directed his works: Angelo Mariani and Emanuel Muzio; conductors were
expected to prepare the premieres, and Italian conductors developed consider-
able authority over adjustments in the scores. The concentration of authority
in the conductor began in Italy, along with the practice of placing the conduc-
tor between the orchestra and the audience. Gradually, in all countries, the
growing complexity of 19th-century scores made it easier to conduct with a
baton than with a violin bow.Chorus
- Grout, Donald Jay. “The Chorus in Early Opera.” In Festschrift Friedrich
Blume(#64), 151–161.
Distinguishes between two uses of coroin 17th-century opera: it applied either
to a chorus (more than one singer to a part) or to an ensemble (one singer to a
part). Considers the role of the chorus in opera, its roots in Greek drama and
16th-century intermedia,and its changing function after 1620. - Cyr, Mary. “The Dramatic Role of the Chorus in French Opera: Evidence
for the Use of Gesture, 1670–1770.” In Opera and the Enlightenment(#91),
105–118.
In the period covered, the chorus was divided into two groups, on either side
of the stage. It remained on stage throughout the performance, with minimal
movement if not total immobility (according to contemporary reports). But
some illustrations suggest that chorus members “may have used simple dra-
matic gestures.” Cyr comes to no conclusion on the point, but her essay is of
interest for the contemporary documents and pictures it presents about staging
practice.
See also Banducci (#663).
- Mahling, Christoph-Hellmut. Studien zur Geschichte des Opernchors.
Trossingen- Wolfenbüttel: Editio Intermusica, 1962. 360p. ML1700 .M1358.
A reprint of the author’s dissertation, U. of Saarbrücken. Traces the develop-
ment of the chorus in opera from the 16th century to Wagner. Footnotes, bibli-
ography, tables, no index. - De Venney, David P., and Craig R. Johnson. The Chorus in Opera: A Guide to
the Repertory. Metuchen, N.J.: Scarecrow, 1993. 203p. ISBN 0-8108-2620-8.
ML128 .C48 D47.
A list of “nearly 600 choruses from 218 operas by 90 composers,” arranged by
composer, opera, and act. Performing forces are given, with duration, diffi-
culty level, and comments. The authors followed Kobbé’s plot book (#199), in
which most choral numbers are mentioned. An interesting list of operas with-
out choruses is included (although one of the withouts is Pagliacci,which does
have a wonderful act 1 choral number). First-line index.
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