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opera organizationsâkeeping many of the singers and musicians on year-round contracts, and if managing their own theatre, the cost of workers needed to create and maintain the sets and costumes as well as the cost of maintaining and running the buildingâcombined with the costs of individual productions, make opera the most expensive of the performing arts. However, even in the 19th century when opera was largely run by individual
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was characterised as "a devouror of the fortunes of the victims it has tempted by its seductions". Musicologists and opera composers have noted that today âMarketing and private sector support are generally regarded as necessary despite the fact that many opera companies must simultaneously strive to
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Venetian owners profited from their theatres by renting them out to others who produced and managed the opera performances. The key figure in the actual production of the operas was the impresario, who assembled the singers, musicians and creative team and made the business and artistic decisions.
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Opera is a multi-faceted art form involving high fixed costs and requiring complex approaches to management. In addition to the singers and musicians who form the core of the company, its production requires scenery and costumes and sometimes dancers and non-singing actors. Fixed costs in today's
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and the mother of the bride, took an active role in the planning of the production. She secured the services of the musicians and singers, attended the rehearsals, and according to musicologist Kelley
Harness, may well have contributed to the development of the plot as well.
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of 1637. This was facilitated by the large number of public theatres already present in the city which originally served for the production of plays. They were built by noble families such as the
257:
Hebert, D. G., Rykowski, M., Meucci, R., Odrobna-Gerardi, K., Rosato, P. & Zidaric, W. (2018). Italian opera as a glocalized profession. In David G. Hebert & Mikolaj
Rykowski, eds.,
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in Covent Garden into one of London's premiere opera houses in the 19th century, and who shaped the careers of many famous singers, described opera management as a "dreadful business".
50:(UK English). A multifaceted task, it involves managing an opera company, primarily the singers and musicians who perform the operas, but in many cases also involves managing the
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Sometimes the impresarios were hired by the theatre renters and their backers. On other occasions the impresario was also one of the investors and the renter of the theatre. The
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were privately performed and financed by the noble families who commissioned them, often to mark great court occasions. One such example was
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171:(cashier) was in charge the financial side of the production, including handling the payments and receipts. While the
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was sometimes a separate member of the management team, in many instances the impresario also acted as the
150:, sponsored by the Tron family, was the first in the world specifically devoted to opera. Performances of
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Inventing the
Business of Opera: The Impresario and His World in Seventeenth-Century Venice
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marked the theatre's first commercially produced opera. In the majority of cases the
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Echoes of Women's Voices: Music, Art, and Female
Patronage in Early Modern Florence
106:, performed in 1628 at the Medici Palace in Florence to celebrate the marriage of
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The Opera
Industry in Italy from Cimarosa to Verdi: The Role of the Impresario
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200:, also called general manager, managing director, or intendant (UK English)
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who managed several
Venetian opera houses in the course of his career.
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attain public funding as âhigh artâ that embodies universally valuable
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272:"Frederick Gye and 'The Dreadful Business of Opera Management'"
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Opera's First Master: The
Musical Dramas of Claudio Monteverdi
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Glixon, Beth Lise and Glixon, Jonathan
Emmanuel (2006).
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rather than large organisations, opera management as a
179:. One of the most famous impresarios of the day was
34:is delivered to audiences. It is carried out by an
270:Dideriksen, Gabriella and Ringel, Matthew (1995).
88:Venice and the development of opera as a business
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126:Publicly performed operas first appeared in
30:is the management of the processes by which
278:, Vol. 19, No. 1 (Summer 1995), pp. 3â30.
384:International Journal of Arts Management
296:, p. 175. University of Chicago Press.
261:. Newcastle: Cambridge Scholars, p.342.
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246:"The Opera Season at Covent Garden"
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339:, p. 4. Oxford University Press.
223:A Handbook of Cultural Economics
54:in which the company performs.
365:. Cambridge University Press.
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316:, pp. 130â131. Amadeus Press.
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112:Odoardo Farnese, Duke of Parma
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116:Grand Duchess Maria Maddalena
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290:Harness, Kelley Ann (2006).
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225:. Edward Elgar Publishing.
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359:Rosselli, John (1984).
280:(subscription required)
154:in 1637 by librettist
312:Ringer, Mark (2006).
217:Towse, Ruth (2011).
108:Margherita de' Medici
410:Occupations in music
205:Notes and references
120:Cosimo II de' Medici
193:Arts administration
148:Teatro San Cassiano
82:Royal Italian Opera
400:Management by type
276:19th-Century Music
219:"Opera and Ballet"
244:(6 August 1864).
160:Francesco Manelli
156:Benedetto Ferrari
98:Marco da Gagliano
80:, who turned the
74:cultural heritage
44:managing director
16:(Redirected from
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152:L'Andromeda
130:during the
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394:Categories
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322:1574671103
302:0226316599
242:The Reader
231:1848448872
69:profession
58:Background
248:, p. 175.
164:patrician
144:Vendramin
48:intendant
187:See also
103:La Flora
177:cassier
173:cassier
169:cassier
142:, and
136:Grimani
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128:Venice
110:and
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367:ISBN
341:ISBN
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140:Tron
92:The
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