Bøger af Thomas McGeary

Explores the intersection of the world of opera, literature and partisan politics to show how Italian opera was put to use in the 'culture wars' of the day. This last of a trilogy of books on opera and politics in Britain examines the cultural politics of opera during the ministerial reign of Sir Robert Walpole from 1720 to 1742. The book explores the intersection of the world of opera, literature, and partisan politics to show how Italian opera - with its associations with the court, ministry and Britain's social-political elite - was put to use in the 'culture wars' of the day: how Italian opera was used for partisan political advantage; how political work could be accomplished by means of opera. It shows that attacks on opera had ulterior targets. The book surveys a range of often overlooked verse and prints to show how critique or satire of opera were a means for oppositional writers to delegitimize the Walpole ministry. Polemicists framed opera as a consequence of the corruption, luxury and False Taste generated by Walpole's ministry. It closes in the watershed year 1742: Handel had produced the last of his Italian operas the previous year, Walpole fell from power, and Alexander Pope published the last book of his Dunciad project.

Explores the political meanings that Italian opera - its composers, agents and institutions - had for audiences in eighteenth-century Britain.The reign of Queen Anne (1702-1714) was pivotal for both politics and opera in Britain. In this study, Thomas McGeary brings together a wide range of sources to show how the worlds of politics and opera were entwined. The associations that Italian singing and singers acquired by the 1690s were used in partisan Whig-Tory writings. Rather than a foreign invasion, McGeary shows how the introduction of Italian-style opera was a native product that grew out of plans for a new theatre in the Haymarket. A crucial event for opera was Handel's arrival in London in 1710. While the criticism of opera by Whig writers such as Richard Steele and Joseph Addison is well known, McGeary uncovers how the early promotion and sponsorship of opera was, in fact, largely a Whig enterprise and cultural program. Indeed, major political figures (mostly Whigs) participated in the support and patronage of opera.Opera and Politics in Queen Anne's Britain will be required reading for opera scholars and cultural and political historians of eighteenth-century Britain, as well those interested in the vibrant literature culture of the period.

The Politics of Opera in Handel's Britain examines the involvement of Italian opera in British partisan politics in the first half of the eighteenth century, which saw Sir Robert Walpole's rise to power and George Frideric Handel's greatest period of opera production. McGeary argues that the conventional way of applying Italian opera to contemporary political events and persons by means of allegory and allusion in individual operas is mistaken; nor did partisan politics intrude into the management of the Royal Academy of Music and the Opera of the Nobility. This book shows instead how Senesino, Faustina, Cuzzoni and events at the Haymarket Theatre were used in political allegories in satirical essays directed against the Walpole ministry. Since most operas were based on ancient historical events, the librettos - like traditional histories - could be sources of examples of vice, virtue, and political precepts and wisdom that could be applied to contemporary politics.