This book approaches opera fantasias instrumental works that use themes from a single opera as the body of their virtuosic and flamboyant material both historically and theoretically, concentrating on compositions for and by woodwind-instrument performers in Italy in the nineteenth century.
Important overlapping strands include the concept of virtuosity and its gradual demonization, the strong gendered overtones of individual woodwind instruments and of virtuosity, the distinct Italian context of these fantasias, the presentation and alteration of opera narratives in opera fantasias, and the technical and social development of woodwind instruments. Like opera itself, the opera fantasia is a popular art form, stylistically predictable yet formally flexible, based heavily on past operatic tradition and prefabricated materials. Through archival research in Italy, theoretical analysis, and exploration of European cultural contexts, this book clarifies a genre that has been consciously stifled and societal resonances that still impact music reception and performance today.
Introduction
Chapter 1: The opera fantasia in musicological context
Chapter 2: The Italian context
Chapter 3: Genre theory and the opera fantasia
Chapter 4: Gender implications of the opera fantasia
Chapter 5: A return to musical narrative through the opera fantasia
Chapter 6: Opera fantasias on Verdis Rigoletto, Il trovatore, and Un ballo
in maschera
Conclusion
Rachel N. Becker is Assistant Professor of Musicology and Oboe at Boise State University, USA. She previously taught at the University of Cambridge, UK. Rachels research focuses on issues of genre, virtuosity, and gender. She has published on musical ecphrasis and on gendering of woodwind instruments, and she remains active internationally as an oboist.
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