Pervinca RISTA
Università Ca' Foscari Venezia, Department of Philosophy and Cultural Heritage, Marie Curie Research Fellow
Pervinca has earned a PhD in Comparative Literature at the Johns Hopkins University (Baltimore, MD), as well as numerous other degrees (B.A, M.A, B.M, M.M, G.P.D, Biennio) in both literature studies and violin performance following studies in the US and Italy.
An advocate of interdisciplinary studies, Pervinca combines her passion for music with complementary research in the humanities. She has four years of experience in undergraduate teaching, has won numerous academic and musical awards, and also regularly performs concerts in the US and Italy. She has authored texts for music and has translated numerous works from Italian to English. Her research and teaching interests include the history of Italian literature and culture, the relationship between literature and music, the history of opera, and Italian comic theatre of the Enlightenment.
Currently, Pervinca is a Marie Curie Research Fellow at Ca' Foscari University in Venice, Italy, having won a Marie Curie Individual Fellowship for her project "GoldOpera," to study musical scores of operas composed on texts by Carlo Goldoni.
An advocate of interdisciplinary studies, Pervinca combines her passion for music with complementary research in the humanities. She has four years of experience in undergraduate teaching, has won numerous academic and musical awards, and also regularly performs concerts in the US and Italy. She has authored texts for music and has translated numerous works from Italian to English. Her research and teaching interests include the history of Italian literature and culture, the relationship between literature and music, the history of opera, and Italian comic theatre of the Enlightenment.
Currently, Pervinca is a Marie Curie Research Fellow at Ca' Foscari University in Venice, Italy, having won a Marie Curie Individual Fellowship for her project "GoldOpera," to study musical scores of operas composed on texts by Carlo Goldoni.
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Comic and tragic elements find a new balance in the mature libretti of Carlo Goldoni, the drammi giocosi. Through these texts we also witness the development of a new character type, the mezzo carattere. This figure occupies the space between comic and tragic, functioning outside the constraints of the traditional "parti buffe" and "parti serie" of opera theatre, thereby contributing significant dramatic potential. This article offers a study of the development of this figure and its legacy in opera history.
The text here represents a final-draft copy of the work to be published as internatioanl conference proceedings for "Commedia e Musica al Tramonto dell'Ancien Regime" (Avellino, Naples 2016), Edizioni Cimarosa. This research has received funding from the European Commission's Horizon 2020 program, under grant agreement n.701269.
This document represents my PhD dissertation.
Comic and tragic elements find a new balance in the mature libretti of Carlo Goldoni, the drammi giocosi. Through these texts we also witness the development of a new character type, the mezzo carattere. This figure occupies the space between comic and tragic, functioning outside the constraints of the traditional "parti buffe" and "parti serie" of opera theatre, thereby contributing significant dramatic potential. This article offers a study of the development of this figure and its legacy in opera history.
The text here represents a final-draft copy of the work to be published as internatioanl conference proceedings for "Commedia e Musica al Tramonto dell'Ancien Regime" (Avellino, Naples 2016), Edizioni Cimarosa. This research has received funding from the European Commission's Horizon 2020 program, under grant agreement n.701269.
This document represents my PhD dissertation.