Musico-Dramatic Criticism of English Comic Opera 1750-1800

This statement is an attempt to reflect on my intellectual formation and how certain influences, both from home (a place suspended between Germany with the remnants of its Weimar culture and Britain as the place of exile) and from subsequent experiences, led me to adopt an historical approach to dance studies and to emphasise the context in which artistic activity unfolds. My education at Berlin's Humboldt University and the Comic Opera shaped my perspectives on theatre and performance. The East German milieu in general forced me to confront the immediate past and think about the political and ideological legacies of the cultures in which I grew up.

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A Brief Survey of English Comic Opera 1750-1800

Journal of the American Musicological Society ◽

10.1525/jams.1948.11-12-13.1.03a00450 ◽

1948 ◽

Vol 11-12-13 (1) ◽

pp. 74-75

Author(s):

Michael Winesanker

Keyword(s):

Comic Opera

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Russian Comic Opera in the Age of Catherine the Great

19th-Century Music ◽

10.1525/ncm.1984.7.3.02a00110 ◽

1984 ◽

Vol 7 (3) ◽

pp. 318-325

Author(s):

Simon Karlinsky

Keyword(s):

Comic Opera

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Eighteenth-Century Comic Opera Manuscripts

PMLA ◽

10.2307/458690 ◽

1937 ◽

Vol 52 (3) ◽

pp. 907-908

Author(s):

R. W. Babcock

Keyword(s):

Eighteenth Century ◽

Comic Opera

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L’artigiano gentiluomo or, Larinda e Vanesio

10.31022/c009 ◽

1979 ◽

Author(s):

Johann Adolf Hasse

Keyword(s):

Eighteenth Century ◽

Chamber Music ◽

Comic Opera

This early intermezzo, which predates Pergolesi's La serva padrona, sheds new light on the eighteenth-century Italian comic opera. Scholars and performers will welcome this contribution to a neglected genre of vocal chamber music and to the further study of Hasse.

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