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Operatic Pasticcios in 18th-Century Europe, 2021

Throughout opera history singers have had a decisive impact on the circulation of music, a fact w... more Throughout opera history singers have had a decisive impact on the circulation of music, a fact which is particularly evident if we think about the most prominent phenomenon of 18 th-century opera, the aria di baule. It is also a well-known fact that composers often 'tailored' their music around the individual strengths and needs of their performers. 1 This fact is by no means new to musicological research on singers, as there are numerous cases of (mostly) castratos and female sopranos who imposed a distinctive vocal style on 'their' composers. 2 As many of those singers traveled frequently-only a few of them were lucky enough to stay in just one court for their whole lives-this music inevitably traveled with them, a subject that is considered by other contributors to the present volume. For the most part, research on baroque singers has always pictured them in a quite active and decisive role, a perspective often based on anecdotes about the affectations of the most famous singers. 3 They were the force that compelled composers to write in a certain way, to avoid certain notes or technicalities and to assign distinctive role types in order to accommodate the performers. This article will also underline the significance of the singer for the creation of operas, but from a slightly different perspective. Through 1 A concept recapped by the title of Thomas Seedorf and Daniel Brandenburg's volume "Per ben vestir la viruosa": Die Oper im 18. und frühen 19. Jahrhundert im Spannungsfeld zwi schen Komponisten und Sängern (Brandenburg/Seedorf, 2011). 2 Giovanni Carestini und "seine" Komponisten, Die Karriere eines Kastraten in der ersten Hälfte des 18. Jahrhunderts (Korsmeier, 2000). 3 On the subject of the various 'special requests' of 18 th-century singers, see e.g. Bucciarelli, 2015. The author sheds light on the case of the castrato Senesino, whose negotiations with the Royal Academy ultimately secured him important roles, not only on the operatic stage but also in London's cultural circles. The struggle for artistic influence was common also for other singers, especially castratos.

Operatic Pasticcios in 18th-Century Europe, 2021

Throughout opera history singers have had a decisive impact on the circulation of music, a fact w... more Throughout opera history singers have had a decisive impact on the circulation of music, a fact which is particularly evident if we think about the most prominent phenomenon of 18 th-century opera, the aria di baule. It is also a well-known fact that composers often 'tailored' their music around the individual strengths and needs of their performers. 1 This fact is by no means new to musicological research on singers, as there are numerous cases of (mostly) castratos and female sopranos who imposed a distinctive vocal style on 'their' composers. 2 As many of those singers traveled frequently-only a few of them were lucky enough to stay in just one court for their whole lives-this music inevitably traveled with them, a subject that is considered by other contributors to the present volume. For the most part, research on baroque singers has always pictured them in a quite active and decisive role, a perspective often based on anecdotes about the affectations of the most famous singers. 3 They were the force that compelled composers to write in a certain way, to avoid certain notes or technicalities and to assign distinctive role types in order to accommodate the performers. This article will also underline the significance of the singer for the creation of operas, but from a slightly different perspective. Through 1 A concept recapped by the title of Thomas Seedorf and Daniel Brandenburg's volume "Per ben vestir la viruosa": Die Oper im 18. und frühen 19. Jahrhundert im Spannungsfeld zwi schen Komponisten und Sängern (Brandenburg/Seedorf, 2011). 2 Giovanni Carestini und "seine" Komponisten, Die Karriere eines Kastraten in der ersten Hälfte des 18. Jahrhunderts (Korsmeier, 2000). 3 On the subject of the various 'special requests' of 18 th-century singers, see e.g. Bucciarelli, 2015. The author sheds light on the case of the castrato Senesino, whose negotiations with the Royal Academy ultimately secured him important roles, not only on the operatic stage but also in London's cultural circles. The struggle for artistic influence was common also for other singers, especially castratos.