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In this book, author Louise K. Stein analyzes early modern opera as appreciated and produced by Gaspar de Haro y Guzmán (1629-87), Marqués de Heliche and del Carpio and a distinguished patron of the arts in Madrid, Rome, and Naples. It also reveals his lasting legacy in the Americas during a crucial period for the growth and development of opera and the history of singing.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read on the Oxford Academic platform and offered as a free PDF download from OUP and selected open access locations.

During a crucial period in opera's development as a genre and as a business, the flamboyantly libertine Spanish aristocrat Gaspar de Haro y Guzmán (1629-87), Marqués de Heliche and del Carpio, influenced operatic practices and productions for both Italian and Hispanic operas. A voracious collector of books and antiquities and famed connoisseur of visual art, the marqués financed operas in both Spain and Italy and further shaped them through his ideas, energy, and politics. His legacy also brought forth the first operas of the Americas, as posthumous revivals of the operatic genres he nurtured appeared in the Americas less than fifteen years after his death. In this book, author Louise K. Stein follows the trajectory of this first operatic producer to have shaped opera in two different worlds--Europe and the Americas--and in doing so, advances our musical and historical understanding of seventeenth- and early eighteenth-century opera and cultural encounter.

Each chapter focuses on different productions spearheaded by the Marqués in Madrid, Rome, and Naples during his lifetime, with the final chapter considering how his influence continued in operatic productions in Lima, Mexico City, and other regions of New Spain after his death. Alongside this portrait of the distinguish patron of the arts, Stein shows how conventions of musical dramaturgy for both private and commercial opera were developed within a consistent politics of production across the far-flung administrative centers of the Spanish empire in the years 1650-1730. She reveals the place of opera within the siglo de oro (Golden Age) of Hispanic theatre and delves deeply into how the Marqués became the principal patron of Alessandro Scarlatti in Italy after his time in Rome, sparking a reliable production system for Italian opera in Naples. Stein also addresses gendered performance--how beliefs about female fertility conditioned listeners and shaped the operatic genre--and advances the concept of the "womanly voice" in the first extant Hispanic operas, the Italian operas produced in Naples between 1683 and 1687, and the first operas of the Americas from 1701 to 1730.

Stein Louise K.: The Marqués, the Divas,
and the Castrati

The Marqués, the Divas, and the Castrati

Gaspar de Haro y Guzmán and Opera in the Early Modern Spanish Orbit

<ul><li>Introduction: An Extraordinary Patron</li> <li>Chapter 1. Inventing Hispanic Opera: Opera as Epithalamium</li> <li>Material Traces of an Interest in Music</li> <li>Heliche's Temperament</li> <li>Heliche, Mariana, and Theatrical Production in Madrid</li> <li>Heliche and the Renovation of the Coliseo del Buen Retiro</li> <li>Artistic Collaboration</li> <li>Performers</li> <li>Women Singing Onstage</li> <li>Opera Production in Madrid; The Context for the "Lost" La púrpura de la rosa</li> <li>The Music of Celos aun del aire matan</li> <li>Conclusion</li> <li>Epilogue: Exile and Subsequent Travel</li> <li>Chapter 2. Negotiating Operatic Culture in Rome 1677-82</li> <li>A First Experience of Italian Opera</li> <li>Italian Opera as Heard by Spanish Compatriots</li> <li>Amidst the Vicissitudes of Opera Production in Rome</li> <li>Entertainments With a Spanish Flavor</li> <li>The 1681 Serenata in Piazza di Spagna</li> <li>Patron and Protector in Rome</li> <li>Spanish Productions at Palazzo di Spagna</li> <li>Conclusion: "el buen gusto romano"?</li> <li>Chapter 3. Naples, Opera, and Spanish Viceroys to 1683</li> <li>The Count of Oñate and the First Operas in Naples</li> <li>Spaces for Opera in Oñate's Naples</li> <li>Viceroys and Inconsistent Levels of Support</li> <li>Operas at the Teatro di San Bartolomeo After the Fire</li> <li>Operas for Special Occasions</li> <li>Spanish Operas for Dynastic Celebrations</li> <li>Conclusions</li> <li>Chapter 4. Carpio and the Integration of Opera in Public Life, Naples 1683-87</li> <li>Practical Considerations</li> <li>--Theaters and Finances for Opera in Naples</li> <li>-- A Palace Theater</li> <li>--A Public Commercial Theater</li> <li>--Libretti and the Schedule of Productions</li> <li>--Opera Finances in Naples</li> <li>--Musicians and Singers</li> <li>The 1683-84 Naples Opera Season</li> <li> --L'Aldimiro o vero Favor per favore</li> <li> --La Psiche, ovvero Amore innamorato</li> <li>--Giulia Francesca Zuffi and the donnesca voce</li> <li>--Giovanni Francesco Grossi and Amore</li> <li> --Il Pompeo</li> <li>--La Tessalonica in 1684</li> <li>The 1684-85 Naples Opera Season</li> <li> --Il Giustino</li> <li>--L'Epaminonda</li> <li>--Il Galieno</li> <li>--Summer Festivities</li> <li>The 1685-86 Naples Opera Season</li> <li> --Il Fetonte</li> <li>--Olimpia vendicata</li> <li>--L'Etio</li> <li>Carpio's Final Season 1686-87</li> <li>--L'Olimpo in Mergellina (serenata)</li> <li>--Il Nerone</li> <li>--Clearco in Negroponte</li> <li>--Il Roderico</li> <li>Tutto il mal: a private opera in 1686 or 1687</li> <li>Carpio in Naples, Some Conclusions</li> <li>Chapter 5. An Operatic Legacy in the Americas </li> <li>The Context for Opera in the American Viceroyalties</li> <li>La púrpura de la rosa in Lima 1701</li> <li>--Legitimizing Public Secular Music and the Emerging Criollo Culture</li> <li>--The Extant Lima Score</li> <li>--Torrejón as Composer or Compiler?</li> <li>--Hidalgo's Music Inside Torrejón's Opera</li> <li>--Hidalgo's Music Reaching Lima</li> <li>--Torrejón y Velasco and the Loa</li> <li>--Coplas, estribillos, bailes, freely declamatory song</li> <li>Opera in New Spain</li> <li>--Celos aun del aire matan?</li> <li>--The Italian paradigm in New Spain</li> <li>--La Partenope, El Zelueco, and Neapolitan models</li> <li>--The Sumaya Question</li> <li>An Appreciable Contemporaneity</li> <li>Epilogue: Lima 1943</li> <li>Appendices</li> <li>--Appendix 1: Plot Synopses, Celos aun del aire matan and La púrpura de la rosa</li> <li> --Appendix 2: Theaters in the Carpio Inventories</li> <li>--Appendix 3: Singers in Carpio's Naples Productions</li> <li>Bibliography</li> <li>Printed Sources Before 1800</li> <li>Printed Sources After 1800</li> <li>Index</li> </ul>

Classic Essays in Jewish History

Jews and Renaissance Culture

Shortest Histories

The Shortest History of Scotland

In 1946 and 1948, James Conway Davies published volumes one and two of his Episcopal Acts and Cognate Documents Relating to Welsh Dioceses 1066-1272. A notice in the front of volume two indicates that volume three - promised for publication in 1950/1 but never released - would have contained inter alia the acts of the dioceses of Bangor and St Asaph and an index of the acts contained in all three volumes. The editor left behind a massive card index and the galley proofs of the acts of St Asaph and Bangor, and it is these that form the basis of the present volume. It therefore completes what is both a monumental study on and source of information for the Church in medieval Wales.

In 1946 and 1948, James Conway Davies published volumes one and two of his Episcopal Acts and Cognate Documents Relating to Welsh Dioceses 1066-1272. These volumes included over 400 pages of introduction (on such topics as sources, the Norman conquest and its impact on the church in Wales, the formation of the bishoprics, diocesan boundaries, the status of St Davids, the structure of the church, etc.) and in calendar form the acts of the dioceses of St Davids and Llandaff. A notice in the front of volume two indicates that volume three would have contained inter alia the acts of the dioceses of Bangor and St Asaph and an index of the acts contained in all three volumes. Volume three was promised for publication in 1950/1, but for some reason never saw the light of day. The editor left behind a massive card index and the galley proofs of the acts of St Asaph and Bangor and it is these that form the basis of the present volume. It therefore completes what is both a monumental study on and source of information for the Church in medieval Wales.

Volume III: The acts of the Dioceses of St Asaph and Bangor, and indexes

Episcopal Acts and Cognate Documents Relating to Welsh Dioceses 1066–1272

Fault Lines

In this masterful history, leading historians and best-selling authors Kevin M. Kruse and Julian E. Zelizer uncover the origins of the current moment in America, answering the question: When-and how-did the country become so polarised? It starts in 1974 with the Watergate crisis, the OPEC oil embargo, desegregation, busing riots in Boston and the wind-down of the Vietnam War. Ever-widening historical fault lines over economic inequality, race, gender and sex norms firing up a polarised political landscape followed. Fault Lines is also the story of the profound transformations of the media and the political system fuelling the fire. This edition has been brought up to date with significant updates throughout, a new chapter on the Trump administration; and a new epilogue on the Biden administration and the 2024 general election.

A History of the United States Since 1974

Routledge Studies in European Security and Strategy

This book offers a comprehensive analysis of how the EU and NATO have worked together informally over the past decade, applying a practice theory approach.

This book offers a comprehensive analysis of how the EU and NATO have worked together informally over the past decade, applying a practice theory approach.

European Security as Informal Practice

EU–NATO Cooperation

Cities of the Ancient World

Cádiz presents a synthesis of the history of the city from its foundation by the Phoencians until the death of Franco in 1975, building upon recent developments in archaeological fieldwork and historical research. Two themes run through the book: the relationship of Cádiz to Andalucía, and its role as a nexus point between the Iberian Peninsula and the wider world, both the Mediterranean and Atlantic.Cádiz is the first full, scholarly treatment of the history of this fascinating city, from its origins as Gadir through to the 20th century.

Cádiz presents a synthesis of the history of the city from its foundation by the Phoencians until the death of Franco in 1975, building upon recent developments in archaeological fieldwork and historical research. Two themes run through the book: the relationship of Cádiz to Andalucía, and its role as a nexus point between the Iberian Peninsula and the wider world, both the Mediterranean and Atlantic.Cádiz is the first full, scholarly treatment of the history of this fascinating city, from its origins as Gadir through to the 20th century.

Cádiz

Feminist Media Histories

Women's Film History in France, 1927–1978

Archiving the Past

Routledge Monographs in Classical Studies

Metafiction, the practice in fictional texts of displaying an awareness of their fictional status, highlighting it, or even exploring it after the manner of literary criticism, existed in ancient Greek and Roman literature. This book demonstrates by cumulative weight of examples the existence of metafiction in classical literature, and in so doing constitutes an 'archaeology' of the origins of metafiction in Western literature. Author Owen Hodkinson engages with a wide range of approaches to fiction and metafiction, and explores detailed examples or case studies from ancient texts. This book provides for the first time for classical and modern literature scholars a full definition of metafiction which uses the earliest metafictional texts in western literature as its examples rather than only modern novels, and the first general but detailed and theoretically-grounded discussion and definition of metafiction aimed at scholars and students of classical literature.

Metafiction, the practice in fictional texts of displaying an awareness of their fictional status, highlighting it, or even exploring it after the manner of literary criticism, existed in ancient Greek and Roman literature. The significance of metafiction to this field is very great—arguably even more so than within modern literature studies, despite the greater prevalence of metafictions in later texts—because it necessarily implies that a text is fictional, and that its author was aware of it as such. Some have argued that the ancients had no clear concept of ‘fiction’, nor the literary-critical tools to think about and analyse it. While some other scholars have recently begun to refer to metafiction in studies devoted to individual literary texts, no general study exists of the use of metafiction in ancient literature and the implications of this for our understanding of fiction in antiquity.This book demonstrates by cumulative weight of examples the existence of metafiction in classical literature, and in so doing constitutes an ‘archaeology’ of the origins of metafiction in Western literature. Author Owen Hodkinson engages with a wide range of approaches to fiction and metafiction, and explores detailed examples or case studies from ancient texts. This book provides for the first time for classical and modern literature scholars a full definition of metafiction which uses the earliest metafictional texts in western literature as its examples rather than only modern novels, and the first general but detailed and theoretically-grounded discussion and definition of metafiction aimed at scholars and students of classical literature.

The Invention of Self-Conscious Fiction

Metafiction in Classical Literature

An exciting new title coming soon from Penguin Random House

Coming Soon

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The Life and Loves of Britain’s First King

Queen James

A chronological account of twenty-one women who made French history, from the fifth to the twenty-first century.

A History of France in 21 Women

Women’s Film History in France, 1927–1978

The Marqués, the Divas, and the Castrati

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