Dissertations / Theses: 'Opers'

1

Friedman, Arnold Jacob. "A Different Drummer: A Chamber Opera." Thesis, view full-text document. Access restricted to the University of North Texas campus, 1999. http://www.library.unt.edu/theses.

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2

Schmidt, Stephan Sebastian. "Opera Impura : Formen engagierter Oper in England /." Trier : Wissenschaftlicher Verlag, 2002. http://catalogue.bnf.fr/ark:/12148/cb389827692.

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3

Salfen, Kevin McGregor. "Paintings and Palaces, or the Lament of the Burger Flipper." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2186/.

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The opera is scored for chamber orchestra consisting of one oboe, two Bb clarinets, two horns in F, one trumpet in C, one tenor trombone, two percussionists (playing snare drum, bass drum, tambourine, wood block, triangle, suspended cymbal, crash cymbal, agogo bells, cow bell, brake drum, metal whistle, whip, large gong, Glockenspiel, chimes, timpani in F (low) and C), eight or more violins in two parts, six or more violas in two parts, and eight or more cellos in two parts. The characters are Alejandro Jiminez, a dramatic tenor; the Manager of Burger Palace, a baritone; the Suits 1/Fast Food Workers, a choir (SATB) and the Suits 2/Customers, a second choir (SATB), each ideally consisting of eight vocalists for a total of sixteen; the Daydream Figures, which are mimed parts; the Man with Gun, which is a spoken part. The opera, in one act consisting of six scenes and an interlude, is based on a libretto by the composer. There is only one scene change: from an essentially empty stage to a fast food restaurant in Scene 4. The length of the work is approximately sixty to sixty-five minutes.

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4

Evans, Anne Megan. "The evolving role of the director in Xiqu innovation." Thesis, University of Hawaii at Manoa, 2003. http://proquest.umi.com/pqdweb?index=0&did=764745581&SrchMode=1&sid=4&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1233276975&clientId=23440.

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5

Makosz, Jadwiga. "Vier Opern von Günter Bialas oder die 'Wiederkehr der populären Oper'." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2017. https://ul.qucosa.de/id/qucosa%3A15352.

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6

Wates, Roye E. "«Die Oper aller Opern»: «Don Giovanni» as Text for the Romantics." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37095.

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7

Marx, Hannelie. "Narrative and soap opera a study of selected South African soap operas /." Diss., Connect to this title online, 2007. http://upetd.up.ac.za/thesis/available/etd-05192008-162153/.

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8

O'Keefe, Patricia Beatrice. "Selected Operas of Isabelle Aboulker As Repertoire for the University Opera Studio." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699840/.

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Aboulker’s operatic works present an opportunity for opera workshop programs in the United States to perform contemporary operatic works in a foreign language, revitalizing the operatic repertoire and giving students the opportunity to prepare and perform roles without the weight and influence of significant performance history. Aboulker’s style, which has been called “effectively simple,” allows developing students to work on new French language repertoire without the burden of excessively difficult or atonal vocal lines. Aboulker’s works are tuneful and humorous and her longest operatic work lasts a mere hour and a half. These qualities also serve to mitigate the challenge presented to the student by the French language. Many of Aboulker’s works are conceived specifically to be performed with piano only, or have already been published in piano reduction. Most of her operatic works are very short or divide easily into scenes that could be performed separately where the performance of a longer work is either not feasible or not desired. All of these characteristics combine to make the operas of Isabelle Aboulker a viable repertoire option for the university opera studio.

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9

Stawiski, Eileen Beth. "Ucieczka w Fantazi Opery (Escape-Fantasy Opera): Preserving the Heart of Poland." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276532042.

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10

Kostelanský, Ján. "Vývoj opery na Slovensku a priekopníci Slovenského operného divadelníctva." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177742.

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My work is about the history of Slovak opera and theatre, since the first written records and live performances. I was also interested in the history of slovak theatre and it´s buldings, the first instances of slovak opera, and the rise of the Slovak National Theatre. The end of my work belongs to, in my opinion, two of the most important initiators of slovak theatre.

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11

Dumigan, Darryl Jacqueline. "Nicola Porpora's operas for the 'opera of the nobility' : the poetry and the music." Thesis, University of Huddersfield, 2014. http://eprints.hud.ac.uk/id/eprint/24693/.

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Studies of Italian opera in London during the first half of the eighteenth century have focussed on George Frideric Handel (1685-1759). As the most prolific composer of this genre in the English capital, this is unsurprising, but it has meant that other composers, contemporaneously active in this field, have been relatively neglected. This is especially true of the period 1733 – 1737, during which time two Italian opera companies attempted to co-exist in the city. Leading one of the companies was Handel, with the Neapolitan, Nicola Porpora (1686-1768), recruited to compose the works for the rival opera company, the so-called ‘Opera of the Nobility’. This study therefore discusses Porpora’s contribution of five operas to the London operatic stage during his three year residency between 1733 and 1736, in opposition to Handel’s company. This has required an investigation into the circumstances surrounding the formation of the rival opera company, its operation in terms of repertoire and the influence of its librettists on Porpora’s works. Detailed analysis of the music has been undertaken to consider Porpora’s style, establish how he adapted this in London for an English, rather than Italian audience, and determine the efficacy of his communication of the drama through his music. This thesis is the first large-scale detailed study of Porpora and his operas. Although the primary focus of this work is his London operas, the necessity of providing a context for these has resulted in a contribution to greater knowledge of Porpora’s overall style. There is still much work to be done on a full study of all of Porpora’s 44 operas and other compositions. This study also significantly adds to the current knowledge of operatic rivalry in London between 1733 and 1736, for the first time evaluating the fabric and importance of Porpora’s operas within this period.

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12

Patino, Julio. "Matador." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc279182/.

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Matador is an opera scored for orchestra, mixed chorus and soloists (mezzosoprano, 3 tenors, 2 baritones). The work is in one act divided into two main sections. Each of these sections is divided into subsections. The libretto is aphoristic in nature and dictates the form of each of these subsections. The division into two parts also serves as a means to evoke a sense of hopelessness of emotions in the first and a transforming disposition that culminates in a jubilant song in the second.

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13

Ackermann, Peter. "Zur Aufführungsgeschichte italienischer Opern am städtischen Theater in Frankfurt am Main während des 19. Jahrhunderts." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-219305.

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Als spezielles Korpus innerhalb des umfangreichen Gesamtbestands an Werken des Musiktheaters der Stadt- und Universitätsbibliothek Frankfurt am Main umfaßt die sogenannte \"Frankfurter Opernsammlung\" die erhaltenen Aufführungsmaterialien des Frankfurter Stadttheaters aus einem Zeitraum von mehr als anderthalb Jahrhunderten, der von der Eröffnung des "Comödienhauses" im Jahre 1782 bis zur Zerstörung des Opernhauses im März 1944 reicht.

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14

Shirey, Benjamin 1985. "Transient Delete: Original Composition with a Critical Examination of the Compositional Process and a Survey of Digital Technology in Opera." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849752/.

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This paper explores various technologies available to the modern composer and utilized in recent modern opera, providing creative approaches to producing aural, visual, and theatrical performance environments. It also explores my own use of digital technology in Transient Delete. Transient Delete is a digital miniature-opera that explores different aspects of a community of post-human cyborgs. The story follows Iméra, a newly converted cyborg as she acclimates herself to this new cybernetic existence. During this process she meets several other cybernetic entities that are there to help guide her through her metamorphosis.

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15

Sauceda, Jonathan. "Opera and Society in Early-Twentieth-Century Argentina: Felipe Boero's El Matrero." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862860/.

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Premiering at the twilight of the gauchesco era and the dawn of Argentine musical Modernism, El matrero (1929) by Felipe Boero (1884-1958) remains underexplored in terms of its social milieu and artistic heritage. Instantly hailed as a masterpiece, the work retains a place in the local repertory, though it has never been performed internationally. The opera draws on myths of the gaucho and takes further inspiration from the energized intellectual environment surrounding the one-hundred-year anniversary of Argentine Independence. The most influential writers of the Centenary were Leopoldo Lugones (1874-1938), Ricardo Rojas (1882-1957), and Manuel Gálvez (1882-1962). Their times were marked by contradictions: xenophobia and the desire for foreign approbation; pride in an imaginary, "barbaric" yet noble ideal wiped out by the "civilizing" ambitions of revered nineteenth-century leaders. Krausism, a system of ideas following the teachings of Karl Friedrich Krause (1781-1832), had an impact on the period as exhibited in the political philosophy of Hipólito Yrigoyen (1852-1933), who served as president from 1916 to 1922 and 1928 to 1930 when he was deposed by a right-wing coup d'état. Uncritical applications of traditional understandings of nationalism have had a negative impact on Latin American music scholarship. A distillation of scholarly conceptions of Argentine nacionalismo, which address the meaning of the word as it was used in the early twentieth century, combined with an examination of major works of important literary figures of the Centenary provide a firmer ground for discussion. Gálvez paints a conservative portrait of a refined, well-traveled dilettante who finds true enlightenment only in his own rural, Argentine culture. A liberal, Rojas understands nationalism as devotion to the development of national institutions and local art. Lugones argues the foundation of national art should be the gaucho, and articulates the hierarchical sociabilities it should articulate. Boero adopts elements of Krausism and the nationalistic system of values advanced by the Centenary writers within an Occidentalist framework. Occidentalism describes cosmopolitan initiatives to incorporate the ideals of the West as structural to Argentine identity. It shares the liberal outlook of the central government that valued international openness and European and Anglo-American affinity. Boero wrote to satisfy the responsibilities of the various occupations he held as opera composer, pedagogue, and art musician, but was always dedicated to the strengthening of national institutions and development of what he perceived to be a native art. His pieces evince the Occidental ideal in their adoption of Impressionistic, Puccinian, and folkloric elements in varied ways, sometimes in individual pieces in isolation, other times all within the same work. The use of each of these styles is done in a thoroughly Eurocentric manner as even the "gaucho" elements are utilized according to traditional art music conventions. Boero demonstrates his mastery of a variety of techniques throughout his oeuvre and explores each of them in his magnum opus. The play El matrero, written by the contemporary Uruguayan playwright, Yamandú Rodríguez, draws on themes explored and celebrated by the Centenary writers and resonates with certain Krausist values. The libretto diverges from the play in a few significant ways that suggest a more conservative political outlook. More than simply a story told in the popular gauchesco style, the work is a kind of origin story with supposedly authentic depictions of rural life that present a model for contemporary sociabilities informed by the Krausism and liberalism of the era. Musical analysis of the opera confirms affinities with verismo and Impressionism, but also reveals a unique stamp, not only in the use of gauchesco topoi, but the harmonic language and interplay of styles. These styles are not blended into a single, cohesive unity but arise at key points within the heterogeneous work. A critical analysis allows the musical styles to be considered to articulate a social hierarchy marked by Krausist organicism already hinted at in the text. The various character groups of the opera have distinct voices that reveal separate classes. In line with current Argentine thought rooted in the nineteenth century and the Centenary, and due to the work's status as an origin story, the relationships between the groups may be seen to represent a model for contemporary society with the elite successfully managing the affairs of their underlings. The music helps articulate these relationships with moments of diegetic gauchesco music-making being relegated to the voices and bodies of the lower classes and the representatives of the upper class speaking with a mixture of art music styles and a sublimated folkloric style. The combined study of text and music reveals an Occidentalist perspective with the native Argentine elements subordinated to the European. In spite of their lower sociopolitical position, the folk are not despised but given a coherent musical language with which to express themselves, and the higher characters are musically united to their gaucho compatriots. The combination of musical styles creates an engaging, complex tapestry more than worthy of considered study and appreciation. Uncritical applications of traditional understandings of nationalism have had a negative impact on Latin American music scholarship. A distillation of scholarly conceptions of Argentine nacionalismo, which address the meaning of the word as it was used in the early twentieth century, combined with an examination of major works of important literary figures of the Centenary provide a firmer ground for discussion. Gálvez paints a conservative portrait of a refined, well-traveled dilettante who finds true enlightenment only in his own rural, Argentine culture. A liberal, Rojas understands nationalism as devotion to the development of national institutions and local art. Lugones argues the foundation of national art should be the gaucho, and articulates the hierarchical sociabilities it should articulate. Boero adopts elements of Krausism and the nationalistic system of values advanced by the Centenary writers within an Occidentalist framework. Occidentalism describes cosmopolitan initiatives to incorporate the ideals of the West as structural to Argentine identity. It shares the liberal outlook of the central government that valued international openness and European and Anglo-American affinity. Boero wrote to satisfy the responsibilities of the various occupations he held as opera composer, pedagogue, and art musician, but was always dedicated to the strengthening of national institutions and development of what he perceived to be a native art. His pieces evince the Occidental ideal in their adoption of Impressionistic, Puccinian, and folkloric elements in varied ways, sometimes in individual pieces in isolation, other times all within the same work. The use of each of these styles is done in a thoroughly Eurocentric manner as even the "gaucho" elements are utilized according to traditional art music conventions. Boero demonstrates his mastery of a variety of techniques throughout his oeuvre and explores each of them in his magnum opus. The play El matrero, written by the contemporary Uruguayan playwright, Yamandú Rodríguez, draws on themes explored and celebrated by the Centenary writers and resonates with certain Krausist values. The libretto diverges from the play in a few significant ways that suggest a more conservative political outlook. More than simply a story told in the popular gauchesco style, the work is a kind of origin story with supposedly authentic depictions of rural life that present a model for contemporary sociabilities informed by the Krausism and liberalism of the era. Musical analysis of the opera confirms affinities with verismo and Impressionism, but also reveals a unique stamp, not only in the use of gauchesco topoi, but the harmonic language and interplay of styles. These styles are not blended into a single, cohesive unity but arise at key points within the heterogeneous work. A critical analysis allows the musical styles to be considered to articulate a social hierarchy marked by Krausist organicism already hinted at in the text. The various character groups of the opera have distinct voices that reveal separate classes. In line with current Argentine thought rooted in the nineteenth century and the Centenary, and due to the work's status as an origin story, the relationships between the groups may be seen to represent a model for contemporary society with the elite successfully managing the affairs of their underlings. The music helps articulate these relationships with moments of diegetic gauchesco music-making being relegated to the voices and bodies of the lower classes and the representatives of the upper class speaking with a mixture of art music styles and a sublimated folkloric style. The combined study of text and music reveals an Occidentalist perspective with the native Argentine elements subordinated to the European. In spite of their lower sociopolitical position, the folk are not despised but given a coherent musical language with which to express themselves, and the higher characters are musically united to their gaucho compatriots. The combination of musical styles creates an engaging, complex tapestry more than worthy of considered study and appreciation.

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16

Kunju, Hleze Welsh. "A critical and intercultural analysis of selected isiXhosa operas in the East Cape Opera Company's repertory." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001861.

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The East Cape Opera Company was founded by Gwyneth Lloyd in 1995 and has performed in various Eastern Cape venues and festivals as well as conducting a tour of the Netherlands. The Company has performed well known operas and operettas such as Mozart's The Magic Flute, Gilbert and Sullivan's The Mikado as well as their own original isiXhosa operas such as Temba and Seliba, The Moon Prince - Inkosana Yenyanga and The Clay Flute. This thesis is situated within the context of apartheid and post-apartheid, and an emerging post-1994 South African’s operatic culture that embraces multiculturalism. The aim of this research is to explore and raise awareness regarding intercultural communication in relation to isiXhosa operas and examine the linguistic and dramatic characteristics of the construction of these operas. This involves an analysis of the integration of African cultural practices (dramatic and musical) within an essentially western art form. The thesis makes use of intercultural and literary theory as a point of departure to analyse not only the literary qualities of the isiXhosa operas performed by the East Cape Opera Company, but it also seeks to show how these operas reflect an emerging intercultural reality within the South African context. The thesis explores the mixing of genres, including African genres such as the folktale and oral poetry as part of Opera, which has previously been seen as a Western domain. It is argued that this mixing of genres and languages allows for the success of African Opera

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17

Betz, Marianne. "»But oh for a Good Opera Book!« George Whitefield Chadwicks (1854–1931) Oper The Padrone." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71897.

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18

Anbari, Alan Roy. "Richard Wagner's concepts of history /." Austin, Tex. : University of Texas Libraries, 2007. http://www.lib.utexas.edu/etd/d/2007/anbaria35075/anbaria35075.pdf#page=3.

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19

Miller, Robin A. (Robin Annette). "The Prologue in the Seventeenth-Century Venetian Operatic Libretto: its Dramatic Purpose and the Function of its Characters." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277705/.

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The Italian seicento has been considered a dead century by many literary scholars. As this study demonstrates, such a conclusion ignores important literary developments in the field of librettology. Indeed, the seventeenth-century operatic libretto stands as a monument to literary invention. Critical to the development of this new literary genre was the prologue, which provided writers with a context in which to experiment and achieve literary transcendence. This study identifies approximately 260 dramatic works written in Venice between the years 1637 and 1682, drawn together for the first time from three sources: librettos in the Drammaturgia di Leone Allacci accresciuta e continuata fino all'anno MCDDLV; the musical manuscripts listed in the Codici Musicali Contariniani; and a chronological list of seventeenth-century Venetian operas found in Cristoforo Ivanovich's Minerva al Tavolino. Of the 260 Venetian works identified, over 98 begin with self-contained prologues. This discovery alone warrants a reconsideration of the seventeenth-century Italian libretto and the emergence of the dramatic prologue as a new and important literary genre.

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20

Otava, Martin. "Moderní režijní interpretace opery v polovině 20. století." Doctoral thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-178070.

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This work is intended primarily for young opera directors and students of opera directing. It?s divided into four chapters. The first three focus on the development of theater directing in the 20th century (with a spatial emphasis on opera.) In these chapters, I introduce a theoretical view on, and trends in, the task of the director. The second half of the work, chapter 4, offers a perspective on the practice of directing with a special emphasis on the director?s collaboration with the artist. The ambition of the work is also to place the work of important Czech opera director Bohumil Hrdlička into a Czech and, after his immigration, a European context. This under appreciated artist, and important European director, has yet to receive a full treatment of his work. In my exploration, I focus on the entire, broad, subject of opera directing on both a historical and practical level. My goal was to realize the complexity of the subject, interpret it, and synthesize it from the perspective of a director in such a way as to gain the necessary perspective on the field in the context of the 20th century, so as to be able to use this knowledge not only as a director but, more importantly, as a pedagogue. A similar historical and practical handbook, which also provides a personal view on the issues at hand, has until now been unavailable to students of opera directing in the Czech Republic.

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21

Milotová, Eliška. "La Traviata na cestě světem za sto let." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-253929.

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The diploma work is focused on analysis of particular stagings of Verdi´s La traviata that have been assessed independently, without being influenced by other sources (reviews), on the basis ov videorecordings of life performances. These opera performances are compared from singer´s, director´s and staging point of view. All opera versions are sorted out into various parts according to common aspects and then are analysed. A brief description of Verdi´s work compiled chronologically as well as a historical portfolio of the opera La traviata (its first night both in Venice and in our country) are included.

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22

Irvin, Nat 1951. "A Voice Crying in the Wilderness: An Opera Based on the Life of John the Baptist." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc1038784/.

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23

Tykhyy, Severyn. "Hauptmerkmale der Tonsprache in Ernst Křeneks Opern der 20er Jahre am Beispiel der Oper Der Diktator." Musikgeschichte in Mittel- und Osteuropa ; 5 (1999), S. 127-151, 1999. https://ul.qucosa.de/id/qucosa%3A15643.

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Der junge avantgardistische Komponist Ernst Křenek hat seine Arbeit mit den Musikgattungen Kantate, Symphonie, Instrumentalkonzert, Concerto grosso, Streichquartett, Sonate, Romanze u. a. begonnen. Erst mit seiner Bühnenmusik - besonders mit seinen Opern - wurde er weltbekannt. Gerade in dieser Musikgattung hat sich der junge Künstler als Komponist, Schriftsteller und Dramaturg sehr prägnant gezeigt. Hier hatte der Autor bereits Erfahrungen mit Balletten, Operetten und anderen Bühnenmusiken; hinzu kam seine praktische Tätigkeit als Assistent Direktor des Opernhauses sowie als Musikkritiker, Redakteur und Bearbeiter.

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Tykhyy, Severyn. "Hauptmerkmale der Tonsprache in Ernst Křeneks Opern der 20er Jahre am Beispiel der Oper Der Diktator." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-225041.

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Der junge avantgardistische Komponist Ernst Křenek hat seine Arbeit mit den Musikgattungen Kantate, Symphonie, Instrumentalkonzert, Concerto grosso, Streichquartett, Sonate, Romanze u. a. begonnen. Erst mit seiner Bühnenmusik - besonders mit seinen Opern - wurde er weltbekannt. Gerade in dieser Musikgattung hat sich der junge Künstler als Komponist, Schriftsteller und Dramaturg sehr prägnant gezeigt. Hier hatte der Autor bereits Erfahrungen mit Balletten, Operetten und anderen Bühnenmusiken; hinzu kam seine praktische Tätigkeit als Assistent Direktor des Opernhauses sowie als Musikkritiker, Redakteur und Bearbeiter.

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25

Reittererová-Benetková, Vlasta. "Die Opern von Alois Hába." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221442.

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Alois Hába ist Autor von drei Opern: Die Vierteltonoper Die Mutter (Matka), Hábas op. 35 (beendet 1929), wurde im Jahre 1931 in München uraufgeführt. Die tschechische Erstaufführung hat 1947 in Prag stattgefunden, zum drittenmal wurde diese Oper vom Ensemble des National-Theaters in Prag einstudiert und beim Musikfestival Prager Frühling und beim Musikfest Maggio musicale in Florenz im Jahre 1964 aufgeführt. Die Oper Neue Erde (Nová země), op. 47 (beendet 1936) sowie die Oper Es komme Dein Königreich (Přijd\' království Tvé), op. 50 (beendet 1942), sind unaufgeführt geblieben. Können wir angesichts dieser Tatsachen mit Recht über Alois Hába und seine Bedeutung für die Entwicklung der modernen Oper überhaupt sprechen?

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26

Täuschel, Annakatrin. "Anton Rubinstein als Opernkomponist." Berlin : E. Kuhn, 2001. http://catalogue.bnf.fr/ark:/12148/cb37660115x.

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27

Straughn, Gregory. "Reconstructing Convention: Ensemble Forms in the Operas of Jules Massenet." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4651/.

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Over the last quarter-century, scholars have taken a unified approach in discussing form in Italian and French opera of the nineteenth century. This approach centers around the four-part aria and duet form begun by Bellini, codified by Rossini, modified by Verdi, and dissolved by Puccini. A similar trajectory can be seen in French opera in the works of Meyerbeer, Gounod, and Massenet; however, only Meyerbeer and Gounod have received significant critical attention. This is in part due to Massenet's reception as a "composer for the people," a title ill fitting and ripe for reconsideration. This dissertation will examine duet forms in Massenet's oeuvre and will focus on the gradual change in style manifest in his twenty-five operas. Massenet's output can be divided into three distinct periods delineated by his approach to form. Representative works from each period will show how he inherited, interpreted, thwarted, and ultimately rewrote the standard formal conventions of his time and in doing so, created a dramaturgical approach to opera that unified the formerly separate number-based elements. Massenet's longevity and popular appeal make him the quintessential French opera composer of the fin de siècle and the natural choice for examining reconstructed conventions.

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28

Cho, Chul Hyung. "Madame Chrysanthème : the opera and its relationship to Madame Butterfly /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11430.

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29

Pashayev, Mikhail. "Opera v Ázerbájdžánu." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-253926.

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The theme of this Master thesis is the Opera in Azerbaijan. It come out of my Bachelor thesis. The work divided into the following chapters: Uzeir Hadžibejov biography, Uzeir Hadžibejov and Azerbaijani opera, Epos „Köroğlu“ and the genre of opera, Synopsis of the opera, Formal content of the opera, Musical forms in „Köroğlu“. In the first chapter I write about one of the representatives highlights from operatic works in Azerbaijan – Uzeir Hadžibejov. In the second chapter I talk about the influence of the hard-working genius to Azerbaijan opera. In the next chapters I analyze the most valuable works in the history of Azerbaijan – opera „Köroğlu“. As an attachment I attach a CD with musical examples.

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Rue, Robert A. ""Mixed Taste," Cosmopolitanism, and Intertextuality in Georg Philipp Telemann's Opera Orpheus." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1483456936606681.

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Dittmann, Gudrun. "Oper zwischen Anpassung und Integrität : zu den Uraufführungen zeitgenössischer deutscher Opern am Leipziger Neuen Theater im NS-Staat /." Essen Verl. Die Blaue Eule, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2694968&prov=M&dok_var=1&dok_ext=htm.

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32

McDaniel, Jan (Pianist). "Die Opernprobe by Albert Lortzing: a Critical Edition." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc503969/.

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The purpose of the present edition of Albert Lortzing's Die Opernprobe is to restore and clarify the composer's original intentions, which were often obscured or altered by the first published version, which appeared in 1899. This thesis is divided into two parts. Part One contains an introduction which discusses Lortzing's place in the history of German opera, the details surrounding the composition of Die Opernprobe, the musical and dramatic structure of the opera, and the sources used in the preparation of this edition. Part Two consists of a critical edition of the orchestral score, with the complete text of the spoken dialogue and stage directions. Critical notes and an English translation of the full text are included in two appendixes.

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Żórawska-Witkowska, Alina. "Die Oper in Warschau in der zweiten Hälfte des 18. Jahrhunderts." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221320.

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Auch in Polen ist die zweite Hälfte des 18. Jahrhunderts eine Zeit, in der man – wie am Beispiel der Warschauer Bühne gezeigt werden soll - auf eine fast experimentelle Weise den Prozeß grundlegender Wandlungen verfolgen kann, die in der Organisation, in der Funktionsweise und im künstlerischen Profil des Operntheaters vor sich gehen.

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Murányi, Róbert Árpád. "Die Anfänge der Oper in Ungarn." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222133.

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Da mein Thema jene Epoche bespricht, in der die Landesgrenze noch anderswo lag, ist es unumgänglich, auch diejenigen Regionen zu erwähnen, welche heute zu anderen Ländern gehören. Die Oper hat ihre Wurzeln u.a. in den Singspielen, welche schon im 16. und 17. Jahrhundert gepflegt und als Schuldramen bekannt wurden.

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Tallián, Tibor. "Bemerkungen zur frühen Geschichte der städtisch-intstitutionellen Oper in Ungarn." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222153.

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Der Anfang der ungarischen Operngeschichte wird in der Literatur generell mit dem Jahr 1837 angesetzt. In diesem Jahr erfolgte in Pest die Eröffnung des ständigen Ungarischen Theaters, welches seit 1840 den stolzen Namen "Ungarisches Nationaltheater" führt. Für fast ein halbes Jahrhundert sollte dieses Haus neben dem Drama und dem Lustspiel auch der Oper als Heimstätte dienen.

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Gurewitsch, Wladimir. "Das Schicksal von Mussorgskis Oper Chovanščina im Kontext der europäischen Opernkultur Ende des 19. bis Ende des 20. Jahrhunderts." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-220980.

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In diesem Auditorium ist es nicht nötig, die Bedeutung des Opernschaffens Mussorgskis für die Musikkultur unseres Jahrhunderts zu erklären. Wenn wir aber von seinen Opern und deren Aufführungen in Europa sprechen, dürfen wir nicht übersehen, daß den Löwenanteil der Popularität dem Autor nur ein Werk brachte, Boris Godunov. Sowohl für die Ontologie als auch für die Gnoseologie der modernen Opernkunst ist aber das Schicksal des zweiten Kunstwerks des russischen Komponisten, der Chovanščina, nicht weniger interessant.

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Markiewicz, Leon. "Die Oper in Oberschlesien in der ersten Hälfte des 20. Jahrhunderts." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221388.

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Von einer Oper in Oberschlesien kann man schon seit Mitte des 19. Jahrhunderts sprechen. Ab und zu kam es im Hoftheater zur Aufführung von Singspielen und Opern. Die Gründung einer ständigen Opernbühne fand erst in einer späteren Periode statt. Sie ist mit dem Bau eines modernen Theaters in Beuthen im Jahre 1901 verbunden. Wir wollen die wichtigsten Einzelheiten der Tätigkeit des Beuthener Theaters bis zum Jahre 1944 in Erinnerung bringen.

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Wolański, Andrzej. "Die Oper in Breslau in den Jahren 1945 - 1995." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221428.

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Nach dem Kriegsende wurde die zerstörte Stadt Breslau im Laufe der Jahre mit großem Elan wieder aufgebaut. Das schwer beschädigte Stadttheater - als einzige benutzbare Spielstätte - diente dem Opernensemble, Sinfoniekonzerten sowie dem Sprechtheater. Im Juni 1945 bildete sich ein Orchester, das dem Opernensemble zur Verfügung stand und zwei Orchesterkonzerte monatlich gab.

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Kyyanovska, Luba. "Soziale Faktoren der Oper in Lemberg (L'viv)." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222113.

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Wenn man die Geschichte der Oper und die der Musik im Theater Galiziens in der Zeit des 19. und Anfang des 20. Jahrhunderts untersuchen will, muß man drei einzelne Geschichtsverläufe in Betracht ziehen. Die österreichische, polnische und ruthenische (ukrainische) Musikgeschichte werden durch eigene historische und soziale Faktoren sowie nationale Traditionen der Kunstentwicklung gekennzeichnet. Nur unter diesem Aspekt kann man die besonderen ästhetischen Ziele, wie auch konkrete schöpferische Ergebnisse jeder nationalen Opernschule definieren.

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Zinkevich, Elena. "Das Opernhaus Kiew (1867-1880) im sozio-kulturellen Kontext der Stadt (nach Presseunterlagen)." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222123.

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Das Kiewer Opernhaus stand schon mehrfach im Mittelpunkt wissenschaftlicher Untersuchungen. Dabei ging es jedoch nicht um seine Rolle als sozialer Faktor im kulturellen Leben der Gesellschaft. Die Presse des 19. Jahrhunderts aber bietet interessantes Material zu diesem Thema.

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László, Ferenc. "Klausenburg - Rumäniens Stadt mit zwei Staatsopern." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222173.

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Meine Vaterstadt Klausenburg (rumänisch: Cluj, ungarisch: Kolozsvár) kann ohne Übertreibung für eine Musikstadt gehalten werden. Vier Lehranstalten unterschiedlicher Art - Musikschule, Musiklyzeum, Kunstvolksschule für Erwachsene und Gheorghe-Dima-Musikakademie - beschäftigen eine große Anzahl von qualifizierten Lehrkräften, sorgen für den Künstlernachwuchs und tragen wesentlich zur Vermehrung und Erziehung des Publikums bei. Das Orchester und der Chor der Transilvania-Staatsphilharmonie sind Spitzenemsembles des rumänischen Musiklebens und treten des öfteren auch in ausländischen Konzertsälen auf. Weltweite Besonderheit des lokalen Musiklebens stellen die beiden Opernhäuser dar. Das eine heißt \"Opera Română und ist die älteste Staatsoper des Landes, das andere \"Állami Magyar Opera\", was in strenger Übersetzung \"Staatliche Ungarische Oper\" bedeuten würde, um mit der \"Magyar Állami Opera\", der Budapester Ungarischen Staatsoper, nicht verwechselt zu werden. Eine dritte ungarische Staatsoper gibt es nicht. Worin besteht der rumänische bzw. ungarische Charakter beider Institutionen?

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42

Poovey, Christopher 1993. "Music as a Woven Narrative to an Absurd Tale in Act One of The Metamorphosis." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157611/.

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Act one of The Metamorphosis is based on the novella by Franza Kafka of the same title. In the writing of the act, George Benjamin's Into the Little Hill and Oliver Knussen's Where the Wild Things Are provide a model of using musical material as a storytelling device. Benjamin emphasizes the parallel nature of Crimp's text through the manipulation of similar music between the acts. Knussen uses form and color to emphasize Max's childlike energy and his desire to return home. In act one of The Metamorphosis these approaches are combined to enhance Kafka's absurd narrative through a rapid collage of texture and form that is influenced by both events and characters in the opera.

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Lindenberg, Vita. "Das Repertoire des Rigaer Operntheaters in den 60er Jahren des 19. Jahrhunderts." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-220937.

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Als Richard Wagner in Riga an seiner ersten großen Oper Rienzi arbeitete, war er der Ansicht, daß hier keine Möglichkeit bestehe, ein Bühnenwerk von solchen Anforderungen aufzuführen. Das Stadttheater, in dem von 1782 Opern- und Theatervorstellungen stattfanden, war seiner Meinung nach nicht geeignet, die "große tragische Oper", die zweifelsohne entscheidende Anklänge an die Große Oper Spontinis und Meyerbeers aufwies, aufzuführen. Lag es an der Räumlichkeit des Gebäudes oder spielten da andere Tatsachen ihre Rolle?

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Torgāns, Jānis. "Die Oper als Spiegel der Gesellschaft am Beispiel der Nationalen Oper Lettlands." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-220953.

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Operntheater und -truppen sind im Vergleich zu dramatischem Theater und Schauspieltruppen viel seltener: ich schätze die Proportion Opernhaus zu Theatereinrichtungen etwa 1:7. Auch in Lettland ist das so. Aber eine genauere Prüfung dieses Zustandes zeigt auch andere Möglichkeiten und Gesetzmäßigkeiten.

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Weiss, Stefan. "Strukturen des St. Petersburger Opernlebens im dritten Viertel des 18. Jahrhunderts." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-220961.

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Wenn es sich also bei diesem dritten Jahrhundertviertel auch um keine abgeschlossene Epoche handelt, so verspricht seine Betrachtung doch Aufschluß über die institutionellen Rahmenbedingungen einer entscheidenden musikgeschichtlichen Weichenstellung: Gab es vor 1750 noch kein einziges musikalisches Bühnenwerk in russischer Sprache, so bringt das folgende Vierteljahrhundert nicht nur den ersten russischen Operntypus überhaupt – die russifizierte \"opera seria\" –, sondern auch seine Überwindung zugunsten der russischen komischen Oper, die die Produktion der folgenden Jahrzehnte dominiert und im 19. Jahrhundert zur russischen Nationaloper führt.

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Poniatowska, Irena. "Das Große Theater in Warschau in der zweiten Hälfte des 19. Jahrhunderts und das nationale Opernrepertoire." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221336.

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Im 19. Jahrhundert hatte die Kultur in Polen die Aufgabe, die geistigen Traditionen zu festigen und dem Volk Kraft einzuflößen. Eine wichtige Rolle dabei spielte das Theater als Institution. Nach dem Novemberaufstand von 1831 blieb das Theater das einzige Zentrum der polnischen Kultur. Das Große Theater in Warschau übernahm gewisse Traditionen des früheren Nationaltheaters, das noch in der Regierungszeit des letzten polnischen Königs geschaffen wurde. Aber jetzt wurde es nicht mehr \"national\", sondern \"groß\" genannt.

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Metz, Franz. "Die Oper als Institution im Südosten Europas unter besonderer Berücksichtigung der Banater Musikzentren Temeswar, Arad und Orawitza." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222163.

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Wenn sich auch die ältesten Musikdokumente des Banats auf die reichen kirchenmusikalischen Traditionen dieser südosteuropäischen Grenzregion beziehen, so spielte trotzdem das Operntheater die wichtigste Rolle als Kulturfaktor und Multiplikator in der musikalischen Erziehung der bürgerlichen Gesellschaft. Die Oper feierte gleichzeitig einen triumphalen Einzug in die Banater Städte Temeswar, Arad, Lugosch, Orawitza, Reschitza und Werschetz.

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Jankauskienė, Inga. "Inga Jankauskienė. Narrativity in music: Operas by Bronius Kutavičius, Diss., Vilnius 1998 [Zusammenfassung]." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222425.

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Wong, Hoi-yan. "Centre for HK Cantonese Opera Artist's Association." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946687.

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50

Wedholm, Hjalmar. "opera : stadsgårdskajen." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-98552.

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Dissertations / Theses on the topic 'Opers'

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