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Journal articles on the topic 'Music; Opera'
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1
BELLINI, ALICE. "MUSIC AND ‘MUSIC’ IN EIGHTEENTH-CENTURY META-OPERATIC SCORES." Eighteenth Century Music 6, no. 2 (August 3, 2009): 183–207. http://dx.doi.org/10.1017/s1478570609990030.
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ABSTRACT‘Meta-operas’, that is, operas portraying the world of opera and its protagonists (such as impresarios, music directors, librettists and virtuosi), became increasingly common during the eighteenth century. Most of the scholarly literature on meta-opera, however, concentrates on the operas' poetic texts, their librettos. Scholars have dealt with these operas about operas almost as though they were spoken dramas, without taking into account the many ways in which metatheatrical practices and conventions are made more complex by the presence of music.What do meta-operatic scores look like? Are they similar to other ‘ordinary’ scores of the same time, or do their metatheatrical techniques set them aside as special? Considering a number of eighteenth-century works, this article points out how specific musical means can contribute to the overall effect of meta-operatic plots: the stratified nature of meta-narratives is, in fact, mirrored in the scores when realistic music is performed on stage. On these occasions, the presence of more than one layer of musical performance (of music and ‘music’) can be detected in the score. Furthermore, the presence of realistic music allows for a highly flexible treatment of standard operatic practices, and a number of passages work across conventional oppositions such as recitative/closed number, ‘real-life’/‘performed’ and ‘spoken’/‘sung’. Meta-operas, therefore, offer a special perspective on the presence of realistic music in opera.
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Nicholls, David. "Virtual Opera, or Opera between the Ears." Journal of the Royal Musical Association 129, no. 1 (2004): 100–142. http://dx.doi.org/10.1093/jrma/fkh004.
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A number of authors, including John Covach and especially Edward Macan, have investigated the links between art music and progressive rock. This article builds on and extends such work by positing, defining, discussing and dissecting a hybrid genre I term virtual opera. Exemplified by such albums as The Who's Tommy (1969) and Quadrophenia (1973), Genesis's The Lamb Lies Down on Broadway (1974) and Frank Zappa's Joe's Garage (1979), each of which is subjected to detailed examination, virtual operas find their ideal site of performance between the ears of individual listeners, rather than on stage or screen. In each case, the aural and visual dimensions of the albums combine to create multi-layered musico-dramatic narratives, freed from the usual performance constraints associated with either opera or rock.
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Kopecký, Jiří. "Karl Goldmark and Czech national opera: The final operas of Antonín Dvořák and Zdeněk Fibich." Studia Musicologica 57, no. 3-4 (September 2016): 349–59. http://dx.doi.org/10.1556/6.2016.57.3-4.4.
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If Bedřich Smetana is thought to be the father of Czech national opera, Antonín Dvořák and Zdeněk Fibich would be his sons. Czech critics as well as the public expected that Smetana’s successors would bring Czech opera to international recognition. Dvořák and Fibich gave increased attention to opera composition during the 1890s and the beginning of the twentieth century. They both crowned their achievements with monumental operas on subjects with historical settings: Fibich’s The Fall of Arkona (1900) and Dvořák‘s Armida (1904). The reason for this apparent coincidence was, in part, that these works were written after Wagner’s operas and before the operatic successes of Richard Strauss, when it was possible to devise free combinations of symphonically composed scenes, arioso-like vocal lines influenced by verismo, and the dramaturgical effects of grand opera. As a praised model for successful historical opera might have served Karl Goldmark’s famous work Die Königin von Saba, especially in the case of Fibich’s last opera, which was explicitly compared with Goldmark’s opera. Operas on historical subjects form a little-known part of the works of Czech composers, but they extend from Smetana’s piece The Brandenburgers in Bohemia through the late operas of Dvořák and Fibich to Janáček’s two-part opera The Excursions of Mr Brouček. It is a line of operas that present an unforgettable counterpart to many successful Czech theatrical compositions – representative operas and intimate tragedies, comic operas and fairy tales, generally written on subjects from Czech villages and mythology, including Smetana’s Bartered Bride and Libuše, Fibich’s The Tempest and Šárka, Dvořák’s Jakobín, Kate and the Devil and Rusalka, Josef Bohuslav Foerster’s Eva, as well as Leoš Janáček’s Jenůfa.
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Rosand, Ellen. "Monteverdi's Il ritorno d'Ulisse in patria and the power of ‘music’." Cambridge Opera Journal 7, no. 3 (November 1995): 179–84. http://dx.doi.org/10.1017/s0954586700004559.
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What is music in opera? In Monteverdi's Orfeo, his first opera, music is arguably the protagonist, whether La Musica in the prologue, whose ritornello guides Orfeo to and from the Underworld, or embodied in the legendary singer himself, who uses his musical prowess to charm the guardians of Hell. In Il ritorno d'Ulisse, however, there is no such protagonist, no single embodiment of musical power. In the largest sense, of course, and in contrast to straight drama – the plays of Euripides, Shakespeare or Calderon may have some music in them but are essentially spoken – all of Il ritorno d'Ulisse, all of most operas, is music. But in Monteverdi's sense (and in the librettist Badoaro's), that music is divided into ‘speech’ and ‘song’ – or, speech-like and musical utterances.
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MCCLELLAN, MICHAEL E. "THE ITALIAN MENACE: OPERA BUFFA IN REVOLUTIONARY FRANCE." Eighteenth Century Music 1, no. 2 (September 2004): 249–63. http://dx.doi.org/10.1017/s1478570604000144.
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The Parisian premiere of Paisiello’s Nina, o sia la pazza d’amore on 3 September 1791 triggered a hostile reaction from French librettists and composers. Since the opéra comique on which Paisiello had based his opera remained in the active repertory of the Comédie-Italienne, Nina was considered an infringement of copyright legislation recently passed by the National Assembly. In the controversy that followed, matters involving intellectual property and opera aesthetics were linked to revolutionary struggle. At a time when clarity and transparency were identified as republican virtues in France, the carefully wrought balance between music and text that was associated with French operatic genres acquired new political resonance. Simultaneously, the perceived emphasis on sensual musical pleasure – at the expense of a coherent libretto – in Italian operas like Nina was eyed with suspicion, deemed a potential symptom of counterrevolution. In this way, the relative merits of French and Italian opera were superimposed on issues of revolution, reaction and national identity.
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Everist, Mark. "The Music of Power:." Journal of the American Musicological Society 67, no. 3 (2014): 685–734. http://dx.doi.org/10.1525/jams.2014.67.3.685.
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Music for the stage has always been embedded in a network of power relationships between states, impresarios, librettists, artists, entrepreneurs, and composers. This article seeks to understand and explain how these relationships functioned in the period when French music drama was subject to a system of licenses, 1806–64. At the center of the inquiry are institutional structures and their relationship to those responsible for both the creation and the cultivation of stage music in the period. They explain the context for the cultural agents and products not only of the main opera houses in nineteenth-century Paris—the Opéra, the Opéra-Comique, and the Théâtre-Italien—but also of the host of smaller, shorter-lived institutions that supported and promoted opera during the period.
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Ladič, Branko. "Karl Goldmark und seine letzten Opernwerke." Studia Musicologica 57, no. 3-4 (September 2016): 325–48. http://dx.doi.org/10.1556/6.2016.57.3-4.3.
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Karl Goldmark (1830–1915) was undoubtedly one the most influential composers of the Austro-Hungarian Empire, and through his first opera – The Queen of Sheba – he was also very well-known abroad. This opera, with its very fashionable oriental subject, was first performed in Vienna in 1875 and was one of the greatest successes of the period. After Merlin (1886) and The Cricket on the Hearth (1896), a “song-opera” strongly influenced by the Biedermeier-period, Goldmark wrote three operas over the next ten years. A Prisoner of War (libretto E. Schlicht, premiered in 1899 in Vienna) was based on one episode of the Iliad. In this short opera the composer tried to express the change of Achilles’ soul, but he mostly failed due to a relatively weak and conventional libretto and vague musical style. In the following opera, Götz von Berlichingen (libretto A. M. Willner, premiered 1902) the libretto is also the weakest element of the work and the whole opera reminds one of Meyerbeer ’s operas. The composer found a renewed inspiration during the work on his last opera – The Winter’s Tale (libretto by Alfred Maria Willner after Shakespeare, premiered in 1907 in Vienna). This fairy tale opera is full of interesting musical moments and elements written in Goldmark’s late style and is still attractive for the opera-going public.
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Salim, Muhammad Nur. "KREATIVITAS RAHAYU SUPANGGAH PADA FILM OPERA JAWA KARYA GARIN NUGROHO." Acintya Jurnal Penelitian Seni Budaya 12, no. 2 (December 7, 2020): 158–69. http://dx.doi.org/10.33153/acy.v12i2.3580.
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ABSTRACT One of the developments in film in Indonesia is the musical genre film. This genre film experienced a post-reform high point when Sherina's Adventure Film came. This point then became the beginning of the development of musical genre films that were born in the 2000s period. One of the interesting musical films is the Javanese Opera Film by Garin Nugroho. Opera Jawa is interesting because first, Opera Jawa has received various awards and nominations at both national and international levels. Second, because this film bases its musical work on Javanese gamelan or gamelan media. This second reason is the focus of this research. The research "Rahayu Suanggah's Creativity in Garin Nugroho's Javanese Opera Film" is an attempt to reveal one of the film music creation methodologies based on her creative process with Javanese karawitan media (gamelan music). The musical concepts of the musical that were carried by Rahayu Supanggah as the music director was revealed through Rahayu Supanggah's conceptual approach in Bothekan Karawitan Garap's book (2007). The results of this study; Rahayu Supanggah uses Javanese musical nuances in composing Javanese Opera music by involving songs that are composed in various variations such as; 1) single tembang, 2) pathetan, 3) nothing, 4) palaran, and 5) arrangement of traditional pieces while the illustration music consists of 1) New Composition, 2) Illustration of Traditional Music, 3) Exploration Music. Keywords: Creativity, Music, Javanese Opera, Rahayu Supanggah ABSTRAK Perkembangan film di Indonesia salah satunya pernah diwarnai oleh film genre musikal. Film genre ini mengalami titik puncak pasca reformasi ketika Film Petualangan Sherina hadir. Titik tersebut kemudian menjadi awal perkembangan film genre musikal yang lahir pada periode tahun 2000-an. Salah satu film musikal yang menarik adalah Film Opera Jawa karya Garin Nugroho. Opera Jawa menarik karena pertama, Opera Jawa mendapatkan berbagai penghargaan dan nominasi tingkat nasional maupun internasional. Kedua, karena film ini mendasarkan garapan musikalnya dengan media gamelan Jawa atau karawitan. Alasan kedua inilah yang menjadi fokus pada penelitian ini.Penelitian “Kreativitas Rahayu Suanggah dalam Film Opera Jawa Karya Garin Nugroho” merupakan upaya mengungkap salah satu metodologi penciptaan musik film yang mendasarkan proses kreatifnya dengan media karawitan Jawa (musik gamelan). Konsep-konsep musikal karawitan yang diusung Rahayu Supanggah sebagai music director diungkap melalui pendekatan konsep garap-nya Rahayu Supanggah dalam buku Bothekan Karawitan Garap (2007). Hasil penelitian ini; Rahayu Supanggah menggunakan nuansa karawitan Jawa dalam menggarap musik Opera Jawa dengan melibatkan tembang yang digarap dalam berbagai variasi seperti; 1) tembang tunggal, 2) pathetan, 3) ada-ada, 4) palaran dan 5) aransemen gendhing tradisi sedangkan musik ilustrasi terdiri dari 1) Komposisi Baru, 2) Ilustrasi Gending Tradisi, 3) Musik Eksplorasi.Kata Kunci: Kreativitas, Musik, Opera Jawa, Rahayu Supanggah
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Rathey, Markus. "Setting the Stage: Drama, Libretti and the ‘Invention’ of Opera in Leipzig in the 1680s." Cambridge Opera Journal 29, no. 3 (November 2017): 287–311. http://dx.doi.org/10.1017/s0954586718000010.
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AbstractThe opera house in Leipzig opened its doors in 1693. Operas had been performed in central Germany for quite some time but they were primarily confined to courts. With the founding of the opera, Leipzig, home of an important trade fair, provided an additional musical attraction that could entertain merchants coming for the fair. While the year 1693 marks the beginning of regular opera performances in Leipzig, the preceding decades saw an increased interest in dramatic genres in the realms of both secular and sacred music. The connection between these dramatic works and the opera house are not just circumstantial. Some of the key players in the opera business in Leipzig were involved in these earlier pieces as well, especially the poet Paul Thymich, the first librettist for the Leipzig opera, who provided the majority of texts for the drammi per musica, Singspiels and sacred cantatas.
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LÜTTEKEN, LAURENZ. "NEGATING OPERA THROUGH OPERA: COSÌ FAN TUTTE AND THE REVERSE OF THE ENLIGHTENMENT." Eighteenth Century Music 6, no. 2 (August 3, 2009): 229–41. http://dx.doi.org/10.1017/s1478570609990017.
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ABSTRACTAmong the operas on which Mozart and Da Ponte collaborated, Così fan tutte is a special case. In some ways, the libretto is more conventional than those provided for Le nozze di Figaro or Don Giovanni, and Mozart was not the first composer asked to set it. To understand the work best, it is necessary to read the text closely. This article concentrates on a few, highly significant characteristics – in particular, the locations in which the opera takes place. Such details provide the foundations for surprising insights into the opera. First, the libretto deals with central issues in eighteenth-century aesthetics, but the mechanist philosophy that informs the plot (reminiscent of that theorized by Julien Offray de La Mettrie in L'Homme machine) defuses these issues over the course of the action. Secondly, the music that turns the libretto into an opera resonates with specialist issues of eighteenth-century music aesthetics, often to turn them, once again, on their heads. In the last analysis, Così fan tutte is an opera in which both text and music question truth and reliability, and the consequences are serious for the opera, for music and for the very Enlightenment itself.
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Donington, Robert. "Opera as Opera Is." Musical Times 128, no. 1732 (June 1987): 314. http://dx.doi.org/10.2307/1193723.
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Neville, D. "Opera or oratorio?: Metastasio's sacred opere serie." Early Music 26, no. 4 (November 1, 1998): 596–607. http://dx.doi.org/10.1093/em/26.4.596.
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Hunter, Mary. "Some representations of opera seria in opera buffa." Cambridge Opera Journal 3, no. 2 (July 1991): 89–108. http://dx.doi.org/10.1017/s0954586700003426.
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It is becoming increasingly usual to think of music of the Classical period as conveying its meanings at least in part through a rhetoric of topoi. According to this model, such elements as rhythm, texture and melody evoke both musical and extra-musical ‘echoes’. Woven into the structure of the music, these echoes form a collage of connotations from which meaning can be inferred. As a genre of its time, opera buffa is in no way exempt from this ‘combinatorial’ process, or its corollary system of associative meaning. Indeed, every level of meaning in opera buffa arises from the combination and recombination of textual, musical and dramatic elements. For example, the characters, plot types and comic riffs of opera buffa are often drawn from the commedia dell'arte; we also find stories from folk tales and fairy tales, and from fashionable novels and spoken theatre. We find gestures and scenes from opera seria and tragédie lyrique, as well as quotations from and allusions to other opere buffe. The music also ranges widely in stylistic origin and reference, moving from low comedy to elevated coloratura, from bland neutrality to affecting sentimentality, and from extended expressions of a single emotion to lightning changes in Affekt. Thus the rhetoric of topoi characteristic of instrumental music of the period is included within a structure of reference and resonance that invokes textual and dramatic ‘sources’ as well as musical ones. Opera buffa is, in other words, a fundamentally intertextual genre.
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Kay, Simon. "It ain't Over Till the Liposuctioned Lady Sings." Bulletin of the Royal College of Surgeons of England 91, no. 4 (April 1, 2009): 146–47. http://dx.doi.org/10.1308/147363509x423779.
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Rum old thing, opera. If you want to tell a story what does the music add and where does opera become operetta or slide into musical? Most of us ignorami would recognise perhaps a dozen pieces of music from operas and probably mostly the same ones. I have a sneaky suspicion that this is because they are the great ones, the uplifting and moving ones that set moods and attitudes. That is what the music in an opera can do: allow emotive summaries, herald mood changes or enhance and direct feeling. It also prepares us for the surreal and absolves the librettist of some of the pedantic baggage of realism.
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TÜRKMENOĞLU, Ömer, and Zümra AZİZOĞLU. "THE FIRST OPERA OF THE TURKISH WORLD "LEYLI AND MAJNUN’’." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 2 (August 15, 2021): 305–20. http://dx.doi.org/10.46291/zfwt/130216.
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The Turkish world's opera history gave its first example in 1908 with the opera "Leyli and Majnun" by Azerbaijani composer Üzeyir Hacıbeyli. According to many sources, "Leyli and Majnun" is described as the first opera of the Turkish world and the Islamic world, and the east. The most important feature of this opera is the masterful synthesis of classical western music and folk music. The opera, which was composed for the first time in this way, influenced the east with its staging and ensured that the art of opera was adopted by the public. The great composer Uzeyir Hajibeyli was born in the city of Shusha in Azerbaijan, which was developed in the field of literature and music and called the "natural conservatory." He developed his existing talent here and built it on solid foundations. He was interested in music and literature, wrote many books, articles, and was a writer for newspapers. The subject of the opera Leyli and Majnun is taken from Fuzuli's "Leyli and Majnun" poetry of the same name. At the age of 13, the composer decided to write this opera, influenced by the theater show "At the tomb of Majnun Leyli'' which he watched in Shusha, his home city. He started working on opera in 1907 when he was only 22 years old. By bringing a different perspective to opera, he used the tonal structure of western music with 'mugham,' also known as Azerbaijani folk music. This type of opera is also called "Mugam Opera.'' The opera, which was composed and performed despite the conditions of the period, preserved its originality by combining two cultures and was performed many times in other countries. Operas from the Turkish world are rarely staged in our country, and there is a need for such an article because the opera "Leyli and Majnun" has not been staged much in Turkey and there are very few theses, articles, and books about it. In this study; Different titles have been created such as the history of Azerbaijan opera, the life of Uzeyir Hajibeyli, the composer's process of creating the opera, and the content of the opera Leyli and Majnun. Keywords: Leyli and Majnun, Uzeyir Hajibeyli, Turkish World, Opera
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FRANCISCO, MEGAN. "Battlestar Galactica and Space Opera: Transforming a Subgenre." Journal of the Society for American Music 15, no. 1 (February 2021): 99–123. http://dx.doi.org/10.1017/s1752196320000486.
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AbstractRon Moore, creator and producer of the reimagined Battlestar Galactica television series, outlined his proposed show's aesthetic in a manifesto aptly titled “Naturalistic Science Fiction or Taking the Opera out of Space Opera.” The title of this essay took a stand against the science fiction subgenre of space opera, asserting that it was outdated, overdone, and unrealistic. Moore's vision for his series revolutionized iconic elements of classic television space operas. Though Moore resisted the stigma of space opera, his reimagined series holds an inherent “operaticness”—a term first coined by opera scholar Marcia Citron. Battlestar Galactica has many operatic qualities, particularly in its narrative structure, cinematography, characters, and music. After analyzing Galactica's explicit evocations of opera, this article will explore the operatic features of the soundtrack and evaluate the characters intimately tied to the opera by tracing the tropes of gendered opera as outlined by Susan McClary and Catherine Clément. Through a detailed analysis of three episodes, I will demonstrate how Moore successfully constructed a series that relied deeply upon operatic qualities and resonances.
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Gibbons, William. "Iphigénie à Paris: Positioning Gluck Historically in Early Twentieth-Century France." Articles 27, no. 1 (September 13, 2012): 3–15. http://dx.doi.org/10.7202/1013158ar.
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In December 1907, Gluck's opera Iphigénie en Aulide was produced in Paris at the Opéra-Comique, the last of his major operas to be revived in France. The ensuing critical reception pitted Vincent d'Indy, who harshly criticized the production, against its director, Albert Carré; d'Indy further responded by conducting the overture to Iphigénie only a few weeks later as a musical corrective to the performance at the Opéra-Comique. This unusual event highlights the historiographie problem Gluck presented to early twentieth-century critics in France: did his music look backwards to the tragédies lyriques of Lully and Rameau, or did it prefigure the Wagnerian music-dramas of the nineteenth century? The 1907 Opéra-Comique production of Iphigénie and its aftermath encapsulate the struggle to incorporate Gluck into newly developing and often competing narratives of music history.
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Christoforidis, Michael. "Georges Bizet’s Carmen and Fin-de-Siècle Spanish national opera." Studia Musicologica 52, no. 1-4 (March 1, 2011): 419–28. http://dx.doi.org/10.1556/smus.52.2011.1-4.29.
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At the end of the 19th century, Georges Bizet’s Carmen was the most performed opera with a Spanish theme in the Iberian peninsula. It had made its breakthrough into the Spanish repertoire in the late 1880s, just as debates over the state and future of Spanish opera had intensified and were tied to emerging questions of national identity. In a period when full-length Spanish works (zarzuela grande and opera) were struggling to maintain a foothold in the repertoire, Carmen received numerous operatic productions and several adaptations into the Spanish lyric genre of the zarzuela, accelerating the process of acculturation of Bizet’s opera.The main ideologues of Spanish national opera, Felipe Pedrell, Antonio Peña y Goní and Tomás Bretón all engaged critically with Bizet’s “infamous espagnolade,” and it formed the backdrop to a wave of Spanish nationalist operas, from Bretón’s La Dolores (1895) to Manuel de Falla’s La vida breve (1905). This paper will explore the multi-faceted impact of Bizet’s Carmen in shaping the discourses of Spanish national opera, and its stylistic impact upon the new repertory of Spanish operas that were created at the turn of the 20th century.
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Kertesz, Elizabeth. "Ethel Smyth’s The Wreckers: a cosmopolitan voice for English opera." Studia Musicologica 52, no. 1-4 (March 1, 2011): 485–97. http://dx.doi.org/10.1556/smus.52.2011.1-4.33.
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As debates raged about the parlous state of English opera in the first decades of the 20th century, the composer Ethel Smyth saw her opera The Wreckers staged in London. After writing two operas directed towards the German market and in an idiom steeped in the German Romantic tradition, Smyth consciously re-focused her style for The Wreckers, exploring the possibilities of creating opera that might simultaneously find favour in England and appeal to theatres on the continent.This paper will consider The Wreckers as an essay in a cosmopolitan style, that simultaneously employed internationally recognised tropes of Englishness. Written between 1903 and 1905, The Wreckers speaks to Smyth’s interest both in French opera as exemplified by Bizet and Massenet and in elements of verismo. The Wreckers has largely been viewed in the context of English opera and this paper aims to re-situate Smyth’s most significant opera within her cosmopolitan milieu.
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Sternfeld, Frederick W. "Orpheus, Ovid and Opera." Journal of the Royal Musical Association 113, no. 2 (1988): 172–202. http://dx.doi.org/10.1093/jrma/113.2.172.
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It was in the Shakespeare year of 1964 that I first realized to what extent my work on English stage music lacked foundation and depth without a better knowledge of the practices of dramatic music in Italy. Even at that early stage I recognized that the key plot for intermedi and the first operas was the story of Orpheus which looms so impressively, both in quantity and in quality, at the birth of opera. Indeed, it is a plot that continues to act as a springboard for the imagination of composers of operas and ballets, even after the seventeenth century, as witnessed by the works of Gluck, Offenbach and Stravinsky.
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Gutsche-Miller, Sarah. "Ballet Fit for a National Theater? Carré, the Critics, and Le Cygne at the Opéra-Comique." Journal of Musicology 38, no. 2 (2021): 183–208. http://dx.doi.org/10.1525/jm.2021.38.2.183.
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When Albert Carré became the director of the Paris Opéra-Comique in 1898, he did so with the goal of rejuvenating French lyric theater. He also took possession of a national institution in a state of flux. The Opéra-Comique had a new hall and a new mandate, and it had recently become the focus of debates in the press about what role the city’s second national lyric theater should play in French culture. Although debates initially revolved around opera, Carré’s plans for renewal included ballet, not seen at the Opéra-Comique for over a century. This article discusses the role ballet played in promoting Carré’s artistic objectives. At first glance the theater’s repertoire appears to be at odds with Carré’s progressive ideals. The Opéra-Comique staged only one innovative ballet, Le Cygne (1899)—a pop-culture-inflected mythological parody by Catulle Mendès, Charles Lecocq, and Madame Mariquita. Carré then turned to staging old-fashioned pantomime-ballets, confining innovative dances to divertissements in operas. The reasons for Carré’s repertoire decisions can, I argue, be found in the reception of Le Cygne. Carré’s initial ballet was highly contested, and critics’ arguments mirrored ongoing press debates about ballet’s value and place in French culture. I contend that Carré’s initial modernist ballet, and his shift to mixing conventional pantomime-ballets with modern opera divertissements in response to the contentious reception of Le Cygne, were part of a calculated attempt to establish the Opéra-Comique as an emblematic French national theater that was simultaneously a museum and a progressive space for modern innovation.
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Semkin, Dmitry N., and Valentina V. Smirnova. "ON THE CULTURAL AND HISTORICAL SIGNIFICANCE OF CHUVASH OPERA MUSIC." Vestnik Chuvashskogo universiteta, no. 2 (June 25, 2021): 202–11. http://dx.doi.org/10.47026/1810-1909-2021-2-202-211.
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The relevance of the topic covered in the article is determined by the need to preserve and promote the musical heritage of outstanding composers of the Chuvash Republic, which celebrated the centenary of its autonomy formation. The aim of the work was to draw attention to a comprehensive assessment of Chuvashia composers’ contribution to the development of vocal art (namely, its opera genre) as the most important part of a multi-faceted musical culture. The article reflects the problems of preserving and promoting classical music. The list of operas by Chuvash composers staged on the theater stage is given. Information about the opera «Ivan Yakovlev», which was staged in the XXI century, is reflected. The article is actually an intersubject topic focused primarily on considering pivotal solo vocal parts in the most famous operas. The article reflects the vocal and performing analysis of the parts in outstanding opera works, their main stylistic features are studied. In particular, the tenor parts of Setner, Sendier, and Kosinsky are described in more detail. Opera works and parts are considered in the context of cultural and historical significance, on this basis the main provisions and conclusions confirming the unique cultural and historical significance of the Chuvash opera music and its contribution to the development of musical and social culture of the Russian society are summarized and systematized.
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Law, J. K. "At the Opera: Tales of the Great Operas." Opera Quarterly 20, no. 1 (January 1, 2004): 109–10. http://dx.doi.org/10.1093/oq/kbh009.
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Rosselli, John. "From princely service to the open market: Singers of Italian opera and their patrons, 1600–1850." Cambridge Opera Journal 1, no. 1 (March 1989): 1–32. http://dx.doi.org/10.1017/s0954586700002743.
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We are used to thinking of ‘opera singer’ as a profession. But no such profession existed when opera emerged as a genre at the turn of the sixteenth and seventeenth centuries, when the first public opera house opened in Venice in 1637, or for three or four decades after that: operas were too few to occupy most of anyone's time. In the early seventeenth century not even ‘singer’ was as yet a clearly defined trade. Many singers were also instrumentalists: some accompanied themselves (and some also composed their own music), while others switched between singing and playing; the commonest Italian term for them all was musici. Others again were actors or actresses who could sing, like Virginia Andreini, drafted in an emergency to create the title part in Monteverdi's Arianna of 1608.
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Siegert, Christine. "Altpapierverwertung im 18. Jahrhundert: Fragmente in den Aufführungsmaterialen des Esterházy’schen Opernbetriebs." Studia Musicologica 51, no. 3-4 (September 1, 2010): 277–301. http://dx.doi.org/10.1556/smus.51.2010.3-4.4.
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In the opera materials of the Esterházy Court in the Széchényi National Library in Budapest, that have survived from the time when Haydn directed the opera at Eszterháza, there are several inserted papers that had been used before the sheet of paper was re-used for the adaptation of the given opera. The fragmentary notations vary in content and extent. Two groups are of special interest for Haydn scholars: fragments that can be related to Haydn’s operas and fragments written by Haydn. The latter are listed in the appendix in a catalogue that might be expanded in the future.
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Anderson, Robert. "Opera." Musical Times 127, no. 1717 (March 1986): 155. http://dx.doi.org/10.2307/965500.
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Osmond-Smith, David, and Rudy Shackelford. "Opera..." Musical Times 129, no. 1746 (August 1988): 405. http://dx.doi.org/10.2307/965970.
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Henson, Karen. "Victor Capoul, Marguerite Olagnier's "Le Saïs", and the Arousing of Female Desire." Journal of the American Musicological Society 52, no. 3 (1999): 419–63. http://dx.doi.org/10.2307/831790.
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We tend to think of exoticism in late nineteenth-century French opera as a very male-oriented phenomenon: as "cultural work" carried out mainly by men and for the male spectator's pleasure. This article takes as its starting point a rather different configuration of opera, exoticism, and gender issues, exploring the possibility of a form of French operatic exoticism aimed at the fantasies and desires of women. In particular, the article focuses on a now wholly forgotten work, Marguerite Olagnier's Le Saïs (1881), and on the role in this and other operas of Victor Capoul, an Opéra-Comique tenor once celebrated not only for his vocal and dramatic skills, but also for his popularity with female listeners. In addition to providing a firm historical basis from which to begin theorizing about the relationship between exoticism and the late nineteenth-century female listener, the case of Capoul and Le Saïs reveals how operatic men, even the most high-voiced and seemingly effeminate, can be as complexly compelling-and even as liberating-for women as recent critics have argued for sopranos and "queer" listeners.
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King, Richard G., and Saskia Willaert. "Giovanni Francesco Crosa and the First Italian Comic Operas in London, Brussels and Amsterdam, 1748–50." Journal of the Royal Musical Association 118, no. 2 (1993): 246–75. http://dx.doi.org/10.1093/jrma/118.2.246.
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In the autumn of 1748 the opera audience in London was introduced to a newly arrived troupe of Italian singers, an eccentric impresario and an operatic genre previously unknown in England. The buffo company, led by ‘Doctor’ Giovanni Francesco Crosa, would entertain the King's Theatre public for the first time with full-length Italian comic operas. In May 1750, after two tumultuous seasons which saw the gradual dissolution of the troupe and financial disaster for the management, Crosa fled the country, never to return. The King's Theatre closed its doors, to reopen only in the autumn of 1753 with a programme devoted exclusively to serious opera. It was not until 1766, when Piccini's La buona figliuola conquered the London opera stage, that Italian comic opera found real success at the King's.
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Shi, Zhixuan. "Discussion on the Rudiment, Transformation and Fusion of Opera Music." Journal of Educational Theory and Management 1, no. 1 (October 16, 2017): 113. http://dx.doi.org/10.26549/jetm.v1i1.586.
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Music is the core power to promote the development of opera and to thoroughly understand its early form and development track in the domain of opera art. It plays an important role in the comprehensive understanding of the artistic nature of operamusic. Opera music originated from the inheritance of excellent music culture in history, the song and dance drama in Tang Dynasty,Zaju in the Song Dynasty and Jinyuanben (a kind of Chinese ancient traditional opera) had began to form the rudiment of opera music before forming into independent musical system. The reform of the development of the opera music is based on the prototype ofthe opera music, with the development of the music itself and the combination of the opera art produced by external conditions of thedual effects.
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Citron, Marcia J. "Opera-Film as Television: Remediation in Tony Britten's Falstaff." Journal of the American Musicological Society 70, no. 2 (2017): 475–522. http://dx.doi.org/10.1525/jams.2017.70.2.475.
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Tony Britten's film Falstaff (2008) is an unusual, even radical opera-film. An updated treatment with a colloquial English translation and a chamber arrangement, and lacking many operatic elements, the film enacts a remediation of opera-film through the medium of television. Remediation, as conceived by Jay Bolter and Richard Grusin, refers to “the representation of one medium in another,” and its goal “is to refashion or rehabilitate other media.” Britten's Falstaff is strongly influenced by British popular television, especially British situation comedy. Sitcoms that emphasize working-class culture and “lads’ humor”—such as Only Fools and Horses and Men Behaving Badly respectively—resonate conspicuously with this Falstaff. In addition, television features prominently in it by virtue of the fact that protagonist John Falstaff is a former television star. The implications of this remediated opera-film for Verdi and Boito's opera are also of considerable interest. In critical ways associated with music, text, and narrative, the opera is highly suited to Britten's conception. Building on the work of Denise Gallo, I propose that Britten's film marks another moment in the struggle for national ownership of the Merry Wives material. In this sense the film articulates an “Englishizing” of Verdi and Boito's opera. The new kind of opera-film represented by Britten's Falstaff reinforces the idea of “television opera” as a genre that takes advantage of television's medial and aesthetic capabilities, and expands its purview to adaptations as well as new operas.
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Sheppard, W. Anthony. "Blurring the Boundaries: Tan Dun's Tinte and The First Emperor." Journal of Musicology 26, no. 3 (2009): 285–326. http://dx.doi.org/10.1525/jm.2009.26.3.285.
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Abstract Tan Dun's 2006 opera The First Emperor dramatically transgresses stylistic, cultural, genre, and aesthetic boundaries and prompts investigation of critical methods and categories. This opera's multiplicity and engagement with the operatic past brings into focus relationships between Chinese, European, and experimental American operatic traditions and Romantic, modernist, and postmodernist modes of Orientalist representation. Powers's study of Puccini's manipulation of multiple styles in Turandot is a model for tracing Tan's stylistic sources and exploring their interaction in The First Emperor. Tan's use of conventions from the Orientalist operatic tradition and treatment of thematic material indicates an attempt to accommodate audience expectations. Other recent operas influenced by Chinese operatic traditions and the recent reception of Chinese opera in the West likely shaped Tan's composition and offer useful contextual and comparative perspectives. The critical reception and revision of this high-profile opera raise issues central to the creation of contemporary opera.
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Service, Tom. "London, Royal Opera House: ‘Sophie's Choice’." Tempo 57, no. 224 (April 2003): 41–42. http://dx.doi.org/10.1017/s0040298203210159.
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Few contemporary operas achieve the newsworthiness of Nicholas Maw's Sophie's Choice. Even before its 7 December première at the Royal Opera House, Covent Garden, the piece dented public consciousness thanks to a barrage of press coverage surrounding the production, the cast, and the subject matter. The irony is that it was the other names associated with the opera – conductor Simon Rattle, director Trevor Nunn, and William Styron, author of the 1979 novel – that made Sophie's Choice a news story, rather than the fame of its composer. Yet Maw's was the ultimate responsibility for the creation of this ambitious, large-scale work.
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Tedesco, Anna. "National identity, national music and popular music in the Italian Music Press during the long 19th century." Studia Musicologica 52, no. 1-4 (March 1, 2011): 259–70. http://dx.doi.org/10.1556/smus.52.2011.1-4.20.
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Discusses the notions of national identity, national music and popular music as they emerged in Italian music periodicals during the years 1840–1890, in relation to the process of Italy’s political unification and the dissemination of foreign operas such as French grands opéras in the years 1840–1870 and Wagner’s Musikdramen from 1871 on. Essays and articles by relevant critics and musicians, such as Abramo Basevi and Francesco D’Arcais are discussed. Articles by lesser known journalists such as Pietro Cominazzi and Mattia Cipollone are also taken into account. The use of words like “national” and “popular” is analysed when referring to Italian opera, to its history and to the operas by foreign composers.
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Bennett, Lawrence. "IGNAZ HOLZBAUER AND THE ORIGINS OF GERMAN OPERA IN VIENNA." Eighteenth Century Music 3, no. 1 (March 2006): 63–90. http://dx.doi.org/10.1017/s1478570606000492.
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Ignaz Holzbauer (1711–1783) is best known for his singspiel Günther von Schwarzburg (1777), a work that deeply impressed Mozart during his sojourn in Mannheim. A much earlier German opera by Holzbauer, however, has gone virtually unnoticed. In the summer or autumn of 1741 the composer’s full-length, three-act teutsche Opera entitled Hypermnestra was performed at the Kärntnertortheater in Vienna. Following the death of Emperor Charles VI and the accession of Maria Theresia, the Kärntnertortheater Intendant Joseph Selliers commissioned a German-language opera, selecting Holzbauer, who had recently returned to Vienna from Moravia, to compose the music and the court printer Johann Leopold van Ghelen to write the libretto.Although it is widely known that Holzbauer composed several operas in Italian before 1741, Hypermnestra appears to be the earliest opera by the composer for which a score survives. The music provides ample evidence of a mature composer in full command of opera seria style. Although Holzbauer had not yet found a satisfactory solution to the problem of narrative recitative, the opera nevertheless illustrates many of the virtues found in Günther von Schwarzburg: outstanding accompanied recitatives, a great variety in the treatment of da capo aria form and a rich array of orchestral colours.Apart from the music, Hypermnestra is remarkable for historical reasons. It reveals that the composer had received a commission to compose an opera in the German language long before Günther von Schwarzburg. On the basis of current research it appears to hold the distinction of being one of the earliest, if not the first, full-length German opera produced in Vienna. Maria Theresia soon re-established the dominance of French and Italian styles. Nevertheless, Hypermnestra is an early example of an idea that would gradually gain acceptance and blossom during the reign of Joseph II.
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Rice, John A. "The Staging of Salieri’s Les Danaïdes as Seen by a Cellist in the Orchestra." Cambridge Opera Journal 26, no. 1 (February 19, 2014): 65–82. http://dx.doi.org/10.1017/s0954586713000335.
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AbstractDuring the 1780s a cellist in the orchestra of the Opéra, known only as Monsieur Hivart, served the Russian Count Nicholas Sheremetev as an operatic agent, sending scores, librettos, costume designs, stage designs and other materials related to opera in Paris, and advising the count on the production of French operas in Russia. Hivart was in contact with such composers as Grétry, Sacchini and Piccinni, and the stage machinist and ballet master of the Opéra, and from his place in the orchestra he could watch their work take shape on stage. This gives his letters to Sheremetev (published in Russian translation in 1944 but largely unknown in the West) significant value for historians of opera in eighteenth-century Paris. Especially extensive are Hivart’s reports on the first production of Salieri’s Les Danaïdes, which contain much information about the first production available nowhere else.
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Kropova, Daria Sergeevna. "From Greek Tragedy To Opera-Film." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 62–72. http://dx.doi.org/10.17816/vgik7262-72.
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There are some common features between opera (film-opera and theater-opera) and the Greek tragedy. Hereafter a question arises: why theoreticians and artists try to revive tragedy - what is so important in ancient drama that remains actual up to date? The author argues, that musical drama (opera) is the successor to the Greek tragedy, whereas cinema exposes musical and ancient nature of the opera clearer, than theater. The author dwells upon new possibilities of opera: different ways ofcooperation between musical and visual constituents, differences between stage and screen operas; advantages of the film-opera. The screen adaptation of opera is very actual and has special aspects. It is obvious, that opera enriches cinema language and cinema reforms traditional theatrical musical drama. There is a number of works, which are devoted to the problem of the opera- film (mostly written by music experts), but there are no special research on the part of cinema theoreticians. Cinema-opera differs from theater-opera. Cooperation between image and music is defined by specific features of the camera. The opportunities of cinema are wider in some aspects and may advance reform of stage. Integration of arts in opera-film is connected with integration of arts in the Greek tragedy. The Athenian drama, grown up from ancient cults, is connected with ancient rituals. Since the ancient sources of drama find their reflection in film-opera, the latter reaches out these cults.
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Nicholls, D. "Virtual Opera, or Opera between the Ears." Journal of the Royal Musical Association 129, no. 1 (January 1, 2004): 100–142. http://dx.doi.org/10.1093/jrma/129.1.100.
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Erwin, Max. "Johannes Kreidler, Mein Staat als Freund und Geliebte. Oper Halle." Tempo 72, no. 286 (September 6, 2018): 77–78. http://dx.doi.org/10.1017/s0040298218000396.
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Johannes Kreidler has written an opera. This is, alongside Alexander Schubert making Ensemble Intercontemporain sync up to strobe lights and Jennifer Walshe making Lucas Fels do a silly dance, a symptom of the inevitable institutionalisation of former iconoclasts who less than half a decade ago were still being championed as figures who, in Michael Rebhahn's polemic terms, ‘resigned from New Music’. But Kreidler does not seem to feel threatened by this. Indeed, his willingness to adopt the official genre of opera without qualification – in contrast to Ferneyhough's ‘thought opera’, Lachenmann's ‘musik mit Bildern’, and the more common designations of ‘music theatre’ or ‘musical action’ – signifies just how comfortable he is with his position as an established composer.
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Smaczny, Jan. "Alfred: Dvořák's First Operatic Endeavour Surveyed." Journal of the Royal Musical Association 115, no. 1 (1990): 80–106. http://dx.doi.org/10.1093/jrma/115.1.80.
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Alfred, Dvořåk's first opera, has long hovered at the edge of our awareness of the composer. If there are signs of a growing realization that opera was to Dvořåk quite as important as other areas of his output, the detail needed to flesh out the picture of ‘Dvořåk the opera composer’ is to a large extent lacking. In the case of the composer's first six operas the inaccessibility of material has meant that an assessment of his early work in the area is still very much the province of specialist scholars. Published vocal scores exist for only three of these early operas, and none of them are in any sense scholarly editions; in the case of Krål a uhlíř (King and Charcoal-Burner) the available edition is of a revision of the score made 13 years after the work was composed, with an entirely recomposed final act. Vanda, the fascinating first version of Krål a uhlíř, and Alfred remain unpublished, although a vocal score of Krål a uhlíř has been submitted to the Czech publishing house Artia.
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Greenwald, Helen M. "Puccini, Il tabarro, and the Dilemma of Operatic Transposition." Journal of the American Musicological Society 51, no. 3 (1998): 521–58. http://dx.doi.org/10.2307/832038.
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The presumption that composers transposed sections of their operas solely to facilitate the singer's task has fueled the debate about tonal relationships in eighteenth- and nineteenth-century opera. This essay proposes-via Puccini's one-act opera Il tabarro-that such alterations should be evaluated not only within the context of an individual work, but also as part of the historical continuum of expanding tonal procedures and, especially, within the context of a composer's own aural history, an "untransposed" compositional practice.
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Saylor, Eric. "Dramatic Applications of Folksong in Vaughan Williams's Operas Hugh the Drover and Sir John in Love." Journal of the Royal Musical Association 134, no. 1 (2009): 37–83. http://dx.doi.org/10.1080/14716930902756844.
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Although Ralph Vaughan Williams's operas Hugh the Drover (1924) and Sir John in Love (1929) both prominently feature English folk and traditional tunes, the dramatic ends such music serves differ significantly between the two works. This article compares the ways in which Vaughan Williams uses folk music in both operas, with the larger aim of providing a more nuanced perspective on the changing musical and dramatic potential the composer saw for indigenous English music within the context of opera.77
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Wee, Cecilia. "London, Sadler's Wells: Penderecki's ‘Ubu Rex’." Tempo 58, no. 230 (October 2004): 55–56. http://dx.doi.org/10.1017/s0040298204220319.
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A multimedia explosion of musical styles, political satire and dramatic intrigue, the Polish National Opera ended their trio of Polish operas in April 2004 at Sadler's Wells with Krzysztof Penderecki's Ubu Rex. Based on Alfred Jarry's absurdist play, Ubu Roi – in other words Poles (1888), Ubu Rex (1991) resonates well with Poland's political situation in 2004, prompting us to read the opera as an insightful exploration into the identity of a nation navigating the legacy of Soviet rule and its emerging future in Europe.
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Henzel, Christoph. "Medium der konkurrierenden Herrschaftsrepräsentation?" Die Musikforschung 72, no. 1 (September 22, 2021): 2–20. http://dx.doi.org/10.52412/mf.2019.h1.57.
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It is a truth universally acknowledged that opera seria was designed as a power-enhancing spectacle to impress not only local publics but also foreign courts, particularly the major European power players. Modern scholarship considers official envoys as the main agents of transmitting information about performances, titles, storylines and the meaning of operas. However, this common perception can be disproved by evaluating the reports of the Austrian embassy in Berlin between 1740 and 1780, the critical years of political rivalry between Austria and Prussia. Music and opera are rarely mentioned in the coverage of court and political news; a targeted interest in their aesthetic value or potential political interpretation did not exist. These findings challenge common perceptions of serious opera as a means of princely representation between the courts of the ancien regime.
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ROGERS, VANESSA L. "John Gay, Ballad Opera and theThéâtres de la foire." Eighteenth Century Music 11, no. 2 (August 7, 2014): 173–213. http://dx.doi.org/10.1017/s1478570614000049.
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ABSTRACTDaniel Heartz was the first musicologist to link John Gay'sThe Beggar's Opera(1728) withopéras comiques en vaudevilles, light musical theatre entertainments popular at the annual Paris fairs. Other scholars such as Edmond Gagey and Calhoun Winton had also suggested that Frenchcomédies en vaudevillesmight have been models for Gay's ‘original’ new genre of the ballad opera, but were unable to find compelling evidence for their suspicions. This article shows that the music ofPolly(1729), Gay's sequel toThe Beggar's Opera, can finally provide a link between ballad operas and thecomédies en vaudevilles, as four of the unidentified French airs in the opera can now be identified as popular Frenchvaudevilles. I investigate the fruitful exchange between Paris and London in the early eighteenth century (despite prevailing anti-French sentiment in Britain), focusing on musical borrowings, translations and the performers who worked in both cities. We shall see that ballad opera and thecomédies en vaudevillesshare common ground, includingvaudevilles finals, common tunes sung by actor-singers and the use of musical parody and double entendre. A closer examination of Gay's (and his contemporaries') knowledge of thecomédies en vaudevillesilluminates previously unknown French contributions to eighteenth-century English popular musical theatre, and demonstrates the unique way in which French practices were appropriated in early eighteenth-century England.
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Loos, Helmut. "Die deutsche monumentale Oper nach Wagner." Studia Musicologica 52, no. 1-4 (March 1, 2011): 363–72. http://dx.doi.org/10.1556/smus.52.2011.1-4.26.
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Opera is an exceedingly multiform and multilayered genre which has in its disposition as Gesamtkunstwerk not only to meet the most varied artistic demands, but which because of the great spiritual and pecuniary expenditure necessary for its production, also takes a highly exposed position in the sociocultural environment of its birth and performance. As courtly opera it served the representation and increase of dynastic glory, in the guise of the German Singspiel it strengthened bourgeois self-esteem and as rescue opera it compensated collective anxiety states. The early romantic claim of music to be considered as Kunstreligion was transferred to opera by Richard Wagner who as Ludwig van Beethoven’s self-appointed heir catapulted himself in the position of a Führer of the bourgeois society with the aim to give through his works trend-setting impulses for its further development. His adaptations of German myths exerted a dominating influence and have found a diversified following. As componists of monumental operas are primarily to be named August Bungert, Felix von Weingartner, Felix Draeseke, Max von Schillings, Cyrill Kistner and last but not least Richard Strauss.
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Ander, Owe. "„The Wealth of the Nations“. Die Stockholmer Oper und die Entwicklung einer nationalen Identität in Schweden." Studia Musicologica 52, no. 1-4 (March 1, 2011): 443–55. http://dx.doi.org/10.1556/smus.52.2011.1-4.31.
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The changes the Swedish state and the concept of the nation went through during the period 1770–1920 influenced in a number of ways the organization and functioning of the Stockholm Opera. From its beginnings in the 1770s, the Opera rapidly developed into being one of the country’s biggest enterprises. It came to have a long-lasting national importance, and to enjoy a broad social and political support. Political discussions about the Stockholm Opera during the 19th century were characterized by changes of opinion from liberal views favouring its self-financing and privatization, to more nationalistic positions favouring the building up of a tax-financed institution. The paper discusses the Opera as part of the enlightenment project of secularisation, substituting old collective religious rituals with new profane ones. Other factors interacting in a complex way like the changing geographic, ethnic and social structure of Sweden, the development of the financing system, repertory, the nationality of the composers, the musical style as a national or international marker, and the ideological tendency in the Swedish operas are also considered.
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Griffiths, Paul. "Opera Glass." Musical Times 126, no. 1708 (June 1985): 337. http://dx.doi.org/10.2307/964028.
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Autexier, Philippe A., and John Tyrrell. "Czech Opera." Revue de musicologie 75, no. 1 (1989): 117. http://dx.doi.org/10.2307/928979.
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Keys, Ivor, and Ian Kemp. "Grand Opera." Musical Times 130, no. 1760 (October 1989): 612. http://dx.doi.org/10.2307/965584.
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