Venetian Opera Productions: Analytical Views - Revision history

Esfield: /* Theatrical seasons and periods */

2025-08-06T00:15:42Z

Theatrical seasons and periods

← Older revision		Revision as of 00:15, 6 August 2025
Line 85:		Line 85:

	The most famous theatrical season was <b>Carnival</b>, but its dates were not as liberal as many sources claim. The first day of Carnival was selected anew each year by the Venetian Council of Ten. Start dates varied somewhat with the moveable feast of Easter, which ranged over a 35-day span. The stringent Lenten period (forty days plus six intervening Sundays) followed immediately. From the point of view of the Council, Carnival imposed the need for surveillance of crowd behavior. This was because Carnival allowed the use of <b>masks</b> (which were required in theaters) from after the midday meal, while in other periods of the year masks could not be worn until sundown.		The most famous theatrical season was <b>Carnival</b>, but its dates were not as liberal as many sources claim. The first day of Carnival was selected anew each year by the Venetian Council of Ten. Start dates varied somewhat with the moveable feast of Easter, which ranged over a 35-day span. The stringent Lenten period (forty days plus six intervening Sundays) followed immediately. From the point of view of the Council, Carnival imposed the need for surveillance of crowd behavior. This was because Carnival allowed the use of <b>masks</b> (which were required in theaters) from after the midday meal, while in other periods of the year masks could not be worn until sundown.

	* [https://esf.ccarh.org/VenopP23/VenPro25/Theat-per-with.PNG A graphical view of the twelve periods for entertainment (or its prohibition).]

	The character of works performed was often influenced by the nature of the theatrical period to which it belonged. Long before the establishment of opera, St. Martin's was associated in Continental Europe with certain festivities that could be highlighted by the appearance of a traveling <i>commedia</i> troupe. In Venice the St. Stephen's period was highly popular, but it was less festive than Carnival, when sumptuary rules were eased and masking was permitted in the afternoon. St. Luke's and the eventual Ascension season both complemented commercial motives. The last few days of Carnival (labeled Giovedì Grasspo [Fat Thursday]) barely counted as a season because so many competing events were occurring. At San Giovanni Griostomo the final night (a Monday, because the <i>day</i> advanced at sunset) began with the first act of the designated work but continued with a feast and a ball in the theater.		The character of works performed was often influenced by the nature of the theatrical period to which it belonged. Long before the establishment of opera, St. Martin's was associated in Continental Europe with certain festivities that could be highlighted by the appearance of a traveling <i>commedia</i> troupe. In Venice the St. Stephen's period was highly popular, but it was less festive than Carnival, when sumptuary rules were eased and masking was permitted in the afternoon. St. Luke's and the eventual Ascension season both complemented commercial motives. The last few days of Carnival (labeled Giovedì Grasspo [Fat Thursday]) barely counted as a season because so many competing events were occurring. At San Giovanni Griostomo the final night (a Monday, because the <i>day</i> advanced at sunset) began with the first act of the designated work but continued with a feast and a ball in the theater.

Esfield: /* Theatrical seasons and periods */

2025-08-05T23:53:26Z

Theatrical seasons and periods

← Older revision		Revision as of 23:53, 5 August 2025
Line 80:		Line 80:

	==Theatrical seasons and periods==		==Theatrical seasons and periods==
	The most effective means of clarification has been to think of the calendar in the ways ~~the~~ Venetians did, which was in terms of the <i>accounting year</i>, the <i>liturgical year</i>, and the <i>civic year</i>. Among these, the liturgical year is essential to interpreting dates in news reports, the accounting year to understanding contractual agreements and identifying detached fragments of music. It is the strong imprint of the liturgical year that requires the subdivision of theatrical seasons into theatrical periods. (In historical perspective, periods gradually coalesced into "seasons".)		The most effective means of clarification has been to think of the calendar in the ways Venetians did, which was in terms of the <i>accounting year</i>, the <i>liturgical year</i>, and the <i>civic year</i>. Among these, the liturgical year is essential to interpreting dates in news reports, the accounting year to understanding contractual agreements and identifying detached fragments of music. It is the strong imprint of the liturgical year that requires the subdivision of theatrical seasons into theatrical periods. (In historical perspective, periods gradually coalesced into "seasons".)

	Theaters were permitted to open only by explicit permission of the heads of the [https://en.wikipedia.org/wiki/Council_of_Ten Council of Ten]. The number of periods increased slowly over the century. The number of seasons was fixed at three--autumn, winter, and spring. These did not precisely correspond to the astronomical seasons used in calendars today. The autumn season was influenced by patterns of adjournment (usually early October) and convening (early December). Even these dates were often indicated by correspondence to a liturgical occasion--St. Luke's (adjournment of the Great Council of all noblemen), St. Martin's (reopening of the Council and numerous lesser bodies, and St. Andrew's (the formal opening of the highest bodies of government).		Theaters were permitted to open only by explicit permission of the heads of the [https://en.wikipedia.org/wiki/Council_of_Ten Council of Ten]. The number of periods increased slowly over the century. The number of seasons was fixed at three--autumn, winter, and spring. These did not precisely correspond to the astronomical seasons used in calendars today. The autumn season was influenced by patterns of adjournment (usually early October) and convening (early December). Even these dates were often indicated by correspondence to a liturgical occasion--St. Luke's (adjournment of the Great Council of all noblemen), St. Martin's (reopening of the Council and numerous lesser bodies, and St. Andrew's (the formal opening of the highest bodies of government).

Esfield: /* Complements of theatrical seasons and periods */

2025-08-05T23:52:44Z

Complements of theatrical seasons and periods

← Older revision		Revision as of 23:52, 5 August 2025
Line 97:		Line 97:

	==Complements of theatrical seasons and periods==		==Complements of theatrical seasons and periods==
	As opera evolved and audiences grew, performers were pressed to expand the calendar and colonize venues outside Venice. The complementary patterns that emerge from comparing (a) opera in Venice with opera in nearby provinces ~~and~~ (b) opera ~~and other kinds of theatrical and musical entertainment~~ in Venice ~~argue strongly for the importance of recognizing theatrical seasons and periods in other venues~~.		As opera evolved and audiences grew, performers were pressed to expand the calendar and colonize venues outside Venice. The complementary patterns that emerge from comparing (a) opera in Venice with (b) opera in nearby provinces is reflected in comparisons of (c) Venetian opera generally with off-season entertainments in Venice.

	Parsing the repertory into theatrical periods enables us to recognize ~~the~~ subtle dramaturgical links between subjects and ~~seasons~~. Composers grew continuously more aware of the prestige of having one's opera scheduled during the formal period of Carnival and came to argue vociferously for their latest works to be staged then. Carnival works enjoyed greater publicity, and probably elicited greater attendance, than works performed in other periods. [https://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart Mozart], [https://en.wikipedia.org/wiki/Gioachino_Rossini Rossini], and [https://en.wikipedia.org/wiki/Pietro_Mascagni Mascagni] are among those whose memoirs express anxiety about being assigned to a lesser slot in the calendar!		Parsing the repertory into theatrical periods enables us to recognize subtle dramaturgical links between types of subjects and theatrical periods. Composers grew continuously more aware of the prestige of having one's opera scheduled during the formal period of Carnival and came to argue vociferously for their latest works to be staged then. Carnival works enjoyed greater publicity, and probably elicited greater attendance, than works performed in other periods. [https://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart Mozart], [https://en.wikipedia.org/wiki/Gioachino_Rossini Rossini], and [https://en.wikipedia.org/wiki/Pietro_Mascagni Mascagni] are among those whose memoirs express anxiety about being assigned to a lesser slot in the calendar!

Esfield: /* Dedicatees by region */

2025-08-05T23:45:08Z

Dedicatees by region

← Older revision		Revision as of 23:45, 5 August 2025
Line 68:		Line 68:
	Prominent Venetians were clearly a force in the continuation of opera but their incluence dwindled as time went on. Dedications were motivated by the expectation of recognition or remuneration but were dependent on visitor traffic.		Prominent Venetians were clearly a force in the continuation of opera but their incluence dwindled as time went on. Dedications were motivated by the expectation of recognition or remuneration but were dependent on visitor traffic.

	* [https://esf.ccarh.org/VenopP23/VenPro25/Dedicatees-by-nat.PNG Dedicatees ~~by region]~~		* [https://esf.ccarh.org/VenopP23/VenPro25/Dedicatees-by-nat.PNG Dedicatees by civic identity]

	* [https://esf.ccarh.org/VenopP23/VenPro25/Dedicatees-by-nat.PNG Further breakdown of dedicatees by civic identity.]

	* [https://esf.ccarh.org/VenopP23/VenPro25/Reuse-text-music.PNG Libretti without dedicatees]		* [https://esf.ccarh.org/VenopP23/VenPro25/Reuse-text-music.PNG Libretti without dedicatees]

Esfield: /* Dedicatees by region */

2025-08-03T04:11:02Z

Dedicatees by region

← Older revision		Revision as of 04:11, 3 August 2025
Line 45:		Line 45:

	* [https://esf.ccarh.org/VenopP23/VenPro25/Librettists.PNG Most prolific librettists]		* [https://esf.ccarh.org/VenopP23/VenPro25/Librettists.PNG Most prolific librettists]

	~~==Dedicatees by region==~~

	Prominent Venetians were clearly a force in the continuation of opera but their incluence dwindled as time went on. Dedications were motivated by the expectation of recognition or remuneration but were dependent on visitor traffic.

	* [https://esf.ccarh.org/VenopP23/VenPro25/Dedicatees-by-nat.PNG Dedicatees by region]

	* [https://esf.ccarh.org/VenopP23/VenPro25/Reuse-text-music.PNG Libretti without dedicatees]

	==Text (and music) reuse==		==Text (and music) reuse==

Esfield: /* Patronage */

2025-08-03T04:10:33Z

Patronage

← Older revision		Revision as of 04:10, 3 August 2025
Line 72:		Line 72:
	Records of theater-box rentals offer one source of information on the audiences for opera. Theater owners and prominent cast members held boxes. Over time the lease-holders could remain the same, while the occupants had inherited or subleased their spaces. Dedicatees named in printed libretti offer the best proxy for patronage. Not uncommonly they visited Venice with large entourages of family members or military regiments that could fill a tier or two of the boxes. Expectations of such crowds had a pronounced influence on a work's content and style of presentation.		Records of theater-box rentals offer one source of information on the audiences for opera. Theater owners and prominent cast members held boxes. Over time the lease-holders could remain the same, while the occupants had inherited or subleased their spaces. Dedicatees named in printed libretti offer the best proxy for patronage. Not uncommonly they visited Venice with large entourages of family members or military regiments that could fill a tier or two of the boxes. Expectations of such crowds had a pronounced influence on a work's content and style of presentation.

	* [https://esf.ccarh.org/VenopP23/VenPro25/~~Decline~~-~~dedicatees~~.PNG ~~Venetian, other Italian, and foreign dedicatees~~]		==Dedicatees by region==

			Prominent Venetians were clearly a force in the continuation of opera but their incluence dwindled as time went on. Dedications were motivated by the expectation of recognition or remuneration but were dependent on visitor traffic.

			* [https://esf.ccarh.org/VenopP23/VenPro25/Dedicatees-by-nat.PNG Dedicatees by region]

	* [https://esf.ccarh.org/VenopP23/VenPro25/Dedicatees-by-nat.PNG Further breakdown of dedicatees by civic identity.]		* [https://esf.ccarh.org/VenopP23/VenPro25/Dedicatees-by-nat.PNG Further breakdown of dedicatees by civic identity.]

			* [https://esf.ccarh.org/VenopP23/VenPro25/Reuse-text-music.PNG Libretti without dedicatees]

	=Parsing the calendar of Venetian opera=		=Parsing the calendar of Venetian opera=

Esfield: /* Complements of theatrical seasons and periods */

2025-07-28T20:53:09Z

Complements of theatrical seasons and periods

← Older revision		Revision as of 20:53, 28 July 2025
Line 103:		Line 103:
	As opera evolved and audiences grew, performers were pressed to expand the calendar and colonize venues outside Venice. The complementary patterns that emerge from comparing (a) opera in Venice with opera in nearby provinces and (b) opera and other kinds of theatrical and musical entertainment in Venice argue strongly for the importance of recognizing theatrical seasons and periods in other venues.		As opera evolved and audiences grew, performers were pressed to expand the calendar and colonize venues outside Venice. The complementary patterns that emerge from comparing (a) opera in Venice with opera in nearby provinces and (b) opera and other kinds of theatrical and musical entertainment in Venice argue strongly for the importance of recognizing theatrical seasons and periods in other venues.

	~~A further benefit is that parsing~~ the repertory into theatrical periods enables us to recognize the subtle dramaturgical links between subjects and seasons. Composers grew continuously more aware of the prestige of having one's opera scheduled during the formal period of Carnival. ~~It brought~~ greater ~~prestige~~ and ~~publicity~~ than other ~~times of year~~. [https://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart Mozart], [https://en.wikipedia.org/wiki/Gioachino_Rossini Rossini], and [https://en.wikipedia.org/wiki/Pietro_Mascagni Mascagni] are among those whose memoirs express anxiety about being assigned to a lesser slot in the calendar!		Parsing the repertory into theatrical periods enables us to recognize the subtle dramaturgical links between subjects and seasons. Composers grew continuously more aware of the prestige of having one's opera scheduled during the formal period of Carnival and came to argue vociferously for their latest works to be staged then. Carnival works enjoyed greater publicity, and probably elicited greater attendance, than works performed in other periods. [https://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart Mozart], [https://en.wikipedia.org/wiki/Gioachino_Rossini Rossini], and [https://en.wikipedia.org/wiki/Pietro_Mascagni Mascagni] are among those whose memoirs express anxiety about being assigned to a lesser slot in the calendar!

Esfield: /* Complements of theatrical seasons and periods */

2025-07-28T20:41:44Z

Complements of theatrical seasons and periods

← Older revision		Revision as of 20:41, 28 July 2025
Line 101:		Line 101:

	==Complements of theatrical seasons and periods==		==Complements of theatrical seasons and periods==
	~~The primary theatrical season was Carnival, but as~~ opera evolved and audiences grew, performers were pressed to expand the calendar and colonize venues outside Venice. The complementary patterns that emerge from comparing (a) opera in Venice with opera in nearby provinces and (b) opera and other kinds of theatrical and musical entertainment in Venice argue strongly for the importance of recognizing theatrical seasons and periods in other venues.		As opera evolved and audiences grew, performers were pressed to expand the calendar and colonize venues outside Venice. The complementary patterns that emerge from comparing (a) opera in Venice with opera in nearby provinces and (b) opera and other kinds of theatrical and musical entertainment in Venice argue strongly for the importance of recognizing theatrical seasons and periods in other venues.

	A further benefit is that parsing the repertory into theatrical periods enables us to recognize the subtle dramaturgical links between subjects and seasons. Composers grew continuously more aware of the prestige of having one's opera scheduled during the formal period of Carnival. It brought greater prestige and publicity than other times of year. [https://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart Mozart], [https://en.wikipedia.org/wiki/Gioachino_Rossini Rossini], and [https://en.wikipedia.org/wiki/Pietro_Mascagni Mascagni] are among those whose memoirs express anxiety about being assigned to a lesser slot in the calendar!		A further benefit is that parsing the repertory into theatrical periods enables us to recognize the subtle dramaturgical links between subjects and seasons. Composers grew continuously more aware of the prestige of having one's opera scheduled during the formal period of Carnival. It brought greater prestige and publicity than other times of year. [https://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart Mozart], [https://en.wikipedia.org/wiki/Gioachino_Rossini Rossini], and [https://en.wikipedia.org/wiki/Pietro_Mascagni Mascagni] are among those whose memoirs express anxiety about being assigned to a lesser slot in the calendar!

Esfield: /* Parsing the theatrical year */

2025-07-28T20:40:55Z

Parsing the theatrical year

← Older revision		Revision as of 20:40, 28 July 2025
Line 94:		Line 94:
	The character of works performed was often influenced by the nature of the theatrical period to which it belonged. Long before the establishment of opera, St. Martin's was associated in Continental Europe with certain festivities that could be highlighted by the appearance of a traveling <i>commedia</i> troupe. In Venice the St. Stephen's period was highly popular, but it was less festive than Carnival, when sumptuary rules were eased and masking was permitted in the afternoon. St. Luke's and the eventual Ascension season both complemented commercial motives. The last few days of Carnival (labeled Giovedì Grasspo [Fat Thursday]) barely counted as a season because so many competing events were occurring. At San Giovanni Griostomo the final night (a Monday, because the <i>day</i> advanced at sunset) began with the first act of the designated work but continued with a feast and a ball in the theater.		The character of works performed was often influenced by the nature of the theatrical period to which it belonged. Long before the establishment of opera, St. Martin's was associated in Continental Europe with certain festivities that could be highlighted by the appearance of a traveling <i>commedia</i> troupe. In Venice the St. Stephen's period was highly popular, but it was less festive than Carnival, when sumptuary rules were eased and masking was permitted in the afternoon. St. Luke's and the eventual Ascension season both complemented commercial motives. The last few days of Carnival (labeled Giovedì Grasspo [Fat Thursday]) barely counted as a season because so many competing events were occurring. At San Giovanni Griostomo the final night (a Monday, because the <i>day</i> advanced at sunset) began with the first act of the designated work but continued with a feast and a ball in the theater.

	==Parsing the theatrical year==		==Parsing the theatrical/non-theatrical year==

	The most important influence over the divisions of theatrical periods was the moveable date of Easter. The liturgical calendar interspersed fixed and moveable feasts. As a Christian feast, <b>Easter</b> celebrated Christ's triumph over death. It was marked on the first Sunday after the first full moon after <b>21 March</b> (the spring equinox). While festive, it was preceding of forty days (not counting six intervening Sundays) of penitence known as <b>Lent</b>. Feasts dependent on the date of Easter ranged over a 35-day span. These included <b>Ascension</b> forty days later and <b>Pentecost</b> fifty days after Easter.		The most important influence over the divisions of theatrical periods was the moveable date of Easter. The liturgical calendar interspersed fixed and moveable feasts. As a Christian feast, <b>Easter</b> celebrated Christ's triumph over death. It was marked on the first Sunday after the first full moon after <b>21 March</b> (the spring equinox). While festive, it was preceding of forty days (not counting six intervening Sundays) of penitence known as <b>Lent</b>. Feasts dependent on the date of Easter ranged over a 35-day span. These included <b>Ascension</b> forty days later and <b>Pentecost</b> fifty days after Easter.

Esfield: /* Theatrical seasons and periods */

2025-07-28T20:39:41Z

Theatrical seasons and periods

← Older revision		Revision as of 20:39, 28 July 2025
Line 86:		Line 86:
	The most effective means of clarification has been to think of the calendar in the ways the Venetians did, which was in terms of the <i>accounting year</i>, the <i>liturgical year</i>, and the <i>civic year</i>. Among these, the liturgical year is essential to interpreting dates in news reports, the accounting year to understanding contractual agreements and identifying detached fragments of music. It is the strong imprint of the liturgical year that requires the subdivision of theatrical seasons into theatrical periods. (In historical perspective, periods gradually coalesced into "seasons".)		The most effective means of clarification has been to think of the calendar in the ways the Venetians did, which was in terms of the <i>accounting year</i>, the <i>liturgical year</i>, and the <i>civic year</i>. Among these, the liturgical year is essential to interpreting dates in news reports, the accounting year to understanding contractual agreements and identifying detached fragments of music. It is the strong imprint of the liturgical year that requires the subdivision of theatrical seasons into theatrical periods. (In historical perspective, periods gradually coalesced into "seasons".)

	Theaters were permitted to open only by explicit permission of the heads of the [https://en.wikipedia.org/wiki/Council_of_Ten Council of Ten]. The number of periods increased slowly over the century. The number of seasons was fixed at three--autumn, winter, and spring. These did not precisely correspond to the astronomical seasons used in calendars today. The autumn season was influenced by patterns of adjournment (usually early October) and convening (early December). Even these dates were often indicated by correspondence to a liturgical--St. Luke's (adjournment of the Great Council of all noblemen), St. Martin's (reopening of the Council and numerous lesser bodies, and St. Andrew's (the formal opening of the highest bodies of government).		Theaters were permitted to open only by explicit permission of the heads of the [https://en.wikipedia.org/wiki/Council_of_Ten Council of Ten]. The number of periods increased slowly over the century. The number of seasons was fixed at three--autumn, winter, and spring. These did not precisely correspond to the astronomical seasons used in calendars today. The autumn season was influenced by patterns of adjournment (usually early October) and convening (early December). Even these dates were often indicated by correspondence to a liturgical occasion--St. Luke's (adjournment of the Great Council of all noblemen), St. Martin's (reopening of the Council and numerous lesser bodies, and St. Andrew's (the formal opening of the highest bodies of government).

	The most famous theatrical season was <b>Carnival</b>, but its dates were not as liberal as many sources claim. The first day of Carnival was selected anew each year by the Venetian Council of Ten. Start dates varied somewhat with the moveable feast of Easter, which ranged over a 35-day span. The stringent Lenten period (forty days plus six intervening Sundays) followed immediately. From the point of view of the Council, Carnival imposed the need for surveillance of crowd behavior. This was because Carnival allowed the use of <b>masks</b> (which were required in theaters) from after the midday meal, while in other periods of the year masks could not be worn until sundown.		The most famous theatrical season was <b>Carnival</b>, but its dates were not as liberal as many sources claim. The first day of Carnival was selected anew each year by the Venetian Council of Ten. Start dates varied somewhat with the moveable feast of Easter, which ranged over a 35-day span. The stringent Lenten period (forty days plus six intervening Sundays) followed immediately. From the point of view of the Council, Carnival imposed the need for surveillance of crowd behavior. This was because Carnival allowed the use of <b>masks</b> (which were required in theaters) from after the midday meal, while in other periods of the year masks could not be worn until sundown.

	* A textual description of the twelve periods for diverse entertainments

	* [https://esf.ccarh.org/VenopP23/VenPro25/Theat-per-with.PNG A graphical view of the twelve periods for entertainment (or its prohibition).]		* [https://esf.ccarh.org/VenopP23/VenPro25/Theat-per-with.PNG A graphical view of the twelve periods for entertainment (or its prohibition).]