M. I. Biggi
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摘要

1868年,威尼斯的戏剧环境受到当地和国家经济形势的影响,这是由于1866年10月23日签署的《维也纳和平协定》后新意大利国家的发展,标志着第三次独立战争的结束,威尼斯被并入了统一的国家。因此,威尼斯对戏剧制作的重要性降低了,直到19世纪上半叶,这个城市才被认为是戏剧和音乐之都。在整个欧洲,“大歌剧”是一种新的趋势,而在威尼斯,除了歌剧和“歌剧迷”之外,主要的表演仍然是传统的音乐歌剧,这些歌剧是由伟大的意大利作曲家创作的。1868年该市活跃的剧院有凤凰剧院、圣贝内代托剧院(当时被称为罗西尼剧院)、阿波罗剧院、马里布兰剧院和圣塞缪尔剧院。通过《威尼斯公报》的评论和著名布景设计师制作的现场草图等文件,重建了那个有趣的时刻。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
I teatri a Venezia nel 1868
In 1868 the theatrical context in Venice was affected by local abut also statal economic situation, due by the development of the new Italian State, formed after the Peace of Vienna that, signed on 23 October 1866, marked the end of the Third War of Independence and the annexation of Venice to the unitary state. Venice therefore became less important for theatrical production, and the city was no longer among the capitals of theatre and music, as it could have been considered until in the first half of 19th century. A new trend throughout Europe was moreover the ‘grand opera’, while in Venice the dominant show was still the traditional musical opera, in addition to opera and ‘opera buffa’, created by great Italian composers. The theatres active in 1868 in the city are La Fenice, Teatro San Benedetto then called Rossini, Teatro Apollo, Teatro Malibran and Teatro San Samuele. Through the reviews of the Gazzetta di Venezia and documents such as sketches of the scene made by famous set designers, that interesting moment is reconstructed.
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