Viktoria Franić Tomić, Slobodan Prosperov Novak, Ennio Stipčević: The Italian Opera Libretto and Dubrovnik Theatre (17th and 18th Century), Translated from the Croatian by Graham McMaster, Wien: Hollitzer Verlag, 2020, 136 Seiten, 17 x 24 cm, English, Softcover
ISBN 978-3-99012-798-8 (hbk) € 40,00
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The Italian Opera Libretto and Dubrovnik Theatre (17th and 18th Century)
Nowhere in Europe the Italian opera libretto has had such a direct and decisive influence on original national drama production as it did in Dubrovnik during the 17th and 18th century. In the “Golden Age of Croatian Literature”, a hybrid drama genre was created.
For more than a century, authors of this genre looked attentively at the most important trends of Italian opera production and followed them faithfully. In Croatian literature of that period, a specific model of libretti without music was created, one that appropriated the Italian libretto. These plays were not performed along with functional music, although sometimes authors and actors would provide instrumental accompaniment to the texts.
Nothing more needs to be said about the dissemination and specific reception of Italian opera libretti in Dubrovnik during the 17th and 18th century to be understood as occupying a noteworthy place in the cultural life of Europe.
CONTENTS
Viktoria Franić Tomić, Slobodan Prosperov Novak
THE PECULIARITY OF THE CROATIAN RECEPTION OF DRAMATIC MUSIC IN THE 17th AND 18th CENTURY
1. The Croatian Contribution to the Late Renaissance
Theory of Dramatic Music from Franjo Petrić
(Francesco Patrizi) to Pasko Primović and Ivan Gundulić
2. Croatian Baroque Libretto-Based Drama: the Junije Palmotić Era
3. The dramatists Vice Pucić, Šiško Gundulić,
Ivan Gučetić Jr., Jaketa Palmotić and the historian
of the Venetian libretto Kristoforo Ivanović
4. Vučistrah by Petar Kanavelić, the central
libretto-inspired drama of the second half of the 17th century
5. Antun Gleđević and Ivan Šiško Gundulić, followers
of reform in the libretto from the time of Apostolo Zeno
6. Pietro Metastasio and the last phase
of libretto-inspired drama in Dubrovnik
Ennio Stipčević
OPERA LIBRETTO WITHOUT MUSIC
1. The Renaissance heritage in Baroque theatre and music
2. The earliest Mantuan and Florentine libretti in Croatian translations
3. Venetian libretto writing and stage illusionism
4. Operatic reform in Croatian tragicomedy and music
5. Libretti without music
6. Epilogue
Bibliography
Index
