Vivaldi and Venetian Opera
Assignment 4: Vivaldi and Venetian Opera
It is apparent just based upon time period (without even initial consideration of the source reading) that gender most definitely played a role in the reception of Vivaldi’s concertos during his lifetime; as one of the musicians who oversaw the instruction of the schools for music students, it is highly likely that he had a hand in shaping the ways by which students in each group were taught, and thus had an influence on gender role in a society of musicians. Further than this, we can examine the fact that castrati were prominent during this time period and that the practice, though largely unspoken of, was certainly performed often enough to warrant the constant performance of female parts in singing roles by the preferable castrati singers, as the role of women in society was generally one of lesser significance and regard than that of males (unfortunately so). Indeed this general perception of women in this time period can be seen in many aspects of society, right down to the fact that music schools for boys were called “conservatories”, while music schools for girls were termed “hospitals”. The demeanor among hospitals was one of strict adherence to regulation and a general apparent disdain for the students who were perceived as weak-minded individuals in need of the support of a man to adequately fulfill their life’s purpose (women were kept within the confines of their conservatory until marriage). Furthermore, the treatment of women (although not necessarily medieval by any standards, was still subordinate to the treatment of those within the boys’ music school) was generally not brilliant, right down to reception of performances; it was considered rude or inordinate to applaud after a performance, so audience members resorted to coughing, throat-clearing, and other random non-specific noises to express admiration following a performance. Contrast this to the description of the boys’ conservatory, which
It is apparent just based upon time period (without even initial consideration of the source reading) that gender most definitely played a role in the reception of Vivaldi’s concertos during his lifetime; as one of the musicians who oversaw the instruction of the schools for music students, it is highly likely that he had a hand in shaping the ways by which students in each group were taught, and thus had an influence on gender role in a society of musicians. Further than this, we can examine the fact that castrati were prominent during this time period and that the practice, though largely unspoken of, was certainly performed often enough to warrant the constant performance of female parts in singing roles by the preferable castrati singers, as the role of women in society was generally one of lesser significance and regard than that of males (unfortunately so). Indeed this general perception of women in this time period can be seen in many aspects of society, right down to the fact that music schools for boys were called “conservatories”, while music schools for girls were termed “hospitals”. The demeanor among hospitals was one of strict adherence to regulation and a general apparent disdain for the students who were perceived as weak-minded individuals in need of the support of a man to adequately fulfill their life’s purpose (women were kept within the confines of their conservatory until marriage). Furthermore, the treatment of women (although not necessarily medieval by any standards, was still subordinate to the treatment of those within the boys’ music school) was generally not brilliant, right down to reception of performances; it was considered rude or inordinate to applaud after a performance, so audience members resorted to coughing, throat-clearing, and other random non-specific noises to express admiration following a performance. Contrast this to the description of the boys’ conservatory, which