Valeria De Lucca

My project considers the ways in which the patronage of music of the Colonna family fostered the circulation not only of singers but also of scores and librettos between the mid-seventeenth and early eighteenth centuries, creating new networks for the exchange of operatic models in the Italian peninsula and Europe.

Valeria De Lucca is Associate Professor in Music at the University of Southampton. Her interests include music patronage, with particular regard to early modern women, the circulation of music in early modern Europe, systems of opera production between court and public theaters, and the visual aspects of the operatic spectacle. She is the author of book chapters and articles on seventeenth-century music and culture, including “L’Alcasta and the Emergence of Collective Patronage in Mid-Seventeenth-Century Rome” (The Journal of Musicology, 2011), “Strategies of Women Patrons of Music and Theatre in Early Modern Rome: Maria Mancini Colonna, Queen Christina of Sweden, and Women of their Circle” (Renaissance Studies, 2011) and the chapter “Patronage” in The Oxford Handbook of Opera (2014, ed. Helen Greenwald). Her monograph, The Politics of Princely Entertainment: Music and Patronage during the Lives of Lorenzo Onofrio and Maria Mancini Colonna (1659-1689) on the music patronage of the Colonna family (1659-1689), is forthcoming with Oxford University Press.

Publications

“The Politics of Princely Entertainment: Music and Patronage during the Lives of Lorenzo Onofrio and Maria Mancini Colonna (1659-1689)”. New York: Oxford University Press (2018).

[Con Christine Jeanneret], “The Grand Theatre of the World: Music, Space, and the Performance of Identity in Early Modern Rome”, Ashgate, Interdisciplinary Studies in Opera Series, (2017).

“Fashioning Opera and Musical Theater: Stage Costumes in Europe from the Late Renaissance to 1900”. Venezia: Fondazione Giorgio Cini, (2014). (http://www.cini.it/publications/fashioning-opera-musical-theatre-stage-costumes-late-renaissance-1900).

[Con Fabio Carboni e Agostino Ziino], “Tullio Cima, Domenico Massenzio e la musica del loro tempo”. Atti del Convegno (Ronciglione, 1997). Roma: IBIMUS (2003).

“Operetta in Italy” in The Cambridge Companion to Operetta, ed. Derek Scott and Anastasia Belina. Cambridge, Cambridge University Press (2017)

Valeria de Lucca

Il mio progetto esamina i modi in cui il mecenatismo musicale della famiglia Colonna si rivela cruciale per la circolazione non solo di cantanti, ma anche di partiture e libretti d’opera tra la metà del Seicento e il primo Settecento, creando nuovi fondamentali networks per la circolazione di modelli operistici tra l’Italia e l’Europa.

Valeria de Lucca è Professore Associato in Music all’Università di Southampton. I suoi interessi includono il mecenatismo musicale, e in particolare il ruolo delle donne nel Seicento, la circolazione di musica nell’Europa della prima modernità, i sistemi di produzione operistica tra la corte e il teatro pubblico, e gli aspetti di messa in scena. Valeria de Lucca ha pubblicato vari capitoli e articoli su musica e cultura del Seicento tra cui “L’Alcasta and the Emergence of Collective Patronage in Mid-Seventeenth-Century Rome” (The Journal of Musicology, 2011), “Strategies of Women Patrons of Music and Theatre in Early-Modern Rome: Maria Mancini Colonna, Queen Christina of Sweden, and Women of their Circle” (Renaissance Studies, 2011) e il capitolo “Patronage” per The Oxford Handbook of Opera (2014, ed. Helen Greenwald). La sua monografia, The Politics of Princely Entertainment: Music and Patronage during the Lives of Lorenzo Onofrio and Maria Mancini Colonna (1659-1689) sul mecenatismo musicale dei Colonna (1659-1689), è di prossima pubblicazione per Oxford University Press.

Pubblicazioni principali

“The Politics of Princely Entertainment: Music and Patronage during the Lives of Lorenzo Onofrio and Maria Mancini Colonna (1659-1689)”. New York: Oxford University Press (2018).

[Con Christine Jeanneret], “The Grand Theatre of the World: Music, Space, and the Performance of Identity in Early Modern Rome”, Ashgate, Interdisciplinary Studies in Opera Series, (2017).

“Fashioning Opera and Musical Theater: Stage Costumes in Europe from the Late Renaissance to 1900”. Venezia: Fondazione Giorgio Cini, (2014). (http://www.cini.it/publications/fashioning-opera-musical-theatre-stage-costumes-late-renaissance-1900).

[Con Fabio Carboni e Agostino Ziino], “Tullio Cima, Domenico Massenzio e la musica del loro tempo”. Atti del Convegno (Ronciglione, 1997). Roma: IBIMUS (2003).

“Operetta in Italy” in The Cambridge Companion to Operetta, ed. Derek Scott and Anastasia Belina. Cambridge, Cambridge University Press (2017)