Academic literature on the topic 'Furtiva lagrima'

碩士
國立臺北藝術大學
音樂學系碩(博)士班
106
L’Elisir d’Amore (The Elixir of Love), an opera composed by Italian composer Gaetano Donizetti (1797-1848), has been regarded as one of the most brilliant and classic Italian opera buffa, and has taken its place in the repertory performances of worldwide notable opera houses over the past two centuries. Starting from the fondness for the noted tenor aria Una furtiva lagrima (A furtive tear) and thus for entire masterpiece, the author hence explores into the leading role Nemorino to develop deeper comprehension and interpretation. This interpretation study set out in 5 chapters exploring respectively into the life of composer Gaetano Donizetti, life of librettist Felice Romani, Donizetti’s opera musical expressions, synopsis of the opera, and the role interpretation. Thereupon, the study discussion is focused on Nemorino’s arias of two different scenes, i.e. Quanto è bella, quanto è cara! (How beautiful she is!) and Una furtiva lagrima (A furtive tear), as well as his duet with the leading soprano Adina, i.e. Una parola, o Adina - Chiedi all'aura lusinghiera! (Ask the flattering breeze!), which delves into the character’s growth and development that shapes the musical portrayal and performance of the tenor role Nemorino.

An aural analysis of bel canto: traditions and interpretations as preserved through selected sound recordings. The thesis addresses the lack of an aural appreciation of bel canto operatic traditions. Further it asserts that sound recordings are invaluable in examining aspects of improvisation and ornamentation of the melodic line that are characteristic of this tradition. A detailed aural analysis also provides valuable and unique insights into the bel canto techniques demonstrated by the performers as perceived aurally. The incentive to undertake this research from an aural perspective exclusively developed from the writer’s physical limitations. This differs from more traditional methods of research which would focus on contemporary critiques on the subject. The essence of the aural research undertaken has been to compare different recordings by different singers in various eras, and to establish the ways bel canto traditions have been preserved, maintained, nurtured and performed. The project focuses on selected operas from the nineteenth century repertoire of Gaetano Donizetti and Vincenzo Bellini. Two arias are analysed as case studies, each one examining aspects of bel canto opera from the twentieth century to the present. The first case study focuses on the soprano aria ‘Casta Diva’ from Bellini’s Norma, while the second is the tenor aria ‘Una furtiva lagrima’ from L’Elisir d’Amore by Donizetti. Each case study is documented, and includes transcribed excerpts from the chosen aria to illustrate and interpret bel canto traditions through both preserved and re-mastered recordings. Comparisons are made between different singers, describing which aspects of performance display the characteristics and qualities of bel canto. High quality sound recordings are indispensable in making an aural approach, particularly if there are no longer suitably skilled singers available to perform the works live, since it is through this medium of sound recordings, as well as live performances, that future generations can appreciate these operatic techniques. It is hoped that this thesis will contribute to a significant appreciation of the Italian bel canto tradition of the nineteenth century and the transmission of its various techniques.
Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2010

Talking about tears in Pasolini’s cinema evokes the brief moment in Mamma Roma, when a boy hums Una furtiva lagrima in a mocking tone as he sits on a staircase. The man’s tear doesn’t even try to pass for real; it is, in short, a pure ‘tear of the cinema’, made of glycerin, but it assumes, as such, in the story, a figurative reality integrated in the ‘real’ within the fiction and the character’s psychology.