000			02324 a2200265 4500
001			1138376418
005			20250317100413.0
008			250312042019GB eng
020			_a9781138376410
037			_bTaylor & Francis _cGBP 48.99 _fBB
040			_a01
041			_aeng
072	7		_aAVLA _2thema
072	7		_a6CA _2bisac
072	7		_aAVGC4 _2bic
072	7		_aMUS000000 _2bisac
072	7		_aMUS020000 _2bisac
072	7		_a782.1092 _2bisac
100	1		_aMichael Burden
245	1	0	_aRegina Mingotti: Diva and Impresario at the King's Theatre, London
250			_a1
260			_aOxford _bRoutledge _c20190610
300			_a200 p
520			_bRegina Mingotti was the first female impresario to run London's opera house. Born in Naples in 1722, she was the daughter of an Austrian diplomat, and had worked at Dresden under Hasse from 1747. Mingotti left Germany in 1752, and travelled to Madrid to sing at the Spanish court, where the opera was directed by the great castrato, Farinelli. It is not known quite how Francesco Vanneschi, the opera promoter, came to hire Mingotti, but in 1754 (travelling to England via Paris), she was announced as being engaged for the opera in London 'having been admired at Naples and other parts of Italy, by all the Connoisseurs, as much for the elegance of her voice as that of her features'. Michael Burden offers the first considered survey of Mingotti’s London years, including material on Mingotti's publication activities, and the identification of the characters in the key satirical print 'The Idol'. Burden makes a significant contribution to the knowledge and understanding of eighteenth-century singers' careers and status, and discusses the management, the finance, the choice of repertory, and the pasticcio practice at The King's Theatre, Haymarket during the middle of the eighteenth century. Burden also argues that Mingotti’s years with Farinelli influenced her understanding of drama, fed her appreciation of Metastasio, and were partly responsible for London labelling her a 'female Garrick'. The book includes the important publication of the complete texts of both of Mingotti's Appeals to the Publick, accounts of the squabble between Mingotti and Vanneschi, which shed light on the role a singer could play in the replacement of arias.
999			_c2572 _d2572