Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-7cvxr Total loading time: 0 Render date: 2024-12-25T05:21:28.702Z Has data issue: false hasContentIssue false

13 - Music theatre in Spain

from PART II - MUSIC FOR THE THEATRE

Published online by Cambridge University Press:  28 March 2011

Simon P. Keefe
Affiliation:
University of Sheffield
Get access

Summary

The establishment of a new dynasty

From the beginning of the eighteenth century Spanish music theatre was distinguished by two features above all: the literary and musical tradition of the previous century, especially the plays (‘comedias’, ‘zarzuelas’ and operas) of Pedro Calderón de la Barca (1600–81); and the dynastic change from the House of Habsburg to the House of Bourbon and the subsequent War of the Spanish Succession (c. 1703–14). For Spain, this was not simply a war between European powers such as France, England and Austria, but rather a civil war, in which parts of the population and nobility favoured the young Bourbon King Philip V, grandson of Louis XIV of France, while others supported the Habsburg pretender Archduke Charles (later Emperor Charles VI). These internal conflicts could not fail to affect the political, social and cultural order of the relatively young Spanish state, which was still moving tentatively towards its own national identity.

Indeed, the War of the Spanish Succession had consequences that affected not only the territorial shape of Spain, but also the state’s very identity. Dynastic succession, for example, had turned out to be a problem solvable not by reason or law but only by force, and affected the legitimacy of the Bourbon King of Spain (who was only accepted by the Viennese court as late as 1748 in the Treaty of Aix-la-Chapelle); similarly affected were claims to the thrones of Naples and Sicily, which were occupied from 1707 (Naples) and 1713 (Sicily) by a Habsburg Viceroy, and from 1734 and 1735 by a Bourbon King, the Spanish infante Charles (later Spanish King Charles III).

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2009

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Andioc, René and Coulon, Mireille. Cartelera teatral madrileña del siglo XVIII (1708–1808). 2 vols., Toulouse, 1996Google Scholar
Boyd, Malcolm and José Carreras, Juan (eds.). Music in Spain during the Eighteenth Century. Cambridge, 1998Google Scholar
Bussey, William M.French and Italian Influence on the Zarzuela 1700–1770. Ann Arbor, MI, 1982Google Scholar
Carmenay, Millán, Luis. Crónica de la ópera italiana en Madrid desde el año 1738 hasta nuestros días. Madrid, 1878Google Scholar
Carreras, Juan José. ‘“Terminare a schiaffoni”: La primera compañía de ópera italiana en Madrid (1738/9)’. Artigrama, 12 (1996–7) –121Google Scholar
Casares Rodicio, Emilio and Torrente, Álvaro. La ópera en España e Hispanoamérica, Actas del Congreso Internacional. 2 vols., Madrid, 1999, 2001Google Scholar
Cotareloy Mori, Emilio. Orígenes y establecimiento de la ópera en España hasta 1800. Madrid, 1917Google Scholar
Cotareloy Mori, Emilio. Historia de la zarzuela o sea el drama lírico en España, desde su origen a fines del siglo XIX. Madrid, 1934Google Scholar
Kleinertz, Rainer. Grundzüge des spanischen Musiktheaters im 18. Jahrhundert – Ópera, Comedia, Zarzuela. 2 vols., Kassel and Barcelona, 2003Google Scholar
Kleinertz, Rainer. ‘Ruler-Acclamation in Spanish Opera of the 1730s’. In Bucciarelli, Melania, Dubowy, Norbert and Strohm, Reinhard (eds.), Italian Opera in Central Europe: Institutions and Ceremonies. Berlin, 2006 –51Google Scholar
Kleinertz, Rainer. ‘Zur Rezeption der Opéra comique in Spanien im 18. und frühen 19. Jahrhundert. In Biget-Mainfroy, Michelle and Schmusch, Rainer (eds.), ‘L’esprit français’ und die Musik Europas. Entstehung, Einfluss und Grenzen einer ästhetischen Doktrin/‘L’esprit français’ et la musique en Europe. Émergence, influence et limites d’une doctrine esthétique (Essays in honour of Herbert Schneider). Hildesheim, 2007 –57Google Scholar
Kleinertz, Rainer. (ed.). Teatro y Música en España (siglo XVIII), Actas del Simposio Internacional Salamanca 1994. Kassel and Berlin, 1996Google Scholar
Lafarga, Francisco (ed.). El teatro europeo en la España del siglo XVIII. Lérida, 1997Google Scholar
Leza, José Máximo. ‘Metastasio on the Spanish Stage: Operatic Adaptations in the Public Theatres of Madrid in the 1730s’. Early Music, 26 (1998) –31CrossRefGoogle Scholar
Sommer-Mathis, Andrea. ‘Entre Nápoles, Barcelona y Viena. Nuevos documentos sobre la circulación de músicos a principios del siglo XVIII’. Artigrama, 12 (1996–7) –77Google Scholar
Strohm, Reinhard, ‘Francesco Corselli’s Operas for Madrid’, In Kleinertz, Rainer (ed.), Teatro y Música en España (siglo XVIII), Actas del Simposio Internacional Salamanca 1994. Kassel and Berlin, 1996 –106Google Scholar
Subirá, José. La tonadilla escénica, 4 vols. Madrid, 1928–30Google Scholar
Subirá, José. La tonadilla escénica: sus obras y sus autores. Barcelona, 1933Google Scholar
Blanquet, Virgili, Antonia, María (ed.). Música y Literatura en la Península Ibérica: 1600–1750. Actas del Congreso Internacional Valladolid, 20–21 y 22 de febrero, 1995. Valladolid, 1997Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×