Books by Michele Calella
in: Hans-Joachim Hinrichsen und Klaus Pietschmann (ed.), Jenseits der Bühne: Bearbeitungs-und Re... more in: Hans-Joachim Hinrichsen und Klaus Pietschmann (ed.), Jenseits der Bühne: Bearbeitungs-und Rezeptionsfragen der Oper im 19. und 20. Jahrhundert : Symposiumsbericht der IMS-Konferenz Zürich 2007 / Kassel, Bärenreiter 2011, 71-87
(Diss, Westfälisch Wilhelms-Universität Münster 1997) Eisenach, Wagner 2000
Edited books by Michele Calella
Zwischen Transfer und Transformation. Horizonte der Rezeption von Musik, Wien , 2020
Händels Opern (Das Händel-Handbuch, Band 2), hrsg. von Arnold Jacobshagen und Panja Mücke, Laaber... more Händels Opern (Das Händel-Handbuch, Band 2), hrsg. von Arnold Jacobshagen und Panja Mücke, Laaber (Laaber-Verlag) 2009, 2 Bände, XVI+483+498 S.
(Handbuch der Musik der Renaissance Bd.2), Laaber 2013
(Händel-Handbuch 4) Laaber 2012.
Bericht über die Jahrestagung der Österreichischen Gesellschaft für Musikwissenschaft, Wien 21. b... more Bericht über die Jahrestagung der Österreichischen Gesellschaft für Musikwissenschaft, Wien 21. bis 23. November 2013, Wien, Hollitzer 2015
Papers by Michele Calella
Christoph Willibald Gluck: Bilder Mythen Diskurse, 2018
J.B. Metzler, 2013
Stuttgart 2013
Österreichische Musikzeitschrift, 2014
Musicologica Austriaca, 2020
The dramma per musica Andromeda liberata, the favola pastorale Euridice, and the azione teatrale ... more The dramma per musica Andromeda liberata, the favola pastorale Euridice, and the azione teatrale Armida placata, all performed for the first time in Vienna at the Theater nächst der Burg in 1750, are, as pasticci, quite exceptional for the Viennese opera repertory of the Theresian Age. Their singularity resides not only in the high number of composers involved, but also in that they are mentioned explicitly at the top of individual vocal numbers in the manuscript scores. In this article we shed new light on the making of these operas by identifying twenty of the borrowed arias, showing how they were not the products of a simultaneous collaboration among all those composers, as early researchers often implied. Their creation was in all probability coordinated by Wagenseil, involved local librettists as well as other composers of the Viennese court, and required a substantial amount of pre-existing music, partly brought to Vienna by some of the singers, probably due to a lack of opera...
Wilhelmine von Bayreuth (1709-1748): Kunst als "Staatsgeschäft", 2014
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Books by Michele Calella
Edited books by Michele Calella
Papers by Michele Calella