Vincenzo Bellini on stage and screen, 1935-2020

• Titel: Vincenzo Bellini on stage and screen, 1935-2020
• Mitwirkende: Sala, Emilio [HerausgeberIn]
• Mitwirkende: Seminara, Graziella [HerausgeberIn]
• Mitwirkende: Senici, Emanuele [HerausgeberIn]
• Verf.angabe: edited by Emilio Sala, Graziella Seminara and Emanuele Senici
• Verlagsort: London
• Verlag: Bloomsbury Academic
• Jahr: 2024
• Umfang: 1 Online-Ressource (x, 230 Seiten)
• Illustrationen: Illustrationen
• Gesamttitel/Reihe: New approaches to sound, music, and media
• Schrift/Sprache: Barrierefreier Inhalt: Compliant with Level AA of the Web Content Accessibility Guidelines. Content is displayed as HTML full text which can easily be resized or read with assistive technology, with mark-up that allows screen readers and keyboard-only users to navigate easily
• ISBN: 978-1-5013-9122-4
• ISBN: 978-1-5013-9120-0
• ISBN: 978-1-5013-9121-7
• DOI: doi:10.5040/9781501391224
• Datenträger: Online-Ressource
• Sprache: eng
• Bibliogr. Hinweis: Erscheint auch als : Druck-Ausgabe: Vincenzo Bellini on stage and screen, 1935-2020. - New York, NY : Bloomsbury Academic, 2024. - ix, 238 Seiten
• Sach-SW: Individual composers & musicians, specific bands & groups
• Sach-SW: Opera
• K10plus-PPN: 190184398X
• K10plus-PPN:
  Universitätsbibliothek
• Lokale URL UB: Zum Volltext

Abstract

Vincenzo Bellini on Stage and Screen, 1935-2020 offers nine case studies of the history of Vincenzo Bellini's operas on stage, on screen, and in sound, video and performance art. This investigation begins in 1935, the hundredth anniversary of the composer's death and the year when his first biopic was released, and ends in 2020, when performance artist Marina Abramovic's 'opera project' 7 Deaths of Maria Callas, whose final scene is accompanied by Bellini's famous aria 'Casta Diva,' was premiered. In Part One, several recent productions of La sonnambula, Norma and I Puritani are discussed from different perspectives, but the common focus is on the possible meanings of these works for contemporary spectators. Part Two, centered on cinema, includes chapters on biopics of Bellini that make extensive use of his music, as well as on the presence of this music in soundtracks of films from the last half century. Part Three turns to other media or mixtures of stage and screen, and focuses on Bellini in sound and video art of the last few decades, on YouTube and its fandom, and on 7 Deaths of Maria Callas. The volume offers an expansive view of the many ways in which Bellini's operas have been visualized and conceptualized over the past century, and of what they may have meant, and may still mean, for twentieth- and twenty-first-century culture