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In this study, Ian Woodfield explores the cultural and commercial life of Italian opera in late eighteenth-century London. It was a period when theatre and opera worlds mixed, venues were shared, and agents and managers collaborated and competed. Through primary sources, many analysed for the first time, Woodfield examines such issues as finances, recruitment policy, the handling of singers and composers, links with Paris and Italy, and the role of women in opera management. These key topics are also placed within the context of a personal dispute between two of the most important managers of the day, the woman writer Frances Brooke and the actor David Garrick, which influenced the running of the major venues, the King's Theatre, Drury Lane and Covent Garden. Woodfield has also uncovered new information concerning the influential role of the eighteenth-century music historian and critic Charles Burney, as artistic advisor to the King's Theatre.

English literature --- Theatrical science --- Drama --- anno 1700-1799 --- London --- Theater management --- Opera --- Gestion de théâtre --- Opéra --- King's Theatre (London, England) --- Management --- England --- London (England) --- 18th century --- 78.77.0 --- Management. --- Comic opera --- Lyric drama --- Opera, Comic --- Operas --- Dramatic music --- Singspiel --- Theater administration --- Theater --- History and criticism --- Production and direction --- Queen's Theatre (London, England : 1705-1714) --- Her Majesty's Theatre (London, England)

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Music of the Raj is a study of musical life in late eighteenth-century Anglo-Indian society, based on the unpublished correspondence of an extended network of families. The writers of these letters - amateurs with a passionate commitment to the art of music - provide a perceptive commentary on many of the major issues of the day: the stylistic change from Baroque to Galant, the replacement of the harpsichord with the pianoforte, the establishment of the musical canon, and the growing economic and cultural influence of women musicians. Among the topics discussed are the transport, tuning and maintenance of instruments, the relationship between amateur pupil and professional teacher, the conduct of the domestic musical soiree, the role of glee singing in courtship, and the musical education of children. An account is also given of the growth of an expatriate musical culture among the European inhabitants of early colonial Calcutta, and the musical tastes of major Anglo-Indian figures such as Robert Clive, Warren Hastings, and Sir William Jones are assessed.; English attitudes to Indian music is an important theme, especially as manifested in the fashion for the Hindostannie airs, transcriptions of Indian melodies in European musical language. The study concludes with an examination of the musical lives of wealthy nabobs back in England, where they immersed themselves in Indian musical culture, taking the Grand Tour, supporting opera at the Kings Theatre, and employing fashionable Italian teachers for their children.

British --- Music --- Music History & Criticism, General --- Music, Dance, Drama & Film --- British people --- Britishers --- Britons (British) --- Brits --- Ethnology --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- History and criticism. --- Social aspects --- History --- History and criticism

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In the year following its 1787 Prague première, Don Giovanni was performed in Vienna. Everyone, according to the well-known account by Da Ponte, thought something was wrong with it. In response, Mozart made changes, producing a Vienna 'version' of the opera, cutting two of the original arias but inserting three newly-composed pieces. The dilemma faced by musicians and scholars ever since has been whether to preserve the opera in these two 'authentic' forms, or whether to fashion a hybrid text incorporating the best of both.
This study presents new evidence about the Vienna form of the opera, based on the examination of late eighteenth-century manuscript copies. The Prague Conservatory score is identified as the primary exemplar for the Viennese dissemination of Don Giovanni, which is shown to incorporate two quite distinct versions, represented by the performing materials in Vienna [O.A.361] and the early Lausch commercial copy in Florence. To account for this phenomenon, seen also in early sources of the Prague Don Giovanni and Cosìfan tutte, a general theory of transmission for the Mozart Da Ponte operas is proposed, which clarifies the relationship between the fluid text produced by re-creation (performing) and the static text generated by replication (copying). Aspects of the compositional history of Don Giovanni are uncovered. Evidence to suggest that Mozart first considered an order in which Donna Elvira's scena precedes the comic duet 'Per queste tue manine' is assessed. The essential truth of Da Ponte's account - that the revision of the opera in Vienna was an interactive process, involving the views of performers, the reactions of audiences and the composer's responses - seems to be fully borne out. The final part of the study investigates the late eighteenth-century transmission of Don Giovanni. The idea that hybrid versions gained currency only in the nineteenth century or in the lighter Singspiel tradition is challenged.

IAN WOODFIELD is Professor and Director of Research at the School of Music and Sonic Arts, Queen's University Belfast.

Don Juan (Legendary character) --- Opera --- History and criticism. --- Mozart, Wolfgang Amadeus, --- Romberg, Andreas, --- Juan, --- Drama --- Don Giovanni --- Giovanni, --- Don Juan --- Don Giovanni. --- Wien. --- Mozart. --- Vienna. --- comic duet. --- compositional history. --- interactive process. --- manuscript copies. --- opera. --- re-creation. --- replication. --- revision. --- scena. --- transmission.

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WINNER of the Mozart Society of America 'Marjorie Weston Emerson Award' for 2008 This study proposes a hypothesis to account for some of the opera's long-standing 'problems'. It suggests that Mozart considered the idea that the pairings in Act II should not be crossed: that each of the two disguised officers should seek to seduce his own woman. Although this alternative plot structure was rejected, signs of it may remain in the final score, in the uneasy co-existence of dramatic duplicity and musical sincerity, and in the ending, in which the easy restitution of the original couples seems not to take account of the new passions that have been aroused. Evidence that several of the singers were re-cast is also presented. In addition to these radically new ideas about the conceptual genesis of Cos©Ơ, the book also provides a full account of the work's compositional history, based on early Viennese and Bohemian copies. Four different versions are identified, including a significant revision in which Mozart removed the Act II finale canon. The composer's probable involvement in the 1791 Prague production is also discussed. IAN WOODFIELD is Professor of Historical Musicology, School of Music and Sonic Arts, Queen's University Belfast.

Mozart, Wolfgang Amadeus, --- MUSIC / History & Criticism. --- Act II. --- Compositional History. --- Così fan tutte. --- Disguised Officers. --- Mozart. --- Musicology. --- Passion. --- Prague Production. --- Seduction. --- Viennese.

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Expatriate musici -- Sociale toestand --- Expatriate musicians -- Social conditions --- Musiciens expatriés -- Conditions sociales --- Muziek en maatschappij --- Music and society --- Musique et société --- Muziek -- 16de eeuw -- Geschiedenis en kritiek --- Music -- 16th century -- History and criticism --- Musique -- 16e siècle -- Histoire et critique --- Muziek -- 17de eeuw -- Geschiedenis en Kritiek --- Music -- 17th century -- History and criticism --- Musique -- 17e siècle -- Histoire et critique