Difference between revisions of "Category:Nero--music (subject)"

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Since the 17th century [[Nero]] has been a frequent character in operas and oratorios. The emphasis In operas, starting with Monteverdi's Incoronazione di Poppea, was on Nero as Emperor, his rise and fall and relationship with his mother [[Agrippina]] and his wife [[Poppaea]]. The main source of inspiration (variously reinterpreted) was the drama ''Octavia'' by the Pseudo-Seneca. Only the oratorio focused on the persecution of the early Christians by Nero. The situation changed at the end of the 19th century with the success of ''Quo Vadis?'' (1895). In Nogues's and Boito's operas the "Christian" theme got central stage, to be once again set aside in Mascagni's opera (1935).  
Since the 17th century [[Nero]] has been a frequent character in operas and oratorios. The emphasis In operas, starting with Monteverdi's Incoronazione di Poppea, was on Nero as Emperor, his rise and fall and relationship with his mother [[Agrippina]] and his wife [[Poppaea]]. The main source of inspiration (variously reinterpreted) was the drama ''Octavia'' by the Pseudo-Seneca. Only the oratorio focused on the persecution of the early Christians by Nero. The situation changed at the end of the 19th century with the success of ''Quo Vadis?'' (1895). In Nogues's and Boito's operas the "Christian" theme got central stage, to be once again set aside in Mascagni's opera (1935).  


In conclusion, while a long series of works of music have been influential in shaping the image of [[Nero]] as a tyrannical despote, only three of them focus on Christian Origins--the 1677 Liberati oratorio and the two operas by Nogues (1908) and Boito (1915).   
In conclusion, while a long series of works of music have been influential in shaping the image of [[Nero]] as a tyrannical despote, only five of them focus on Christian Origins--three  oratorios and two operas, namely, Liberati (1677), Ciccioni (1706), Martini (1738), Nogues (1908), and Boito (1915).   


====Bibliography====
====Bibliography====


* Gesine Manuwald, ''Nero in Opera: Librettos as Transformations of Ancient Sources'' (Berlin, Germany: Walter de Gruyter, 2013)
* Gesine Manuwald, ''Nero in Opera: Librettos as Transformations of Ancient Sources'' (Berlin, Germany: Walter de Gruyter, 2013)

Revision as of 02:25, 24 May 2017

Works of music related to Nero

Overview

Since the 17th century Nero has been a frequent character in operas and oratorios. The emphasis In operas, starting with Monteverdi's Incoronazione di Poppea, was on Nero as Emperor, his rise and fall and relationship with his mother Agrippina and his wife Poppaea. The main source of inspiration (variously reinterpreted) was the drama Octavia by the Pseudo-Seneca. Only the oratorio focused on the persecution of the early Christians by Nero. The situation changed at the end of the 19th century with the success of Quo Vadis? (1895). In Nogues's and Boito's operas the "Christian" theme got central stage, to be once again set aside in Mascagni's opera (1935).

In conclusion, while a long series of works of music have been influential in shaping the image of Nero as a tyrannical despote, only five of them focus on Christian Origins--three oratorios and two operas, namely, Liberati (1677), Ciccioni (1706), Martini (1738), Nogues (1908), and Boito (1915).

Bibliography

  • Gesine Manuwald, Nero in Opera: Librettos as Transformations of Ancient Sources (Berlin, Germany: Walter de Gruyter, 2013)

Pages in category "Nero--music (subject)"

The following 26 pages are in this category, out of 26 total.

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