Ariosto, Opera, and the 17th Century
Evolution in the Poetics of Delight
2017, cm 17 x 24, xii-280 pp. con 11 figg. n.t. con CD-ROM.
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The success of Orlando furioso in Italian musical theatre is vast and complex. This book examines the main phases of the circulation and influence of Orlando furioso on the seventeenth-century music scene by reconstructing an overall historical and critical profile, but also through the recovery and philologically verified transcription of about forty dramatic texts derived from Ariosto’s main narrative currents.
Edward Milton Anderson
Edward Milton Anderson (1966–2013), gifted musician and noted scholar of Ariosto, was Assistant Professor of Humanities at Rice University from 2009, when he received his doctorate in Italian from Cambridge University. A recipient of the Yale University A. Bartlett Giamatti Prize Fellowship for outstanding achievement in the humanities, he was elected President of the Graduates at St John’s College, Cambridge, for the 2003–2004 academic year, a period during which he directed Art Song & Vocal Chamber Performance at the Aspen Music Festival & School. (marzo 2016)
Nicola Badolato, dottore di ricerca in Musicologia e Beni musicali, pianista e clavicembalista, ha svolto un post-doc nella Yale University. Ha pubblicato edizioni di drammi per musica di Carlo Maria Maggi (Pisa, F. Serra, 2010), Giovanni Faustini (Firenze, L.S. Olschki, 2012) e Benedetto Ferrari (Firenze, L.S. Olschki, 2013), e di opere inscenate a Roma da Filippo Juvarra tra il 1710 e il 1714 (Torino, Fondazione 1563 per l’Arte e la Cultura, 2016); collabora all’edizione critica delle opere di Francesco Cavalli (Kassel, Bärenreiter, 2012 sgg.) e attende all’edizione del Ciro di Alessandro Scarlatti.Nicola Badolato, PhD in Musicology and Musical Assets, is a pianist and harpsichordist who completed his post-doc at Yale University. He has published editions of the music dramas of Carlo Maria Maggi (Pisa, F. Serra, 2010), Giovanni Faustini (Florence, L.S. Olschki, 2012) and Benedetto Ferrari (Florence, L.S. Olschki, 2013), and the works staged in Rome by Filippo Juvarra between 1710 and 1714 (Turin, Fondazione 1563 per l’Arte e la Cultura, 2016). He collaborates on the critical edition of the works of Francesco Cavalli (Kassel, Bärenreiter, 2012 ff.) and is working on the edition of Alessandro Scarlatti’s Ciro.(aprile 2016)