OPERA, GLOBALIZZAZIONE E IDENTITA' "Opera, globalizzazione e identità" offre un’introduzione alla storia dell’opera e al campo degli opera studies. Durante le prime tre settimane agli studenti saranno forniti gli strumenti analitici di base per comprendere il funzionamento dell’opera. Esempi tratti da Mozart, Verdi e Wagner aiuteranno a illustrare l’intreccio fra testo, musica e scena, e a definire il concetto di “drammaturgia musicale”. Il resto del corso prenderà in esame alcuni case studies – dal “Rinaldo” di Handel ad “Akhnaten” di Glass – ed esplorerà le connessioni fra opera e questioni di genere, emarginazione, nazionalismo e internazionalismo, orientalismo (interno) ed esotismo, globalizzazione, mobilità e rimediazione. --- Settimane 1-3: Cos’è l’opera? Cosa significa “drammaturgia musicale”? Settimana 4: Opera ed emarginazione (Britten: "Peter Grimes") Settimana 5: Opera e genere (Debussy: "La chute de la Maison Usher") Settimana 6: Opera e mobilità (Handel: "Rinaldo") Settimana 7: Opera, nazionalismo e orientalismo interno (Musorgsky: "Il matrimonio" e "Boris Godunov") Settimana 8: Opera ed esotismo (Puccini: "Madama Butterfly") Settimana 9: Opera, postmodernismo e postcolonialismo (Glass: "Satyagraha" e "Akhnaten") Settimana 10: Carmen sullo schermo globale (Bizet: "Carmen") Settimana 11: Opera nell’era digitale: la Traviata diventa virale (Verdi: "Traviata")

- Appunti delle lezioni (le registrazioni sono disponibili su Google Drive - il link per accedere è indicato su Google Classroom) ------ - Bibliografia (le letture fondamentali sono segnalate con asterisco): *01. Tim Carter, ‘What is Opera?’, in The Oxford Handbook of Opera, edited by Helen M. Greenwald (Oxford: Oxford University Press, 2014), pp. 15-32. *02. Laurel E. Zeiss, ‘The dramaturgy of opera’, in The Cambridge Companion to Opera Studies (Cambridge: Cambridge University Press, 2012), pp. 248-279. *03. Heather Hadlock, ‘Opera and gender studies’, in The Cambridge Companion to Opera Studies, edited by Nicholas Till (Cambridge: Cambridge University Press, 2012), pp. 352-378. *04. Edgar Allan Poe, The Fall of the House of Usher (1839). *05. Robert Orledge, Debussy and the Theatre (Cambridge: Cambridge University Press, 1982), pp. 109-127. 06. Carolyn Abbate, ‘Debussy’s Phantom Sounds’, Cambridge Opera Journal, vol. 10, no. 1, 1998, pp. 67-96. *07. Benjamin Britten, ‘Introduction’; Peter Pears, ‘Neither a Hero Nor a Villain’, in Benjamin Britten: Peter Grimes, edited by Philip Brett (Cambridge: Cambridge University Press, 1983), pp. 148-152. *08. Philip Brett, ‘"Grimes Is at His Exercise": Sex, Politics, and Violence in the Librettos of Peter Grimes’, in Siren Songs. Representations of Gender and Sexuality in Opera, edited by Mary Ann Smart (Princeton and Oxford: Princeton University Press, 2000), pp. 237-250. 09. Alex Ross, The Rest is Noise (New York: Picador, 2007), chapter on Peter Grimes, pp. 317-328 (ebook version). *10. Louise K. Stein, ‘How Opera Traveled’, in The Oxford Handbook of Opera, edited by Helen M. Greenwald (Oxford: Oxford University Press, 2014), pp. 843-862. *11. Ditlev Rindom, ‘Italians Abroad: Verdi’s La traviata and the 1906 Milan Exposition’, Cambridge Opera Journal, vol. 31, nos. 2-3, 2020, pp. 237–272. *12. Marina Frolova-Walker, ‘The Language of National Style’, in The Oxford Handbook of Opera, edited by Helen M. Greenwald (Oxford: Oxford University Press, 2014), pp. 156-176. 13. Richard Taruskin, ‘Musorgsky versus Musorgsky: The Versions of Boris Godunov’, in Musorgsky. Eight Essays and an Epilogue (Princeton: Princeton University Press, 1993), pp. 201-299. *14. Nicholas Till, ‘‘An exotic and irrational entertainment’: opera and our others; opera as other’, in The Cambridge Companion to Opera Studies, edited by Nicholas Till (Cambridge: Cambridge University Press, 2012), pp. 409-446. 15. Arthur Groos, ‘Madama Butterfly Between East and West’, in Giacomo Puccini and His World, edited by Emanuele Senici and Arman Schwartz (Princeton and Oxford: Princeton University Press, 2016), pp. 49-84. *16. Alexandra Wilson, The Puccini Problem. Opera, Nationalism and Modernity (Cambridge: Cambridge University Press, 2007), chapter 4: ‘A frame without a canvas: Madama Butterfly and the superficial’, pp. 97-124. 17. Susan McClary, ‘Mounting Butterflies’, in A Vision of the Orient. Texts, Intertexts and Contexts of Madame Butterfly, edited by Jonathan Wisenthal, Sherrill Grace et al. (Toronto: Toronto University Press, 2006), pp. 21-35. *18. Philip Glass, Words Without Music. A Memoir (London: Faber and Faber, 2015), pp. 276-289. *19. Linda and Michael Hutcheon, ‘Philip Glass’s Satyagraha: Para-Colonial Para-Opera’, University of Toronto Quarterly, vol. 80, no. 3, Summer 2011, pp. 718-730. *20. Naomi André, Black Opera. History, Power, Engagement (Urbana, Chicago and Springfield: University of Illinois Press, 2018), Chapter 5: ‘Carmen: From Nineteenth-Century France to Settings in the United States and South Africa in the Twentieth and Twenty-First Centuries’, pp. 142-195. 21. Susan McClary, ‘Carmen as Perennial Fusion: From Habanera to Hip-Hop’, in Carmen: From Silent Film to MTV, edited by Chris Perriam and Ann Davies (Amsterdam and New York: Rodopi, 2005), pp. 205-216. 22. Juliana M. Pistorius, ‘Inhabiting Whiteness: The Eoan Group La traviata, 1956’, Cambridge Opera Journal, vol. 31, no. 1, 2019, pp. 63–84. *23. Carlo Cenciarelli, ‘Warped Singing: Opera from Cinema to Youtube’, in Verdi on Screen, edited by Delphine Vincent (Lausanne : L'Age d'Homme, 2015), pp. 251-267. ------ Gli articoli saranno caricati all'inizio del corso sulla piattaforma Google Classroom: https://classroom.google.com/c/Mjk5OTcwNTMxMjQ0?cjc=l5kczru / Codice: l5kczru ------ Materiali audio e video dalle opere discusse a lezione saranno caricati su Drive (al link fornito su Classroom). ------ Non c'è distinzione fra studenti frequentanti e non frequentanti.