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In 2025, we commemorate the 300th anniversary of the death of Alessandro Scarlatti, widely recognized as the founder of the Neapolitan school and a key figure in establishing the structural standards of \u201cclassical opera.\u201d Yet, the full scope and significance of his life and works remain subjects for further scholarly exploration.<\/p>\n
This symposium offers a comprehensive overview of Scarlatti\u2019s operatic career from 1679 to 1721. We begin with his first opera, premiered in Rome in 1679, and continue through his middle period masterpiece Pirro e Demetrio<\/em> (1694)\u2014the source of the well-known Italian art song collection Le violette<\/em>. Through analyses of works performed in Venice and Naples during his middle and late periods, we aim to illuminate Scarlatti\u2019s creative output from multiple perspectives. Furthermore, we will examine how his music was received in England, the German-speaking world, and Russia.<\/p>\n Opening Address: ISHII Michiko \u25cfPart I\u3000 Special Lecture (On-demand Video) \u25cfPart II\u3000Italy \u2605Performance I Question and Answer Session \u25cfPart III\u3000Reception in Various Countries \u2605Performance II Question and Answer Session Closing remarks OKOUCHI Fumie <\/p>\n scarlatti.baroque.opera@gmail.com<\/p>\n","protected":false},"excerpt":{"rendered":" \u201cThe Symposium in Commemoration of the 300th Anniversary of Alessandro Scarlatti’s Death\u201d: Establishing […]<\/p>\n","protected":false},"author":4,"featured_media":20256,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[95],"tags":[182,82,76,73],"class_list":["post-20249","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-en","tag-20251-en","tag-events-en","tag-outreach-en","tag-research-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/20249","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/comments?post=20249"}],"version-history":[{"count":2,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/20249\/revisions"}],"predecessor-version":[{"id":20867,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/20249\/revisions\/20867"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/media\/20256"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/media?parent=20249"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/categories?post=20249"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/tags?post=20249"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Program<\/strong><\/h5>\n
\nExplanation of the Symposium\u2019s Purpose: OKOUCHI Fumie<\/p>\n
\nFABRIS, Dinko
\n\u201cThe Current State of Research on Alessandro Scarlatti\u201d<\/p>\n
\nTSUJI Masahiro
\n\u201cThe Scandal Surrounding the Roman Premiere of Gli equivoci nel sembiante<\/em>\u201d
\nHAGIHARA Rika
\n\u201cA Revival of Alessandro Scarlatti\u2019s Operas: The Siena Performance of Pirro e Demetrio<\/em>\u201d
\nSASAKI Naomi
\n\u201cApproaching Alessandro Scarlatti\u2019s Il Mitridate Eupatore<\/em> (1707): Musical Context, Characteristics, and Reception\u201d
\nYAMADA Takashi
\n\u201cIl Trionfo dell’onore<\/em> (Napoli, 1718): From the Contest Related to the Neapolitan Public Theaters and Genre of Commedia per musica\u201d<\/p>\n
\n\u300aGli equivoci nel sembiante<\/em>\u300b\u3000(1679) Excerpt
\n\u300aLa Griselda<\/em>\u300b(1721) Excerpt
\nMORIKAWA Yuko soprano, MORI Yumiko soprano, SAKANAGA Tamami violin, TAKAHASHI Koji cello, UWAHA Tsuyoshi cembalo<\/p>\n
\nCommentator NODA Minori<\/p>\n
\nMORIMOTO Yoriko
\n\u201cConnections between Eighteenth-Century Russia and the Neapolitan School of Music\u201d
\nTANAKA Nobuaki
\n\u201cThe Reception of Alessandro Scarlatti in Germany and the Santini Collection\u201d
\nYOSHIE Hidekazu
\n\u201cA London Version of Pirro e Demetrio<\/em> (Pyrrhus and Demetrius<\/em>)\u201d<\/p>\n
\n\u300aIl Pirro e Demetrio<\/em>\u300b\uff081694 Napoli\uff09Excerpt
\n\u300aPyrrhus and Demetrius<\/em>\u300b\uff081709 London\uff09Excerpt
\nMORIKAWA Yuko soprano, MORI Yumiko soprano, SAKANAGA Tamami violin, TAKAHASHI Koji cello, UWAHA Tsuyoshi cembalo<\/p>\n
\nCommentator NODA Minori<\/p>\n
\nChairperson ISHII Michiko<\/p>\nContact<\/strong><\/h5>\n