engleski

Nicola Porpora's opera duets in the light of his works published in London

Similarly to Giovanni Bononcini, who cemented his status in London with the publication of Cantate e duetti (1721) at the height of his success in opera, Nicola Porpora also sought out ways to secure his position in the capital by publishing non-operatic music. Even though the reason for Porpora's invitation to London was to present the latest fashions in Italian opera like it had been for Bononcini’s more than a decade before, in his collection of solo cantatas Nuovamente composte opre di musica vocale, op.1 (1735) and his Sinfonie da camera a 3, op. 2 (1736) Porpora displays a different stylistic profile than in his dramatic works. The multi-faceted output of this composer is often perceived in relation to the novel stylistic tendencies in Italy of the 1720-ies that he both adopted and resisted. This paper will examine his opera duets composed in London since even though written for the stage, their trio texture approximates them to the chamber music Porpora published there at the time. The use of contrapuntal techniques and the appropriation of the modern, ‘dialogic’ duet will have special importance in the comparison. Finally, the paper will attempt to look for explanations for the dichotomy between these two groups of Porpora’s works not only in the expectations of the audience and the possible influence of G. F. Handel, but also within the context of their creation and Porpora’s own professional development

not listed

nije evidentirano