Books by Francesco Bracci
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Introduzione all'edizione critica del primo libro dei madrigali a cinque voci di Francesco Sorian... more Introduzione all'edizione critica del primo libro dei madrigali a cinque voci di Francesco Soriano (1581), Fondazione Giovanni Pierluigi da Palestrina, Palestrina, 2018
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Papers by Francesco Bracci
De Gruyter, Nov 18, 2014
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Musica/Realtà, 2022
Un'analisi musicale e culturale, non apocalittica ma non acritica, della musica dei pianisti comp... more Un'analisi musicale e culturale, non apocalittica ma non acritica, della musica dei pianisti compositori popolari negli ultimi decenni, con particolare riferimento al contesto italiano (Einaudi, Allevi ecc.). Versione non corretta.
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Rivista Italiana Di Musicologia, 2018
Opera has long been regarded as a political symbol in Italy. Its (and especially Verdi's)... more Opera has long been regarded as a political symbol in Italy. Its (and especially Verdi's) association with the Risorgimento, once taken for granted, has become the centre of a heated debate among musicologists over recent decades. 1 Historians have studied the influence of opera and melodramatic expression on national discourse. 2 It has not escaped the attention of scholars that critics of national unity have also claimed opera on their side. Whilst this paper will focus mainly on the use of opera and music as a nationalist symbol by representatives of southern Italian politics and culture, its use by northern Italian politics is a necessary example for comparison. The most striking example of political recontextualisation of opera is in fact the adoption of the chorus «Va' pensiero» from Verdi's Nabucco by the separatist movement Lega Nord (Northern League) in the 1990s. The same music that had long been (and still frequently is) associated to Italy's liberation from Austrian rule is used to symbolize the north's ('Padania') continuing struggle against the Italian state and its taxation. «Va' pensiero» is still aired every day on «Radio Padania Libera», the official radio station of the movement, despite its recent shift from independentism to anti-European and anti-globalization stances. In October 2013, just a few months before becoming the head of the party, Matteo Salvini wrote on his facebook page about Verdi, claiming that the composer was not a supporter of Italian unity as he has been traditionally viewed:
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Rivista Italiana di Musicologia, 2018
Opera has long been regarded as a political symbol in Italy. Its (and especially Verdi's) associa... more Opera has long been regarded as a political symbol in Italy. Its (and especially Verdi's) association with the Risorgimento, once taken for granted, has become the centre of a heated debate among musicologists over recent decades. 1 Historians have studied the influence of opera and melodramatic expression on national discourse. 2 It has not escaped the attention of scholars that critics of national unity have also claimed opera on their side. Whilst this paper will focus mainly on the use of opera and music as a nationalist symbol by representatives of southern Italian politics and culture, its use by northern Italian politics is a necessary example for comparison. The most striking example of political recontextualisation of opera is in fact the adoption of the chorus «Va' pensiero» from Verdi's Nabucco by the separatist movement Lega Nord (Northern League) in the 1990s. The same music that had long been (and still frequently is) associated to Italy's liberation from Austrian rule is used to symbolize the north's ('Padania') continuing struggle against the Italian state and its taxation. «Va' pensiero» is still aired every day on «Radio Padania Libera», the official radio station of the movement, despite its recent shift from independentism to anti-European and anti-globalization stances. In October 2013, just a few months before becoming the head of the party, Matteo Salvini wrote on his facebook page about Verdi, claiming that the composer was not a supporter of Italian unity as he has been traditionally viewed:
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Drafts by Francesco Bracci
Il cliché come forma della ricezione dell'opera italiana Il presente studio parte da una costataz... more Il cliché come forma della ricezione dell'opera italiana Il presente studio parte da una costatazione-esiste un numero molto grande di clichés sull'opera italiana ottocentesca-e da un'ipotesi-la grande diffusione di questi clichés è connessa con le reazioni negative che spesso l'opera italiana suscita. La ricerca nasce all'interno del mio lavoro sulla ricezione negativa dell'opera italiana.1 Queste premesse vanno chiarite prima di passare all'analisi dei clichés. Prima di tutto, lo studio ha un ambito cronologico ampio ma circoscritto. Prende in esame principalmente il repertorio italiano ottocentesco, e in misura minore altre aree del repertorio operistico degli ultimi due secoli. Occasionali sconfinamenti nei due secoli precedenti sono dello studio serviranno a spiegare il background storico di alcuni dei clichés discussi. La scelta dell'Ottocento italiano è dettata dalla sua centralità nel repertorio operistico e nella percezione sociale dell'opera.
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Books by Francesco Bracci
Papers by Francesco Bracci
Drafts by Francesco Bracci