Picture 1 of 1
Voicing Gender: Castrati, Travesti, and the Second Woman in Early-Nineteen th-...
Condition:
2 available
Postage:
Located in: Wharton, New Jersey, United States
Delivery:
Estimated between Wed, 29 May and Mon, 3 Jun to 43230
Returns:
Coverage:
Read item description or contact seller for details. See all detailsSee all details on coverage
(Not eligible for eBay purchase protection programmes)
Seller information
Registered as a Business Seller
Seller assumes all responsibility for this listing.
eBay item number:322541035800
Item specifics
- Condition
- Brand New: A new, unread, unused book in perfect condition with no missing or damaged pages. See all condition definitionsopens in a new window or tab
- ISBN
- 9780253217899
- Publication Name
- Voicing Gender : Castrati, Travesti, and the Second Woman in Early-Nineteenth-Century Italian Opera
- Item Length
- 9.3in
- Publisher
- Indiana University Press
- Series
- Musical Meaning and Interpretation Ser.
- Publication Year
- 2006
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.6in
- Item Width
- 6.1in
- Item Weight
- 12.5 Oz
- Number of Pages
- 248 Pages
About this product
Product Information
The early 19th century was a period of acute transition in operatic tradition and style, when time-honored practices gave way to the developing aesthetics of Romanticism, the rise of the tenor overtook the falling stars of the castrati, and the heroic, the masculine, and the feminine were profoundly reconfigured. These transformations resounded in operatic plot structures as well; the happy resolution of the 18th century twisted into a tragic 19th-century finale with the death of the helpless and innocent heroine--and frequently her tenor hero along with her. Female voices which formerly had sung en travesti, or basically in male drag, opposite their female character counterparts then took on roles of the second woman, a companion and foil to the death-bound heroine rather than her romantic partner. In Voicing Gender, Naomi Andr skillfully traces the development of female characters in these first decades of the century, weaving in and around these changes in voicings and plot lines, to define an emergent legacy in operatic roles.
Product Identifiers
Publisher
Indiana University Press
ISBN-10
025321789x
ISBN-13
9780253217899
eBay Product ID (ePID)
2309327621
Product Key Features
Publication Name
Voicing Gender : Castrati, Travesti, and the Second Woman in Early-Nineteenth-Century Italian Opera
Format
Trade Paperback
Language
English
Series
Musical Meaning and Interpretation Ser.
Publication Year
2006
Type
Textbook
Number of Pages
248 Pages
Dimensions
Item Length
9.3in
Item Height
0.6in
Item Width
6.1in
Item Weight
12.5 Oz
Additional Product Features
Lc Classification Number
Ml1733.4.A53 2006
Grade from
College Graduate Student
Reviews
Voicing Gender is essential reading for those hoping to gain a deeper understanding of the bel canto tradition. André's meticulous research, clear prose, and insightful commentary will increase our appreciation of a wide variety of works., "André's study provides an exciting new perspective on the Romantic heroine's relationship to her operatic ancestors. Unwilling to cast a diva as devoid of agency and a mere product of growing misogyny among composers and librettists, André weaves a fresh historical narrative that makes sense of women's role as interpreter of primo ottocento opera.... As Irigaray might implore, Open your ears -- don't open them simply." -- STEPHANIE JENSEN-Moulton, Women & Music, Vol. 13 2009, "In presenting the concept of the period ear as a way for today's audiences to hear the voices of the primo ottocento, André (Andre) (Univ. of Michigan) offers a solution to the problematic study of historical performance. The author differentiates between the various onstage female types and traces how a woman's voice represent[ed] both male and female characters during the time that opera diverged from supreme castrati reign and moved toward the era of the Romantic heroine. The opening chapters illustrate the prevailing fashion for castrati versus travesti (males in drag) early in the century, with some reference to more familiar pants role territory and a close study of how opera characters hear female voices onstage and how they respond musically, textually, and dramatically. A short interlude adopts the Bakhtinian hybrid as a model for understanding the 19th--century audience's approach to hearing gender. The first hint of self--confessed diva worship also appears here, in the form and voice of Maria Malibran. This widens in the final chapter to an in--depth study of soprano Giuditta Pasta, specifically of the title roles she created in Medea in Corinto, Norma, and Anna Bolena. Summing Up: Recommended. Graduate students, researchers, and faculty."--V. Vaughan, formerly, Oberlin College, Choice , February 2007 "Voicing Gender is essential reading for those hoping to gain a deeper understanding of the bel canto tradition. André's meticulous research, clear prose, and insightful commentary will increase our appreciation of a wide variety of works."-- OPERA JOURNAL "André's study provides an exciting new perspective on the Romantic heroine's relationship to her operatic ancestors. Unwilling to cast a diva as devoid of agency and a mere product of growing misogyny among composers and librettists, André weaves a fresh historical narrative that makes sense of women's role as interpreter of primo ottocento opera. . . . As Irigaray might implore, Open your ears--don't open them simply.Vol. 13 2009"--STEPHANIE JENSEN-Moulton, Women & Music "In presenting the concept of 'the period ear' as a way for today's audiences to 'hear' the voices of the primo ottocento, André . . . offers a solution to the problematic study of historical performance. The author differentiates between the various onstage female types and traces 'how a woman's voice represent[ed] both male and female characters' during the time that opera diverged from supreme castrati reign and moved toward the era of the Romantic heroine. . . . Recommended."-- Choice, In presenting the concept of 'the period ear' as a way for today's audiences to 'hear' the voices of the primo ottocento, André... offers a solution to the problematic study of historical performance. The author differentiates between the various onstage female types and traces 'how a woman's voice represent[ed] both male and female characters' during the time that opera diverged from supreme castrati reign and moved toward the era of the Romantic heroine.... Recommended., "Andr 's study provides an exciting new perspective on the Romantic heroine's relationship to her operatic ancestors. Unwilling to cast a diva as devoid of agency and a mere product of growing misogyny among composers and librettists, Andr weaves a fresh historical narrative that makes sense of women's role as interpreter of primo ottocento opera.... As Irigaray might implore, Open your ears -- don't open them simply." -- STEPHANIE JENSEN-Moulton, Women & Music, Vol. 13 2009, "Voicing Gender is essential reading for those hoping to gain a deeper understanding of the bel canto tradition. André's meticulous research, clear prose, and insightful commentary will increase our appreciation of a wide variety of works." -OPERA JOURNAL, André's study provides an exciting new perspective on the Romantic heroine's relationship to her operatic ancestors. Unwilling to cast a diva as devoid of agency and a mere product of growing misogyny among composers and librettists, André weaves a fresh historical narrative that makes sense of women's role as interpreter of primo ottocento opera.... As Irigaray might implore, Open your ears-don't open them simply., In presenting the concept of the period ear as a way for today's audiences to hear the voices of the primo ottocento, André (Andre) (Univ. of Michigan) offers a solution to the problematic study of historical performance. The author differentiates between the various onstage female types and traces how a woman's voice represent[ed] both male and female characters during the time that opera diverged from supreme castrati reign and moved toward the era of the Romantic heroine. The opening chapters illustrate the prevailing fashion for castrati versus travesti (males in drag) early in the century, with some reference to more familiar pants role territory and a close study of how opera characters hear female voices onstage and how they respond musically, textually, and dramatically. A short interlude adopts the Bakhtinian hybrid as a model for understanding the 19th--century audience's approach to hearing gender. The first hint of self--confessed diva worship also appears here, in the form and voice of Maria Malibran. This widens in the final chapter to an in--depth study of soprano Giuditta Pasta, specifically of the title roles she created in Medea in Corinto, Norma, and Anna Bolena. Summing Up: Recommended. Graduate students, researchers, and faculty., "André's study provides an exciting new perspective on the Romantic heroine's relationship to her operatic ancestors. Unwilling to cast a diva as devoid of agency and a mere product of growing misogyny among composers and librettists, André weaves a fresh historical narrative that makes sense of women's role as interpreter of primo ottocento opera.... As Irigaray might implore, Open your ears-don't open them simply." -STEPHANIE JENSEN-Moulton, Women & Music, Vol. 13 2009, Andre's study provides an exciting new perspective on the Romantic heroine's relationship to her operatic ancestors. Unwilling to cast a diva as devoid of agency and a mere product of growing misogyny among composers and librettists, Andre weaves a fresh historical narrative that makes sense of women's role as interpreter of primo ottocento opera.... As Irigaray might implore, Open your ears--don't open them simply.--STEPHANIE JENSEN-Moulton"Women & Music" (01/01/2009), "In presenting the concept of 'the period ear' as a way for today's audiences to 'hear' the voices of the primo ottocento, Andr ... offers a solution to the problematic study of historical performance. The author differentiates between the various onstage female types and traces 'how a woman's voice represent[ed] both male and female characters' during the time that opera diverged from supreme castrati reign and moved toward the era of the Romantic heroine.... Recommended." -- Choice, "In presenting the concept of 'the period ear' as a way for today's audiences to 'hear' the voices of the primo ottocento, André... offers a solution to the problematic study of historical performance. The author differentiates between the various onstage female types and traces 'how a woman's voice represent[ed] both male and female characters' during the time that opera diverged from supreme castrati reign and moved toward the era of the Romantic heroine.... Recommended." -- Choice, André's study provides an exciting new perspective on the Romantic heroine's relationship to her operatic ancestors. Unwilling to cast a diva as devoid of agency and a mere product of growing misogyny among composers and librettists, André weaves a fresh historical narrative that makes sense of women's role as interpreter of primo ottocento opera. . . . As Irigaray might implore, Open your ears--don't open them simply.Vol. 13 2009, "In presenting the concept of 'the period ear' as a way for today's audiences to 'hear' the voices of the primo ottocento, André... offers a solution to the problematic study of historical performance. The author differentiates between the various onstage female types and traces 'how a woman's voice represent[ed] both male and female characters' during the time that opera diverged from supreme castrati reign and moved toward the era of the Romantic heroine.... Recommended." -Choice, In presenting the concept of 'the period ear' as a way for today's audiences to 'hear' the voices of the primo ottocento, André . . . offers a solution to the problematic study of historical performance. The author differentiates between the various onstage female types and traces 'how a woman's voice represent[ed] both male and female characters' during the time that opera diverged from supreme castrati reign and moved toward the era of the Romantic heroine. . . . Recommended.
Table of Content
Acknowledgments Introduction: Hearing Voices 1. Sounding Voices: Modeling Voice and the Period Ear 2. Haunting Legacies: The Castrato in the Nineteenth Century 3. Meyerbeer in Italy: The Crusader, the Castrato, and the Disguised Second Woman Interlude: Queens, Hybridity, and the Diva 4. Taming Women's Voices: From Hero to Pageboy 5. Women's Voices in Motion: Voices behind the Romantic Heroine Coda: Looking Ahead to Risorgimento Heroism Glossary Notes Bibliography Index
Copyright Date
2006
Topic
Feminism & Feminist Theory, Instruction & Study / Voice, Ethnomusicology, Genres & Styles / Opera
Lccn
2005-016783
Dewey Decimal
782.1094509034
Intended Audience
Scholarly & Professional
Dewey Edition
22
Illustrated
Yes
Genre
Music, Social Science
Item description from the seller
Seller assumes all responsibility for this listing.
eBay item number:322541035800
Postage and handling
Item location:
Wharton, New Jersey, United States
Post to:
Afghanistan, Albania, Algeria, Andorra, Angola, Anguilla, Antigua and Barbuda, Argentina, Armenia, Aruba, Australia, Austria, Azerbaijan Republic, Bahamas, Bahrain, Bangladesh, Belgium, Belize, Benin, Bermuda, Bhutan, Bolivia, Bosnia and Herzegovina, Botswana, Brazil, Brunei Darussalam, Bulgaria, Burkina Faso, Burundi, Cambodia, Cameroon, Canada, Cape Verde Islands, Cayman Islands, Central African Republic, Chad, Chile, China, Colombia, Costa Rica, Cyprus, Czech Republic, Côte d'Ivoire (Ivory Coast), Democratic Republic of the Congo, Denmark, Djibouti, Dominican Republic, Ecuador, Egypt, El Salvador, Equatorial Guinea, Eritrea, Estonia, Ethiopia, Fiji, Finland, France, Gabon Republic, Gambia, Georgia, Germany, Ghana, Gibraltar, Greece, Greenland, Grenada, Guatemala, Guinea, Guinea-Bissau, Guyana, Haiti, Honduras, Hong Kong, Hungary, Iceland, India, Indonesia, Ireland, Israel, Italy, Jamaica, Japan, Jordan, Kazakhstan, Kenya, Kiribati, Kuwait, Kyrgyzstan, Laos, Latvia, Lebanon, Lesotho, Liberia, Liechtenstein, Lithuania, Luxembourg, Macau, Macedonia, Madagascar, Malawi, Malaysia, Maldives, Mali, Malta, Mauritania, Mauritius, Mexico, Moldova, Monaco, Mongolia, Montenegro, Montserrat, Morocco, Mozambique, Namibia, Nauru, Nepal, Netherlands, New Zealand, Nicaragua, Niger, Nigeria, Norway, Oman, Pakistan, Panama, Papua New Guinea, Paraguay, Peru, Philippines, Poland, Portugal, Qatar, Republic of Croatia, Republic of the Congo, Romania, Rwanda, Saint Kitts-Nevis, Saint Lucia, Saint Vincent and the Grenadines, San Marino, Saudi Arabia, Senegal, Serbia, Seychelles, Sierra Leone, Singapore, Slovakia, Slovenia, Solomon Islands, South Africa, South Korea, Spain, Sri Lanka, Suriname, Swaziland, Sweden, Switzerland, Taiwan, Tajikistan, Tanzania, Thailand, Togo, Tonga, Trinidad and Tobago, Tunisia, Turkey, Turkmenistan, Turks and Caicos Islands, Uganda, United Arab Emirates, United Kingdom, United States, Uruguay, Uzbekistan, Vanuatu, Vatican City State, Vietnam, Wallis and Futuna, Western Samoa, Yemen, Zambia, Zimbabwe
Excludes:
APO/FPO, Alaska/Hawaii, American Samoa, Barbados, Belarus, British Virgin Islands, Comoros, Cook Islands, Dominica, Falkland Islands (Islas Malvinas), French Guiana, French Polynesia, Guadeloupe, Guam, Guernsey, Iraq, Jersey, Libya, Marshall Islands, Martinique, Mayotte, Micronesia, Netherlands Antilles, New Caledonia, Niue, Palau, Puerto Rico, Reunion, Russian Federation, Saint Helena, Saint Pierre and Miquelon, Somalia, Svalbard and Jan Mayen, Tuvalu, US Protectorates, Ukraine, Venezuela, Virgin Islands (U.S.), Western Sahara
Postage and handling | Each additional item | To | Service | Delivery*See Delivery notes |
---|---|---|---|---|
Free postage | Free | United States | Economy Postage (USPS Media MailTM) | Estimated between Wed, 29 May and Mon, 3 Jun to 43230 |
Handling time |
---|
Will usually post within 2 business days of receiving cleared payment. |
Taxes |
---|
Taxes may be applicable at checkout. Learn moreLearn more about paying tax on eBay purchases. |
Sales Tax for an item #322541035800
Sales Tax for an item #322541035800
Seller collects sales tax for items shipped to the following states:
State | Sales Tax Rate |
---|
Return policy
After receiving the item, contact seller within | Refund will be given as |
---|---|
30 days | Money Back |
The buyer is responsible for return postage costs.
Popular categories from this store
Seller feedback (21,750)
n***z (299)- Feedback left by buyer.
Past month
Verified purchase
Great seller!
.***i (191)- Feedback left by buyer.
Past month
Verified purchase
For the price, I expected hardcover. This book can be purchased new from a retail store in paperback for significantly less than this. The item was in good condition, I was just misled by the overpricing. Shipping was timely, which was appreciated.
Reply from: shopspell- Feedback replied by seller shopspell.- Feedback replied by seller shopspell.
The format listed in the item's description is Picture Book. A picture book is not as hard as a hardcover but not a paperback.
h***h (585)- Feedback left by buyer.
Past month
Verified purchase
Thanks