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Animation, Plasticity, and Music in Italy, 1770-1830$
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Ellen Lockhart

Print publication date: 2017

Print ISBN-13: 9780520284432

Published to California Scholarship Online: May 2018

DOI: 10.1525/california/9780520284432.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 04 December 2021

Giuditta Pasta and the History of Musical Electrification

Giuditta Pasta and the History of Musical Electrification

Chapter:
(p.133) Chapter 5 Giuditta Pasta and the History of Musical Electrification
Source:
Animation, Plasticity, and Music in Italy, 1770-1830
Author(s):

Ellen Lockhart

Publisher:
University of California Press
DOI:10.1525/california/9780520284432.003.0006

Chapter 5 traces the theme of human plasticity into Italian aesthetic discourse and opera of the 1820s and 1830s. The echoes of the musical statues of the late Enlightenment can be heard in the reception of performers of Ottocento opera, especially the women. Figures like Maria Malibran and particularly Giuditta Pasta were construed as living statues or artificially animated interlopers from an ancient past. This quality of animatedness was described with a very new kind of imagery within music criticism, one that drew on well-known developments in the nascent scientific field later known as electrobiology.

Keywords:   performance, opera, aesthetics, voice, archaeology, electrical science

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