When you shou’d smile or sob, shou’d laugh or cry, The hint still taking from the neighbour’s eye. Although it is tempting...
Journal Article
Eighteenth-Century Life (2016) 40 (3): 134–147.
Published: 01 September 2016
... Ripa, and nar- rative temporality in Nicolas Poussin. On the verbal side they include Field- ing’s burlesque mode in The Grub Street Opera, the gender politics of Fielding’s Joseph Andrews and Richardson’s Pamela, and the suggestive presence of certain phrases, words, and letters in the images...
Journal Article
Eighteenth-Century Life (2009) 33 (1): 138–143.
Published: 01 January 2009
..., but also to a broader public that ranges across the demarcations of social rank. After discussing Thomas D’Urfey as precursor, Newman moves to John Gay’s The Beggar’s Opera (1728). His interpretation of Gay’s skewering social critique follows previous readings fairly closely, as he explores how...
Journal Article
Eighteenth-Century Life (2012) 36 (3): 81–86.
Published: 01 September 2012
... process and mythic vitality. Bruckner and Mahler — ​piety and sarcasm. Schoenberg and Stravinsky — ​intel- lect and impetus. Symphony and opera — ​universal and national expression” (6). Music, on this reading, “produces a challenge to thought, not a denial.” After a self-­proclaimed “detour...