I teatri a Venezia nel 1868

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DC Field	Value
dc.identifier	ECF_chapter_2343
dc.contributor.author	Biggi Maria Ida
dc.title	I teatri a Venezia nel 1868
dc.type	Chapter
dc.language.iso	it
dc.description.abstract	In 1868 the theatrical context in Venice was affected by local abut also statal economic situation, due by the development of the new Italian State, formed after the Peace of Vienna that, signed on 23 October 1866, marked the end of the Third War of Independence and the annexation of Venice to the unitary state. Venice therefore became less important for theatrical production, and the city was no longer among the capitals of theatre and music, as it could have been considered until in the first half of 19th century. A new trend throughout Europe was moreover the ‘grand opera’, while in Venice the dominant show was still the traditional musical opera, in addition to opera and ‘opera buffa’, created by great Italian composers. The theatres active in 1868 in the city are La Fenice, Teatro San Benedetto then called Rossini, Teatro Apollo, Teatro Malibran and Teatro San Samuele. Through the reviews of the Gazzetta di Venezia and documents such as sketches of the scene made by famous set designers, that interesting moment is reconstructed.
dc.relation.ispartof	Storie dell’arte contemporanea
dc.publisher	Edizioni Ca’ Foscari - Digital Publishing
dc.issued	2018-12-14
dc.identifier.uri	http://edizionicafoscari.it/en/edizioni4/libri/978-88-6969-295-6/i-teatri-a-venezia-nel-1868/
dc.identifier.doi	10.30687/978-88-6969-294-9/005
dc.identifier.issn	2610-9905
dc.identifier.eissn	2610-9891
dc.identifier.isbn	978-88-6969-295-6
dc.identifier.eisbn	978-88-6969-294-9
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
item.fulltext	with fulltext
item.grantfulltext	open
dc.peer-review	no
dc.subject	1868
dc.subject	1868
dc.subject	Giuseppe Bertoja
dc.subject	Giuseppe Bertoja
dc.subject	La Fenice
dc.subject	La Fenice
dc.subject	Pietro Bertoja
dc.subject	Pietro Bertoja
dc.subject	Teatro Apollo
dc.subject	Teatro Apollo
dc.subject	Teatro Malibran
dc.subject	Teatro Malibran
dc.subject	Teatro San Benedetto then Rossini
dc.subject	Teatro San Benedetto then Rossini
dc.subject	Teatro San Samuele
dc.subject	Teatro San Samuele
dc.subject	Theatres
dc.subject	Theatres
dc.subject	Venice
dc.subject	Venice

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I teatri a Venezia nel 1868

Maria Ida Biggi Università Ca’ Foscari Venezia, Italia

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abstract

In 1868 the theatrical context in Venice was affected by local abut also statal economic situation, due by the development of the new Italian State, formed after the Peace of Vienna that, signed on 23 October 1866, marked the end of the Third War of Independence and the annexation of Venice to the unitary state. Venice therefore became less important for theatrical production, and the city was no longer among the capitals of theatre and music, as it could have been considered until in the first half of 19th century. A new trend throughout Europe was moreover the ‘grand opera’, while in Venice the dominant show was still the traditional musical opera, in addition to opera and ‘opera buffa’, created by great Italian composers. The theatres active in 1868 in the city are La Fenice, Teatro San Benedetto then called Rossini, Teatro Apollo, Teatro Malibran and Teatro San Samuele. Through the reviews of the Gazzetta di Venezia and documents such as sketches of the scene made by famous set designers, that interesting moment is reconstructed.

Published

Dec. 14, 2018

Language

ISBN (PRINT)

978-88-6969-295-6

ISBN (EBOOK)

978-88-6969-294-9

Keywords: Pietro Bertoja • Teatro Malibran • La Fenice • Giuseppe Bertoja • Theatres • 1868 • Venice • Teatro San Samuele • Teatro Apollo • Teatro San Benedetto then Rossini

permalink: http://doi.org/10.30687/978-88-6969-294-9/005

Copyright: © 2018 Maria Ida Biggi. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

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