Journal articles on the topic 'Prove in opera'
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HENSON, KAREN. "Black Opera, Operatic Racism and an ‘Engaged Opera Studies’." Journal of the Royal Musical Association 146, no. 1 (May 2021): 219–30. http://dx.doi.org/10.1017/rma.2020.27.
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Naomi André’s Black Opera: History, Power, Engagement is a call for recognition and inclusion. Over the course of nearly 300 pages, André covers a range of subjects, from long-forgotten concert performances, to opera, Broadway and opera film, to contemporary operatic composition and practice. As she does, she moves between the United States and South Africa – a striking way of approaching her material and a feature of the book that ought to prove highly influential. Some of the arguments she makes are new, some combine pre-existing thought and research in new ways. The most important moments, though, are when she pauses to describe her experiences or those of another black opera lover or group of black opera lovers.
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Talpau Dimitriu, Maria. "Preservation of Lipschitz constants by some generalized Baskakov and Szász-Mirakjan operators." Bulletin of the Transilvania University of Brasov Series III Mathematics and Computer Science 1(63), no. 1 (October 7, 2021): 241–46. http://dx.doi.org/10.31926/but.mif.2021.1.63.1.17.
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Kasyanova, Olena. "Plastic Solution of the Main Heroine's Image in J. Bizet's Opera "Carmen"." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(54) (March 21, 2022): 105–18. http://dx.doi.org/10.31318/2414-052x.1(54).2022.255431.
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The author of the article considered the peculiarities of the plastic interpretation of Carmen image in Bizet's opera in terms of the concept of "Soul and body: opposition or harmony?". The urgency of the study is due to the need to rethink the image of the protagonist in the new paradigm of theatrical art. The purpose of the study is to determine the stylistic features of the plastic solution of the image of the main character in the evolutionary development of the role-playing game. The author of the research applied the methodology based on an integrated approaches conditioned by the synthesis of the comparative method (innovative approaches of the composer to the opera), genrestylistic method (specifics of dance in opera), analytical method (characteristic features of Carmen's image), interpretive method (plastic interpretation of the metamorphoses of the spiritual and physical principles of the protagonist). The scientific novelty lies in the delineation of significant changes in the relationship between the spiritual and the corporeal in the plastic communication of Jose and Carmen. J. Bizet's innovative approaches to the composition of the opera "Carmen" are clarified which consists in identifying the following points: the creation of a realistic psychological drama, its expansion beyond the genre of comic opera; choosing a new type of the main character, who acts as herald of female images cult in the decadence era. The author emphasizes the important place of dance in the plastic images of the main characters of the opera, its effectiveness in the development of the plot line of the work in contrast to the illustrative divertissement samples of previous operas. The "exotic" type of the main heroine is outlined, whose appearance in theatrical themes became an announcer of the formation of the fundamental beginnings of the Art Nouveau style. The symbolic moments of plastic communication between Jose (rhythmic pantomime) and Carmen (dance pantomime) prove the gradual evolution of the spiritual and physical essences of the main character from opposition to harmony. Prospects for further explorations in terms of compositional and architectural solutions of mass ballet scenes in accordance with modern realities are predicted.
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Rędzioch-Korkuz, Anna. "Constraints on Opera Surtitling: Hindrance or Help?" Meta 63, no. 1 (July 11, 2018): 216–34. http://dx.doi.org/10.7202/1050522ar.
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The article addresses the problem of constraints typical of opera surtitling, an audiovisual translation modality that seems rather neglected as far as the academic discourse is concerned. Although the termconstraintmay appear to have mainly negative connotations, it seems that the idea of a constraint may often prove helpful, since it may facilitate the process of translation by restricting the scope of possibilities and hence justify the chosen techniques. The article is meant to propose a classification of potential constraints on the surtitling process, including the constraint of a live performance, music, audience design or relevance, and the resulting implications for the whole process. It is argued that the awareness of the constraints operating in the process of drafting surtitles helps to understand the rationale behind this particular translation activity and consequently helps to draft good quality surtitles which serve their original purpose.
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Sandgren, Maria. "Voice, Soma, and Psyche: A Qualitative and Quantitative Study of Opera Singers." Medical Problems of Performing Artists 17, no. 1 (March 1, 2002): 11–21. http://dx.doi.org/10.21091/mppa.2002.1003.
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Specific problems in the professional life of opera singers were examined in an exploratory study with both a qualitative and quantitative approach. Semi-structured interviews involved 15 opera singers who were asked to report problems related to their professional work, coping strategies, motivational factors, and, particularly, strongly emotional singing experiences. Psychological problems were most frequent: the opera singers’ preoccupation with the risk of vocal indisposition, i.e., not being able to sing and worry about others’ opinions about their performance. A specific habit of singers involved testing the voice (vocalizing) regularly to prove its quality and mere existence. Concern with physical problems centered on respiratory tract symptoms that could cause vocal indisposition. Psychosocial problems concerned mostly difficulties in maintaining a family life due to travel and irregular working hours. A questionnaire was designed to collect qualitative data and sent to 36 permanently employed and 36 freelance opera singers. Response rate was 67%. Differences regarding singers’ ages, genders, and occupational situations were examined. Significant positive correlations were found between worry about others’ opinions and a number of variables: somatic problems, testing the voice, depression, and performance anxiety.
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Markov, Alexander V. "FROM IDEALISM TO NEW MARXISM. PART 3. BORIS ASAFIEV." Articult, no. 4 (2021): 110–17. http://dx.doi.org/10.28995/2227-6165-2021-4-110-117.
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Although the merits of the major Soviet musicologist Boris Asafiev to the sociology of art are obvious, usually his system of studying melody and intonation as social phenomena is seen as a problematization of musical art rather than as a stimulus for his own thought. Using the example of Asafiev’s opera criticism from 1914 to 1947, I prove that his sociology of art was a constructivist system that focused on the permanence of implicit aesthetic notions such as manner and style, while allowing for variability in the explicit reference concepts of criticism. The ideological pressure to construct national character and the historical unity of popular life allowed him to reinterpret studio opera as a way of isolating its supra-personal principles, and by asserting the historical and transitory nature of opera art, to protect its sustained rhetorical potential. The unity of the rhetorical and melodic elements of opera, declared by Asafiev to support the work of Prokofiev and Shostakovich, was the dynamic formula that led to the development of a new sociology of art, which can be compared with the current actor-network models.
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Evans, Megan. "“Brand China” on the World Stage: Jingju, the Olympics, and Globalization." TDR/The Drama Review 56, no. 2 (June 2012): 113–30. http://dx.doi.org/10.1162/dram_a_00170.
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Leading up to the 2008 Beijing Olympics, multinational corporations such as McDonald's exploited jingju (Beijing opera) as an internationally legible marker of “Chinese-ness.” Though jingju received muddled exposure in the Olympics opening ceremony, post-Olympic deployments prove it persists as a central component of an emerging “Brand China” that emphasizes the synthesis of traditional and 21st-century elements.
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YAN, MU-LIN, NENG-CHAO XIAO, WEI HUANG, and SEN HU. "SUPERLUMINAL NEUTRINOS FROM SPECIAL RELATIVITY WITH DE SITTER SPACETIME SYMMETRY." Modern Physics Letters A 27, no. 14 (May 5, 2012): 1250076. http://dx.doi.org/10.1142/s0217732312500769.
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We explore the recent OPERA experiment of superluminal neutrinos in the framework of special relativity with de Sitter spacetime symmetry (dS-SR). According to Einstein, a photon is treated as a massless particle in the framework of special relativity. In special relativity (SR) we have the universal parameter c, the photon velocity c photon and the phase velocity of a light wave in vacuum c wave = λν. Due to the null experiments of Michelson–Morley we have c = c wave . The parameter c photon is determined by the Noether charges corresponding to the spacetime symmetries of SR. In Einstein's special relativity (E-SR) we have c = c photon . In dS-SR, i.e. the special relativity with SO(4, 1) de Sitter spacetime symmetry, we have c photon > c. In this paper, the OPERA datum are examined in the framework of dS-SR. We show that OPERA anomaly is in agreement with the prediction of dS-SR with R≃1.95×1012 l.y. Based on the p-E relation of dS-SR, we also prove that the Cohen and Glashow's argument of possible superluminal neutrino's Cherenkov-like radiation is forbidden. We conclude that OPERA and ICARUS results are consistent and they are explained in the dS-SR framework.
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Mottershead, Tim. "Buxton, Opera House: David Bruce's ‘The Firework-Maker's Daughter’." Tempo 67, no. 266 (October 2013): 87. http://dx.doi.org/10.1017/s0040298213001009.
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This new opera, premièred on 25 May, is based on the book The Firework-Maker's Daughter by the popular British children's author Philip Pullman. Set in ancient China at the time of the emperors, it tells the story of a widowed firework maker (baritone Wyn Pencarreg) struggling to bring up Lila (soprano Mary Bevan), his only daughter, who (against his wishes) has ambitions to follow his line of work. This seemed an apt tale to convert into an opera, even one ostensibly for children, given the relative simplicity of the outline plot. However, one of the difficulties was obviously going to be to depict the various quests Lila undertakes as she attempts to prove her worthiness to follow her father into the family profession. These potential pitfalls were solved by skilful stagecraft.
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Yu, Hong. "The Ambiguity in Turandot: An Orientalist Perspective." English Language and Literature Studies 8, no. 1 (February 28, 2018): 114. http://dx.doi.org/10.5539/ells.v8n1p114.
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The paper analyzes the Orientalization of the characters in Puccini’s seminal opera Turandot to prove that the Europeans’ perception formation of Asians is a process of “Orientalizing the Orient”. Two heroines, Turandot and Liu, suit the two polar extremes of the Asian women stereotypes in the West, dragon lady and Butterfly. Imperious and malicious Turandot and submissive and self-sacrificing Liu are simplified and generalized representations made by Europeans to meet their imaginations. Furthermore, Turandot and Calaf represent the national stereotypes of China and the West respectively. The refugee Prince appears to conquer the uncivilized land controlled by Turandot, a reflection of Western masculine superiority versus Asian feminine inferiority. To reduce the Orientalism associated with the opera, Chinese artists have been endeavoring to authenticate Turandot, yet this Western creation, due to her particular Orientalized characteristics, remains her ambiguity.
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Kaloyan, Armen. "A MASK IN THE PRODUCTION OF S. PROKOFIEV’S OPERA “THE LOVE FOR THREE ORANGES” AT CXID-OPERA IN 2019." Aspects of Historical Musicology 25, no. 25 (December 31, 2021): 171–91. http://dx.doi.org/10.34064/khnum2-25.08.
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Statement of the problem. In the practice of modern theatre, particularly in the performances that have long-lasting history of production, any component of director’s vision might be conceptualized, regardless of how important it might be seen traditionally. Thus, it becomes even more important to highlight main principles of such conception, to prove its rationality on the basis of both scholars’ works and real-life performance tradition. In the production of S. Prokofiev’s opera “The Love for Three Oranges” at CXID-OPERA (Kharkiv, 2019; chief conductor – D. Morozov, stage director – A. Kaloyan, artistic director – A. Baitenova, chief choirmaster – O. Chernikin), an extremely important role belongs to masks which are used by actors of all levels, from the protagonist to the characters who are on stage for no more than a minute. Analysis of recent researches demonstrates that S. Prokofiev’s “The Love for Three Oranges” has been studied thoroughly both in the composer’s homeland and abroad, especially given it was premiered in the USA. Scholars’ attention has also been brought to V. Meyerhold’s interpretation of C. Gozzi’s fairy-tales, including his director’s version of “The Love for Three Oranges”. The multiple relationship between S. Prokofiev’s opera and la commedia dell’arte as well as the very phenomena of Italian theatre have been examined. However, there is no research on how the use or refusal to use masks might influence a production and how it helps to establish a hierarchical relation between the characters. The purpose of the article is to identify the meaning and function of the use of masks in the genre-plot system of S. Prokofiev’s opera “The Love for Three Oranges” in CXID-OPERA’s production based on its visual imagery analysis. Results and conclusions. It is found out that the director’s use of the mask in creating the stage image of most of the characters allows him to further emphasize the genetic relation of the opera to la commedia dell’arte. Only a few characters appear on stage with an open face – Ten “Ridicules” (Cranks), Magician Tchelio, Fata Morgana and La Cuisinière (Cooky) – namely, those whose presence is not provided by the genre canons of la commedia dell’arte, those who do not “bow” to the plot-line but who are in control of it so or otherwise. The costumes of these characters differ from the outfit of the rest; in each case this contrast is conditioned by the character’s status and its role in the plot (for instance, Les Ridicules are the only ones wearing modern-day suits with bowties which allow to comprehend them as a mirroring of the spectators who watch the opera at a given moment). Thus, the use of a mask has a dual function: to demonstrate the genre genesis of the plot and to illustrate the hierarchy of the opera characters.
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CALICO, JOY. "The trial, the condemnation, the cover-up: behind the scenes of Brecht/Dessau's Lucullus opera(s)." Cambridge Opera Journal 14, no. 3 (November 2002): 313–42. http://dx.doi.org/10.1017/s0954586702000198.
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According to conventional wisdom, East German censorship of The Trial Of Lucullus (1951) required that composer Paul Dessau and librettist Bertolt Brecht completely overhaul the opera before it could be re-premièred later that year as The Condemnation Of Lucullus. However, archival sources prove that the two versions are virtually identical, suggesting that the attendant controversy was adroitly managed by East German officials to appease both internal/Soviet and the external/Western audiences. Analysis of several versions of scene 8 demonstrates that Dessau revised far more before the first première than after, and examines his use of musical style to symbolize sociopolitical status.
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Lobanova, I. V. "“Faust” by Ch.-F. Gounod as a debut of a director E. O. Jungwald‑Khilkevych on the Ukrainian National Opera and Ballet Theater stage (1925)." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 50–62. http://dx.doi.org/10.34064/khnum2-14.04.
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Background. When Kharkiv was the capital of Ukraine (1917–1934), many outstanding artistic events were happening there, which have not been studied properly up to this day. Among them – an experiment is, that started in 1925. In this time in Kharkiv the Ukrainian National Opera and Ballet Theater was founded. Strictly speaking, the new theater was not created completely anew: the art of opera and ballet had the established traditions in Kharkiv to that time. Yet, it had not been free from certain provincial features, trying to imitate the style of well-known theaters. The new theater was meant to overcome those drawbacks. The visual side of performances presented practically no problem, scenery being created mostly by avant-garde artists, but there was almost a total lack of stage directors, capable of creating performances adequate to the time and new contingent of spectators. One of the most important events of the theater’s first season happened to be the appearance of Yosyp Lapytsky, famous for his stubbornness in overcoming stereotyped patterns of staging opera performances. Though his attempts were widely criticized, today we can fully appreciate the master’s creative ideas. Now the name of Y. Lapytsky is rather well-known as an example of a director’s creativity within the framework of Ukrainian opera theaters of his time. However, only some peoples, even among professionals, remember his adherent and long-time assistant, Emil Olgerd Jungwald-Khilkevych. Yet, the latter was an extraordinary figure among his colleagues. Less than the decade afterward the Kharkiv performances, E. O. Jungwald-Khilkevych was appointed a chief stage director and an art director of two theaters simultaneously, the Russian and the Uzbek Operas in Tashkent. Thus, he became one of the founding fathers of the Uzbek professional musical theater and a figure worth remembering in the history of operatic art in Kharkiv. The author was unable to find any studies into E.O. Jungwald-Khilkevych’s activities as stage director. At least, no such publications have been found in Ukrainian, Russian or any widely known European languages, while materials in Uzbek were not searched as requiring a profound knowledge of that language. As far as the Ukrainian segment of Jungwald-Khilkevych’s activities is concerned, it has not been studied at all. The objectives of this study lie in an attempt to systematize isolated facts of the director’s biography; to collect and analyze the information concerning his debut performance on Kharkiv stage; to reveal the significance of his activities within the context of the Ukrainian National Opera and Ballet Theater’s first season. Results. E. O. Jungwald-Khilkevych graduated from the Kyiv Academy of Music in 1920 and started his career at the Kyiv Opera Theater. In a short while, he was invited by the administration of the Poltava Opera Theater as a chief director. In 1923, the young director became an assistant to Y. Lapytsky, when the latter was on tours, staging performances in various cities. We may presume that his work in Poltava enriched him with the experience of independent actions, so important for anyone’s professional progress. That why he was invited to Kharkiv not only as Y. Lapytsky’s assistant, but as independent artistic figure as well. He got a special assignment of directing “Faust” performance. The new theater’s administration seems to have had little hope for the success of “Faust”. There were too little material resources and time allocated for the performance and rehearsals. Too much work had to be done in a very short period. November 4, 1925, was the first night of the performance. It provoked a lively discussion among musical critics: the director’s interpretation of Gounod’s opera seemed to be too peculiar. It is worth noting that all the transformations in action on stage were made strictly within the framework of the original musical material with minimal changes in the libretto. The director only implemented some new ideas as to the interpretation of certain episodes as well as characters’ nature. They concerned, first and foremost, Dr. Faust, the hero of the opera. E. Jungwald-Khilkevych saw him as a medieval scholar who had lost his lifelong faith in science. So, Faust is in a desperate search of the way out, ready either to change his life drastically or to put an end to it. Thus, the conflict, as seen by the director, is the inconsistency of the intellectual and the sensual, and this point of view is much closer to Goethe’s tragedy, whose philosophical intricacy was somewhat simplified in Gounod’s opera. Building up the logical and psychological motives of the characters’ actions (where one can trace the influence of Y. Lapytsky and his ideas), E. Jungwald-Khilkevych introduced a supplementary personage, the young Faust. The director also interpreted in his own way the character of Mephistopheles – not as a devil from the other world, but as the “Alter Ego” of Faust himself, as the dark side of the doctor’s personality. E. Jungwald-Khilkevych did not hesitate to break some respected operatic traditions. For example, he insisted on substituting traditional travesty actress (alto or soprano) in the part of Siebel with a male tenor. I. Turkeltaub, a famous musical critic of Kharkiv, maintained in his review that the director enriched the performance with new brilliant elements, which significantly broke off the opera routine. Conclusions. Certain conclusions justly can be made not only from the praise by an authoritative erudite musical critic I. Turkeltaub, but also from the details of the director’s conception, disclosed in his own articles. This materials prove that the debut of E. Jungwald-Khilkevych, then 28, on the main stage of the Ukraine’s capital was far from being imitative or immature. He proposed an interpretation both independent artistically and adequate to his time. This performance testifies to maturity of rather a young director, his ability to work under extreme conditions, to captivate the actors and inspire them with his ideas. It is obvious that the theater’s administration did next to nothing to support the director of “Faust”: the leading singers were not included in the cast, the scenery was made by secondrate painters instead of A. Petrytsky and O. Khvostenko-Khvostov, which were the leading designers of the theater, and so on. In spite of all that, “Faust” became one of the real zests of the Ukrainian National Opera and Ballet Theater’s first season. This result proves the real necessity of closer scholarly studies into the Ukrainian period of E. Jungwald-Khilkevych’s creative activities, precisely, the performances executed under his guidance on Kharkiv stage.
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Shoniezova, Dinara Makhmadovna. "Chekhov's prose in the opera of the late XX-beginning. XXI centuries ." PHILHARMONICA. International Music Journal, no. 6 (June 2021): 20–27. http://dx.doi.org/10.7256/2453-613x.2021.6.37354.
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As the world theatrical practice of the last decades shows, it is the legacy of A.P. Chekhov that is an inexhaustible source of inspiration for many directors and composers. There is a huge number of works devoted to the topic "Chekhov and music". The musicality of Chekhov's prose is one of the most frequent topics in philological and musicological studies. Plays, novels, and short stories by the author have more than once become an occasion for new creations in the opera house. In this article, the author examines the famous operas of composers of the turn of the XX-XXI centuries based on the prose of A. Chekhov. The works are arranged according to the principle of differences between the plot plot and the libretto of operas from the literary source. In foreign musicology, the genre transformation of opera, in which the literary component becomes the main factor of centralizing unity, has been called literary (the term of K. Dahlhaus). In the most general sense, this genre should be understood as a reliable musical version in accuracy or in the abbreviation of the literary source. In Russian musicology, literary opera is a little-studied area of music history, which allows us to speak about the scientific novelty of the presented material. Thus, in the article the author comes to the conclusion that operas based on A.P. Chekhov stand apart in the implementation of the genre of literary opera in the domestic theater of the selected period. Based on the analysis, the author identifies three types of literary opera, which allow to characterize the method of composers' work with the literary source.
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Gallaher, Joshua P., Alexander J. Kamrud, and Brett J. Borghetti. "Detection and Mitigation of Inefficient Visual Searching." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 64, no. 1 (December 2020): 47–51. http://dx.doi.org/10.1177/1071181320641015.
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A commonly known cognitive bias is a confirmation bias: the overweighting of evidence supporting a hy- pothesis and underweighting evidence countering that hypothesis. Due to high-stress and fast-paced opera- tions, military decisions can be affected by confirmation bias. One military decision task prone to confirma- tion bias is a visual search. During a visual search, the operator scans an environment to locate a specific target. If confirmation bias causes the operator to scan the wrong portion of the environment first, the search is inefficient. This study has two primary goals: 1) detect inefficient visual search using machine learning and Electroencephalography (EEG) signals, and 2) apply various mitigation techniques in an effort to im- prove the efficiency of searches. Early findings are presented showing how machine learning models can use EEG signals to detect when a person might be performing an inefficient visual search. Four mitigation techniques were evaluated: a nudge which indirectly slows search speed, a hint on how to search efficiently, an explanation for why the participant was receiving a nudge, and instructions to instruct the participant to search efficiently. These mitigation techniques are evaluated, revealing the most effective mitigations found to be the nudge and hint techniques.
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Lindenberger, Herbert. "Wagner and the Romantic Hero. By Simon Williams. Cambridge: Cambridge University Press, 2004; pp. 193. $75 cloth." Theatre Survey 46, no. 1 (May 2005): 157–59. http://dx.doi.org/10.1017/s0040557405350095.
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Wagner has proved more fortunate than other opera composers in the liveliness, variety, and intellectual enterprise of his critical interpreters during the past decade or two. One need only cite Thomas Grey's study of the composer's aesthetics in Wagner's Musical Prose (1995); Carolyn Abbate's deconstruction of his narrative passages in Unsung Voices (1991); and Marc Weiner's analysis of how nineteenth-century racial codes shape the operas in Richard Wagner and the Anti-Semitic Imagination (1995) to note the range of approaches that have been applied to him.
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Izvarina, О. M. "Opera directing in the Ukrainian Musical Theatre in 20s of 20th century." Musical art in the educological discourse, no. 3 (2018): 66–70. http://dx.doi.org/10.28925/2518-766x.2018.3.6670.
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The article highlights the prerequisites for the formation of Ukrainian opera directing on the basis of materials from rare editions, musical criticism of the 1920s, memoirs of contemporaries, modern scientific research. The close connection of the Ukrainian opera direction with the traditions of the direction of the Ukrainian music and drama theatre is considered. The assimilation of the experience and creative achievements of the directors of the «theatre of the coryphaeuses» M. Staritsky, M. Kropiwnicki and M. Sadovsky is covered. The features of the stage life of operas of the classical repertoire on the Ukrainian opera scene of the 1920s are analysed. It is shown the widespread differences between the director’s interpretations of classical operatic works of this period with the aim of the so-called «modernizing» and “approaching the viewer”. It possess characteristic of the stage productions of the Ukrainian operas of the 1920s, the estimation of the director’s decisions of M. Bogolyubov, O. Ulukhanova, V. Manzi, E. Jungvald-Khilkevich, Yu. Lishansky, S. Butovskiy with the musical-critical thought and periodical press of this period. The importance of the productions of Ukrainian operas of the 1920s for the progressive development of national opera art and Ukrainian opera directing is proved.
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Fernanda, Andri, Nurvita Wijayanti, and M. Afifulloh. "WOMEN’S LANGUAGE OF MEXICAN FEMALE CHARACTERS DEPICTED IN TELENOVELAS: AN AMERICAN STUDIES." JURNAL BASIS 7, no. 2 (October 23, 2020): 343. http://dx.doi.org/10.33884/basisupb.v7i2.2477.
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The issue about gender equality seemed in its glory in all over the world. Women might enjoy the equality and even they had a chance to promote themselves to become the future woman leaders. Not even Mexican-American women who got the impacts of the movement of gender equality. However their telenovela show told the opposite. This study aimed to examine the female characters of telenovela through the language choices. This research wanted to prove that by having telenovela as the soap opera, Mexico had their female characters to be the subaltern which showed the inferiority toward male characters. The objects of the research were two newest telenovelas aired during 2015-2019: Vis a Vis (Locked Up) and Tiempos De Guerra (Morocco: Loves in Times of War). Descriptive qualitative method was used to comprehensively analyze the language choices by female characters in those three telenovelas. The study showed that although Mexican telenovela had improved their female characters to be the stronger ones, their language choices still depicted their inferiority toward male characters.
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Daub, Adrian. "The Ob-Scene of the Total Work of Art: Frank Wedekind, Richard Strauss, and the Spectacle of Dance." 19th-Century Music 39, no. 3 (2016): 272–89. http://dx.doi.org/10.1525/ncm.2016.39.3.272.
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This article examines the musical, literary, and theatrical practice of a group of early German modernists — above all Richard Strauss and Frank Wedekind. All of them turn to dance, its unmediated physicality, and its erotic charge to articulate a response to Richard Wagner's theatrical project, specifically the concept of the total work of art. Although Wagner had included a few ballet numbers in his mature operas, he treated the form (and the number as such) as a threat to a specifically operatic plenitude of sensuous meaning—dance, he feared, threatened to dance music and drama right off the stage. I argue that this allowed certain post-Wagnerians to interrogate Wagner's aesthetic through the category of obscenity — the dancer who, by dint of her brute physicality, could disturb and misalign theatrical spectacle became an important figure in their art. After a planned collaboration on a number of ballets came to naught, Strauss and Wedekind each turned to their native media to stage and interrogate balletic forms: Strauss through the medium-scrambling Dance of the Seven Veils in Salomé, Wedekind by inserting his ballet drafts into a strange novella, Minehaha, Or on the Bodily Education of Young Girls. Strauss's collaboration with Hugo von Hofmannsthal, which was to prove far more consequential and productive than the one with Wedekind, likewise began with an abortive ballet draft, and again came to reflect on dance's role in other media (opera and theater, in this case). Their reflections on the role of dance in operatic and theatrical spectacle find their expression in Elektra's final dance, which turns on its head the mysterious persuasiveness that Wagner had feared in dance and that Wedekind and Strauss had used to such effect in Salomé: a dance so expressive no one is moved by it.
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Kelly, James, Endika Aldaiturriaga, and Pablo Ruiz-Minguela. "Applying International Power Quality Standards for Current Harmonic Distortion to Wave Energy Converters and Verified Device Emulators." Energies 12, no. 19 (September 24, 2019): 3654. http://dx.doi.org/10.3390/en12193654.
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The push for carbon-free energy sources has helped encourage the development of the ocean renewable energy sector. As ocean renewable energy approaches commercial maturity, the industry must be able to prove it can provide clean electrical power of good quality for consumers. As part of the EU funded Open Sea Operating Experience to Reduce Wave Energy Cost (OPERA) project that is tasked with developing the wave energy sector, the International Electrotechnical Commission (IEC) developed electrical power quality standards for marine energy converters, which were applied to an oscillating water column (OWC). This was done both in the laboratory and in the real world. Precise electrical monitoring equipment was installed in the Mutriku Wave Power Plant in Spain and to an OWC emulator in the Lir National Ocean Test Facility at University College Cork in Ireland to monitor the electrical power of both. The electrical power generated was analysed for harmonic current distortion and the results were compared. The observations from sea trials and laboratory trials demonstrate that laboratory emulators can be used in early stage development to identify the harmonic characteristics of a wave energy converter.
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Portnova, Tatyana V. "Peculiarities of E. Dega's creative method in the interpretation of the theme “Paris opera ballet”." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 45 (2022): 157–71. http://dx.doi.org/10.17223/22220836/45/15.
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The article considers methodological approaches to the interpretation of the dance subject on the example of the famous French artist E. Degas (1834-1917) in the context of understanding the school of the Paris Opera Ballet, which is the center of French cultural life and brings new forms of dialogue in the morphological sphere of interaction of related arts. The unflagging interest of researchers to the problems of the works of E. Degas throughout the history of his study, both at the level of a single country, and in the context of world artistic culture determines the undoubted relevance of our narrow topic. The works of Edouard Degas are devoted to the study of the artworks of Russian, but mainly the foreign art critics, however, they do not consider in an in-depth section of ballet themes, paying it not enough attention, despite the fact that it is the first significant experience and even a kind of experiment in the world of fine arts. The aim of the article is to trace the creative activity and special interest of E. Degas in the subject of dance. To reveal and analyze the artist's creative method on exemplary works. To prove the importance of his graphic and pictorial works in the popularization of ballet as art. To work out, clarify and supplement the methodological aspects of approaches to the interpretation of the ballet theme and trends of its development in the creative process by analyzing the specific works of E. Degas which are in museum and private collections. The complex analysis from the viewpoint of art history and theater studies enables us to reveal the genre fusion reflected in the stylistics of the romantic ballet epoch, refracted in the everyday life of dancers at rehearsals and in dance classes, as portrayed by the artist. The author refers to various works of E. Degas, which convey the peculiarities of his impressionistic creative method, accurately capturing the specifics of the French school of classical ballet. The author analyzes his method, which in many respects differs from other impressionist masters, who depicted landscape views and life of Paris and its suburbs in open spaces. It is a fragmentary and at the same time large, unrehearsed, casually seen world of dance in its most varied manifestations, enclosed within the walls of the theater. The paper shows that the searching creative thinking peculiar to Edgar Degas introduces new ways of observing and depicting in the sketches and finished works different and simultaneously canonical poses and movements of the dancers in solitary figures and ensemble groups conditioned by the specificity of classical choreography. In spite of one common theme, the artist resolves different creative compositional and coloristic tasks in depicting the backstage theatrical life. On the basis of the interdisciplinary nature of the subject the author engages with a wide range of issues, covering not only methodological, but also substantive aspects (names of the depicted, composition and dance technique, performing manner, rehearsal atmosphere, ballet costumes, interior architecture of the theater, etc.). Based on a study of a number of works, the author formulates the main visual characteristics of the ballet artistic images and their unique conceptual embodiment. The possible ways of using such artistic experience in the practice of ballet theater are outlined.
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Cividini, Iacopo. "Paratext oder paralleler Text?" editio 34, no. 1 (November 1, 2020): 72–95. http://dx.doi.org/10.1515/editio-2020-0005.
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AbstractIn intertextuality studies, libretto is generally regarded as a paratext on the fringes of the opera performance. However, the extension of Gérard Genette’s concept of paratextuality to this medium does not fully acknowledge its essential contribution to the production of meaning during the opera performance. Based on the definition of theatre performance as plurality of simultaneous sign systems and by the example of the libretti to Mozart’s operas edited at the Salzburg Mozarteum Foundation, the essay proposes an alternative semiotic concept of libretto as parallel text. This means an optional sign system that generates aesthetic content parallel to the other sign systems of the opera. In the context of this new intertextual definition of libretto, the digital medium proves to be particularly suitable for a libretto edition that serves both scholarly and practical purposes.
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Todi, Cristina. "The Metamorphosis of Performing Arts." Theatrical Colloquia 9, no. 1 (June 1, 2019): 173–86. http://dx.doi.org/10.2478/tco-2019-0004.
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Abstract This article examines the relationship between performing arts, the multidisciplinary aspect of them, thereafter seeking to address a few similarities and differences in approaching a live performance. The confluence between ballet, theatre and opera is obvious and a brief overview of the main interlaced stages in the development of performing arts will also prove that they have always been related and dependant on one another. Every performing art crosses its boundaries and not only does it explore issues or topics specific to the other arts, but it also uses their tools. Thus, this article integrates a few contemporary tendencies of intersection in performing arts, mainly the pervasive presence of ballet and theatre. Subsequently, in considering live performance, the impact on the audience is also assessed, as well as the harmony of perception created between the performer and the public. Further on, the paradigm development in performing arts is determined due to the augmenting of the new technological tools being used. The aim of using these tools is to create special effects that emphasize the quality of the performance. In addition to a comprehensive influence, this article explains how contemporary social and political changes, scientific and technological progress have determined more changes in the performing arts than they had in the previous centuries.
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Ким Вита, Мириам Георгиевна. "Catherine the Great’s Influence on the Russian Opera Theatre Development and Paradox of Her Musical Ear: “Nothing More than Noise”?" Научный вестник Московской консерватории, no. 3(50) (September 28, 2022): 494–517. http://dx.doi.org/10.26176/mosconsv.2022.50.3.03.
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В исследованиях, посвященных рождению русской оперы, имя Екатерины Великой, как правило, упоминается наряду с именами драматургов и композиторов. Вместе с тем, на протяжении длительного времени в научной литературе преобладали негативные оценки ее деятельности; отмечалось, что Екатерина ограничивала свободу мысли и творчества, в том числе в области музыкального театра. Исследования последних десятилетий показали, что вклад Екатерины в развитие оперного театра России более весом, чем считалось ранее, что подкрепляется и рядом рассматриваемых в данной статье источников.Кроме того, изучение переписки между императрицей и бароном Мельхиором Гриммом привело автора настоящей статьи к выводу о том, что миф об отсутствии у Екатерины музыкального слуха не имеет под собой оснований. Как доказывают некоторые письма, вопреки укоренившимся суждениям, основанным на заявлениях самой Екатерины, у нее были музыкальные способности. Тем не менее, она избегала публичных высказываний о музыке; по-видимому, у нее имелись на это веские причины.Цель настоящей статьи - уточнить представления о незаурядной личности русскойимператрицы и о ее роли в истории русского Просвещения. In studies on the birth of Russian opera, the name of Catherine the Great is mentioned next to the first national playwrights’ and composers’ names. However, for a long time scholars primarily noted a negative nature of her acts that had been aimed at restricting freedom of thought and creativity in the field of musical theatre. Generally, there was a tendency to consider Catherine’s activities in itself, unrelated to her Enlightenment reforms. Such an approach certainly diminished her merits. As some historical sources reveal, the contribution of this tsarina in the national opera theatre development was much greater than commonly believed.Moreover, the study of the correspondence, in particular, between the Russian monarch and Baron Melchior Grimm led the author to a conclusion: a myth that Catherine did not have an ear for music has no grounds. As some letters prove, contrary to what the ruler claimed, she did have musical abilities. Nevertheless, with regard to her public statements about music, the Empress preferred to remain silent, having apparently weighty reasons for that. The purpose of the present article is to make some revisions to previous years’ conclusions about this extraordinary person, who was one of the initiators of Russian Enlightenment.
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Dziergwa, Roman. "Das Sanatorium der Verwandlung. Zur „immerwährenden“ Kreativität der polnischen Rezeption von Thomas Manns Zauberberg." Studia Germanica Posnaniensia, no. 37 (April 5, 2017): 91–108. http://dx.doi.org/10.14746/sgp.2016.37.09.
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The reception of Thomas Mann in Poland confirms its special nature, involving a very high degree of transforming processing and extraordinary creativity. It is true that the author of The Magic Mountain, and only he is and was considered in Poland as the German intellectual of the twentieth century par excellence. The more that in the case of this exceptional writer prominent Polish artists and creators of the culture didn’t succumb to a superficial and short-lived fascination, but rather they transformed the threads of his works and artistic biography in a highly productive process. Often there was no exaggeration to say about the "reinterpretation" or even a sort of "over-interpretation" of several biographical and literary motifs.The reception of Thomas Mann was not and is not merely occasional reception at most of an academic character. The rank and importance of eminent Polish writers, literary critics, translators and literary critics presented in the article show in best way the creativity of Polish references and positions taking to Thomas Mann and his work. No other of his novel can compete because of his inspiring role to a permanent creative activity reception area with regard to Magic Mountain. The newest and best prove for it is dating back to 2015 as two adaptation attempts of the novel in the form of opera and theatrical performance were in Poland discussed and extensively commented in the press and on the Internet and finally awarded with major prizes.
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Kuzmina, O. A. "Opera for children-performers in the work of contemporary choir conductors." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 281–98. http://dx.doi.org/10.34064/khnum1-56.18.
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Background. Operas for children-performers emerged almost two centuries ago. The first authors who began creative experiments in this field were amateur composers. In the second half of the 19th century opera for childrenperformers attracted the attention of music teachers who by education were often choir conductors. These authors created their works considering capabilities and needs of their students. The 20th century operas intended for children performance mainly were composed by professional composers, whose works have finally crystallized and sustained characteristic features of this genre. In the 21st century, professional composers are turning to the opera genre for children-performers as actively as their predecessors. At the same time, this area again attracts the attention of authors who are practitioners in choir conducting and are not composers by education but work closely with children groups and write operas based on practical experience with such choirs. The objective of this study is to introduce little-known operas by Ye. Karpenko and P. Stetsenko (both are choir conductors) for children-performers into the scientific discourse and to define their genre features. The methodological ground of the article is a complex approach that involves the following analytical methods: systemic, structural, comparative, historical. Research results. In 2006, Yevhen Karpenko created the opera “Sribna Divchynka” (“Silver Girl”; the libretto by Serhiy Diachenko after the fairy tale by Tamara Khvostenko). The work has the author’s genre designation “opera-fairy tale for children”, which specifies both, the target audience and the team of performers. There are four characters that have solo sayings. The opera features a personalized choir divided into groups, and the mimic character. The composition consists of two acts divided into completed separated numbers (8 in the first act and 7 in the second one). Between them are spoken scenes of varying length, which in this context perform a function similar to recitative in the traditional operatic model. The main form of solo, ensemble and choral expression in “Sribna Divchynka” is a song. The vocal parts do not fall outside of children voices diapason, except for the solo of Zirnytsa (the adult personage, the mother of Silver Girl) and completely correspond to their possibilities. The melody in the solo and in the ensemble-choral numbers is performed in unison allowing to absorb the material of the opera faster even for children without prior musical preparation. The piano part at “Silver Girl” is multi-functional; its level of complexity makes it possible to involve as accompanists even middle and high school students in music schools or studios. Yevhen Karpenko created the opera for children-performers, which organically combines established genre traits with modern genre and style techniques. “Sribna Divchynka” is the work of universal nature, because it can be performed by children without prior musical training, as well as by those who already have some musical and stage experience. “The Three Hermits” (2016; libretto by Tandy Martin based on the story by L. Tolstoy) by Paul Stetsenko reflects contemporary processes in the field of opera with moral and ethical coloring for children-performers. The author attributes the work to the genre of church opera. That affects both the nature of the drama collisions and the location of the action. The central part of the work retains all the main characters of the story. In Prologue, P. Stetsenko added the new personages: Teacher and the Children. The composer does not prescribe the timbre specialization of the protagonists giving freedom to choose within the available voices. The opera consists of six scenes, framed by Prologue and Finale (Stetsenko chooses a scene as a compositional and dramaturgical unit). The scenes are separated from each other in key and completed musically. Representing the heroes of the opera, the composer gravitates more to the dialogic scenes, where the plot develops, than to the solo statements. In “The Three Hermits”, the choir plays an important role. It is personified and participates in the action representing the Children in the Prologue, the Pilgrim in the main part and the Finale, and also functions as a commentator. The opera contains three leitmotifs: “motive of prayer”, “theme of the Bishop”, “motive of the waters”. The composition of the work has an arched construction that connects two spaces of action – the “real” one and the “parable” one. Stetsenko’s “The Three Hermits” proves that with the simplicity of the typological features of the opera genre for children-performers (relatively small length, piano accompaniment, the range of vocal parts that corresponds to the age of the performers) it is capable of embodying deep ideas, wisdom of a parable, stable characters, to involve children to the spiritual and religious experience of the past and eternal moral truths. Conclusions. Thanks to the practical experience of Ye. Karpenko and P. Stetsenko, their collaboration with real children’s groups (in particular, the Children Music Theater “Dzvinochok” in Sumy, Ukraine, and the choir of Westminster Presbyterian Church, Alexandria, Virginia, USA) operas created by them meet the capabilities and needs of young performers: parts have the appropriate for children’s voice range; the tunes are simple and easy to remember; the action develops dynamically, there are no stretched conversation scenes; there are a sufficient number of actors; the duration of the works is approximately 30–35 minutes. Thus, these two operas for children-performers are a clear result of the fruitful collaboration between children’s groups and choir conductors who have the composer vocation.
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Kreuzer, Gundula. "Butterflies on Sweet Land? Reflections on Opera at the Edges of History." Representations 154, no. 1 (2021): 69–86. http://dx.doi.org/10.1525/rep.2021.154.6.69.
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Taking inspiration from Kalle Pihlainen’s philosophy of historical representation, this essay explores some of the ways in which operatic performance can harness the ambiguity between the genre’s historicist and presentist implications to mobilize not just the difference of the past from the present but also their connection. The essay focuses on two recent examples—Heartbeat Opera’s Butterfly (New York, 2017) and The Industry’s Sweet Land (Los Angeles, 2020)—whose unconventional presentations critically engage such temporal complexity. Moving beyond the proscenium and crucially involving the music in their directorial visions, both couch history’s grip on the present in terms of the consequences of past actions. By self-staging their differences from mainstream opera-house productions, moreover, both explore whether opera can still aspire to sociopolitical relevance today. Though Butterfly tackles a controversial repertory staple, while the immersive and site-specific Sweet Land enlists the operatic genre itself to probe various modes of historical imagination, both expose continuities of historical racism in contemporary US culture. Their blurring of lines between past and present prevents audiences from confining racist positions to the operas’ allegedly historical plots: instead of presenting past alterity, the productions reveal transhistorical semblance. Opera thus becomes a medium for performing the multidimensionality and open-endedness of history.
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Calcagno, Mauro. "“Imitar col canto chi parla”: Monteverdi and the Creation of a Language for Musical Theater." Journal of the American Musicological Society 55, no. 3 (2002): 383–431. http://dx.doi.org/10.1525/jams.2002.55.3.383.
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Abstract Conventional views of text/music relationships in early Italian opera focus on the imitation of affections. But by dealing exclusively with the referential meanings of texts (e.g., emotions, images, and concepts) these views overlook an important aspect of music's interaction with language. In opera, music also imitates language's contextual and communicative functions—i.e., discourse, as studied today by the subfield of linguistics called pragmatics. In his operas Monteverdi fully realized Peri's ideal of “imitating in song a person speaking” (“imitar col canto chi parla”) by musically emphasizing those context-dependent meanings that emerge especially in ordinary language and that are prominent in dramatic texts, as opposed to poetry and prose. Such meanings are manifest whenever words such as “I,” “here,” and “now” appear— words called “deictics”—with the function of situating the speaker/singer's utterances in a specific time and place. Monteverdi highlights deictics through melodic and rhythmic emphases, repetition, shifts of meter, style, and harmony, as part of a strategy to create a musical language suited to opera as a genre and to singers as actors. In Il ritorno d'Ulisse in patria and L'incoronazione di Poppea, this strategy serves large-scale dramaturgical aims with respect to the relationships among space, time, and character identity, highlighting issues also discussed within the contemporary intellectual context.
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Shutko, Serhii. "Contemporary Music Directing — Innovation or Adventure?" Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 203–16. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251822.
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The author considered the problem of the artistic integrity of the opera in terms of finding ways to renew the musical theater of Ukraine, caused by socio-cultural challenges of today. The article clarifies the fragmentary nature of scientific research on the issue with the priority of musicological aspect and insufficient research of theatrical aspects, which requires a new comprehensive understanding of the director's concept in musical theater.The problem of artistic integrity of opera performance in the conditions of search ways to update the musical theater of Ukraine caused by sociocultural challenges of the present is considered. The article clarifies the fragmentary nature of scientific investigations of the problem with the priority of musicology and insufficient research of theatrical aspects, which requires a new comprehensive understanding of the director's concept in musical theater. The methodology of research key moments of the chosen subject is outlined: modern directorial approaches to creation of artistic integrity of opera performance — structural and functional; the concept of training musical theater directors in the realities of today — systems analysis; vectors of renewal of directorial approaches to the interpretation of works — semiotic. The purpose of the research is formulated — to determine the director's concept of creating the artistic integrity of opera performance in the context of updated synthesis of means of expression of different arts, based on harmonious artistic and research training. The main components of directorial content in solving art work in accordance with the modern possibilities proposed by the theater stage are analyzed. Director's approaches, techniques, means of expression aimed at an organic combination of different arts and achievements of science to find a new synthesis in the embodiment of opera performances are revealed. It is proved that in modern researches of the artistic integrity of the opera performance the mainly musicological aspect is revealed. The analysis of directorial incarnations of operas reflects the achievements of scientific thought at the end of the last century and needs to be reconsidered from the standpoint of the present. The study of directorial interpretations of opera performances in Ukraine makes it possible to state the existence of problems both at the stage of conception and during its implementation, which is due to aesthetic approaches of the end of the last century. The importance of universal training of a musical theater director, able to combine all the components of artistic synthesis into a complete performance with the help of a production team and creative staff, is revealed. Renewal of directorial approaches in the interpretation of operas involves the use of original techniques with the synthesis of traditional and innovative means of expression. The scientific novelty of the research is to establish causal links between integrative artistic and research, research training of the specialist and his ability to produce the latest original ideas in the context of staging. Prospects for further scientific explorations of key aspects of the typology of modern opera directing in the socio-cultural realities of today are predicted.
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Lyan, Tszitao. "The opera “Siberia” by U. Giordano in the context of the composer’s creative work." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 71–84. http://dx.doi.org/10.34064/khnum1-52.05.
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Formulation of the problem. The creative work of the bright representative of the Italian opera U. Giordano consists of eleven operas. Despite the fact that the composer is considered a bright representative of verismo, not all his operas belong to this direction. For example, in the late period of his creativity (1910–1920), U. Giordano departs from the traditions of verismo and aims his search for the comedy genre («La cena delle beffe», «Dinner with Jokes»), the genre of opera novels («The King»). But all the same, the main, repertoire operas (as early as «Mala Vita», «Marina», and the mature ones like «Andrea Chenier», «Fedora») are the quintessence of the tradition of verismo. The opera «Siberia» is also considered to be such. The emergence of new productions of the opera in the 21st century gives a reason to appeal to this opus and analyse it in terms of stability of the traits of the composing style of U. Giordano. The purpose of the study is to identify the role of the opera «Siberia» in the context of creativity by U. Giordano. Analysis of recent publications on the topic of the article. U. Giordano’s creative work is systematically presented in the study of M. Morini (1968), where he collected articles not only written by himself, but also by other researchers of the composer’s creative work. Today it is the most complete publication of his letters and reviews on the opera productions. Vincenzo Therenzio reflects on the basics of the style of U. Giordano, Giovanni Ugolini resorts to the analysis of the traditions of verismo in the creative work of the composer. Carmine Ruizzo’s research is devoted to the manifestations of verismo in the creative work of U. Giordano. In relation to creativity (general characteristics) of U. Giordano one should list the encyclopaedic articles and the book by Alan Mallach, which covers the path of the Italian opera on the border of the 20th – 21st centuries from verismo to modernism. Regarding the opera “Siberia”, we should mention the review article by M. Morini and the articles directly devoted to the productions in the «Helikon-opera». We do not find a detailed analysis of the score of the opera in any scientific sources. Statement of the main content of the article. The plot of the opera «Siberia» is the love story of the officer Vasyl and the courtesan Stefana, who, after Vasyl was arrested, follows him to Siberia. The pimp Hleb cannot quarrel the lovers, but after an unsuccessful escape the injured Stefana dies. This tragic story is presented by the composer and librettist (Illik) on the background of the Russian reality, which creates a certain context of the love line of the main heroes. And the interpretation of the plot, and the musical concept in general, corresponds to the guides of the opera creativity of U. Giordano. Thus, generalizing the observations of G. Marqezi, M. Morini, and V. Therenzio, one can determine the following features of the composer’s opera style, among which there is the theme of love in the centre of the plot, the ability to create bright and exciting portraits of the main characters, the «stylistic equilibrium» (V. Therenzio), the reliance on the traditions of the Italian musical theatre, the combination of the purity of the picture and expression, the inclusion of reminiscences, the severity of orchestration, the provision of the national character to the score (by incorporating the musical material of the region in which the action takes place). All of them are embodied in the opera «Siberia». The analysis of the main scenes of the opera “Siberia” with the participation of the protagonists – Stefana and Vasyl – is presented, and it is proved that this opera (along with «Fedora» and «Andrea Chenier») is the quintessence of the traditions of verismo. Conclusions. In the context of the creative work of U. Giordano, the opera «Siberia» takes up the prominent place. It, along with the operas of the mature style («Fedora», «Andrea Chenier»), embodies the typical features of the opera style of the composer. So, the images of the protagonists are vivid in their musical characteristics. In addition, the musical images of Vasyl and Stefana are presented by the composer in the development. The very Vasyl owns almost all the main motives of the opera, which often appear before the listener in a slightly transformed form. Often there is just a reminder of them with similar intonations and rhythm. It should be noted that the musical material characterizing the image of Vasyl, in its expressiveness and intonation wealth, is not inferior to the woman’s party of Stefana, in contrast to the “La Traviata” by G. Verdi, where the main emphasis is on the main character – Violet. As for the orchestration of the opera, in general, it has a strict character, although the composer includes the simulation of a characteristic instrument for the colour provision. Thus, the vivid contrast in the scene of Stefana’s death is a picture of folk feasts under the sounds of the balalaika (which in the orchestra is imitated by the mandolin). The instrument symbolizes that somewhere far away, life continues to go on its own. The orchestral score of the opera “Siberia” is distinguished by the transparency of the texture, most of the material is laid out in the string group and the group of the wooden brass instruments. The timbres of the copper wind instruments are rare, as well as the great dynamic nuances. The feature that gives the opera “Siberia” a similarity to the best examples of the Italian theatre is the intonation concept. For example, the typical resemblance to G. Verdi’s “La Traviata” is that all the musical material of this picture from the lives of ordinary people is permeated with household song and dance intonations and rhythms. They fill both the recitative episodes and the aria ones. If in “La Traviata” the main theme of Alfred is presented in a waltz manner, with a three-part size, the themes of the hero of the opera “Siberia” of Vasyl are described predominantly in four-part sizes (including 12/8), which is more attractive to the song-romance composition. The parallel with “La Traviata” is still that the hero Alfred had to fight not only with the public condemnation about the choice of his beloved woman who led an unworthy way of life but also with the personal condemnation from his father and family. Vasyl also struggled for his beloved woman, who was also a courtesan, but for him it was not so important what Stefana’s being was like, the problem was her financial dependence on another man. The prospect of further study of the topic. In the modern theatre (after a long oblivion) both the directors and performers return their interest to the opera “Siberia”, which makes it possible to analyse the composition by U. Giordano from the point of view of the performing analysis.
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Kolesnyk, Yevdokiia. "Interpretation of the Main Heroine's Image in Operas by Christophe Willibald Gluck "Iphigenia en Tauride"." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 146–59. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251818.
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The author emphasizes the urgency of the appeal to С. Gluck's opera "Iphigénie en Tauride" as a work of sublime-majestic, tragic-dramatic character with strong passions, emotional struggle and inner experiences of the heroes. The approach proposed by the author serves as an alternative to the trends of modern theater, in which is rapidly spreading a mass culture of entertainment, show business, ideology consumption and pleasure. The process of the embodiment "Iphigénie en Tauride" in the Komische Oper Berlin with the participation of director V. Felzenstein, conductor K. Mazur and Ukrainian singer Ye. Kolesnyk, the author of the study, is covered. The source and analytical bases of the research are investigated and systematized in the context to identify some key aspects of Gluck's opera reform, their influence on the musical drama "Iphigénie en Tauride" and the peculiarities of the stage embodiment of the work by international ensemble. The aim of the study is to determine the concept of creating an artistically holistic image of the character on the example of interpreting the inner features of the main character of Gluck's opera "Iphigénie en Tauride" with the participation of domestic singers in international art projects. The methodology of scientific exploration of the main content of Gluck's opera reform concerns various points of study: the specifics of the musical dramaturgy of the work, the director's and conductor's concept of collaboration with the singer at the Komische Oper Berlin and the National Opera of Ukraine. The author involves the following methods: experimental modeling, interpretive, comparative. It was proved that the process of radical renewal of the opera was initiated by Gluck in "Orpheus and Eurydice", continued in "Alceste", acquired visible outlines in "Iphigenia in Aulis" and completed in ""Iphigénie en Tauride". Musical drama "Iphigenia in Tauris" absorbed all the achievements of the composer on the path of a radical rethinking of the ways of embodying operas. The general principles of the artistic approach to acting with the priority of realistic-psychological vector of development in the musical theater of both countries were revealed. The competitiveness of domestic artists in the world market of theatrical services is proved on the basis of the performance by the Ukrainian singer abroad during six years of the part of Iphigenia in the original language. The prospects of further scientific research of adaptation of domestic singers to the conditions of creation of international art projects against the background of world integration of modern musical theater are determined.
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FROLOVA-WALKER, MARINA. "The Soviet opera project: Ivan Dzerzhinsky vs. Ivan Susanin." Cambridge Opera Journal 18, no. 2 (July 2006): 181–216. http://dx.doi.org/10.1017/s0954586706002163.
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The subject of this article is the failure of the Stalinist Soviet opera project. Although similar proposals had appeared years before, the project was inaugurated in 1936, and its realisation was placed in the hands of the State Committee for Artistic Affairs. The archival materials discussed in the article (including transcripts of the Committee's meetings) demonstrate that even publicly acclaimed productions were seen as failures by these senior bureaucrats. On the one hand, there were demands for realism and contemporary topics, and on the other, for monumentality and elevated musical language; these demands proved to be in deep conflict with each other. In addition to this crippling problem, it soon became apparent that any treatment of a contemporary topic was bound to become unacceptable before long, given the ever-shifting political landscape. While novels and films were certainly under close scrutiny, many operas were subjected to so many demands for revision that they never saw production at all. The article's central claim is that the 1939 Soviet reworking of Glinka's A Life for the Tsar as Ivan Susanin fulfilled the state's needs much better than any newly created Soviet opera could have, resulting in the effective curtailment of the project by 1946.
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Maksiutenko, E. O. "The embodiment of the prose libretto in opera genre (on the example of the works by M. Mussorgsky, D. Shostakovich, S. Prokofi ev and G. Shantyr)." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 214–31. http://dx.doi.org/10.34064/khnum2-15.11.
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Background. The correlation between music and text is one of the important issues in musicology. The attention of scholars to the opera text specifi cs in conjunction with musical action brings forward a number of questions regarding the use of prose in the libretto by composers. The innovative approach of composers testifi es to the evolution of the opera genre. It was very prominent for a new notion of “literature opera” to appear; it often means all opera works with a prose text. Its expansion actualizes the question of the interaction between words and music in this particular variety of the opera genre of the 20th century. Objectives. The purpose of the article is to reveal the peculiarities of the prose libretto and its infl uence on opera dramaturgy, methods of harmonizing the unrhymed text with the peculiarities of vocal expression. Methods. The author of the study uses the complex approach involving the theoretical, the genre and the stylistic, and the comparative research methods. Results. The embodiment of the prose works on the opera stage opened the way for composers to master the various composing techniques and fi nd the methods of a possible unrhymed text usage. At the same time, there are still some issues that require more detailed study. One of them is connected with revealing the general principles of work with the prose libretto text, which remain unchanged regardless of the type of plot, composing and dramatic solutions, and individual author’s style. A striking example in the sphere of linguistic intonation and pitch, we can refer to the fi rst music work by M. Mussorgsky, written exclusively with the use of dialogues – the opera “Zhenitba” (“Marriage”, 1868). The composer is trying to convey the peculiarities of human communication using all possible means. The vocal part is full of expressive pauses and specifi c exclamations. When choosing the prose text, the author is guided by the model of dialogue, in which a recitative is the key point. According to I. Belenkov, considering the principle of dialogue implementation on the opera stage, we can conclude that the composer tried to preserve the matching points of the rhythm and intonational elements of human speech in musical terms. The composing techniques, found by M. Musorgsky, impulsed the development in Russian opera music with the prose libretto. D. Shostakovich demonstrates his version of bringing in the original text to the opera, referring to the works of M. Gogol. In this opera named “Nos” (“The Nose”, 1927–1928), written by the same-name Gogol’s novel, the composer keeps the whole storyline, adding new scenes. Considering the peculiarities of the story, it was important for the composer to preserve the general style inherent to M. Gogol, and the “psychological” meaning of images. He achieved this through using various vocal techniques. Composer engages elements of sound images and everyday “talks”. However, in many cases, Shostakovich gives a melody to the vocal line, makes wide leaps and enriches the vocal part with chromatic movements, which add nervous tension to it. In this way, the composer develops the achievements of M. Mussorgsky, he does not adhere to the common tessitura and tries to maximize the possibilities of the recitative. The author uses contrasting comparisons in the rhythmic structures of the parts. D. Shostakovich interprets duets and ensembles in another way than M. Mussorgsky did: the stretto phrases in the parts, which are sometimes interpreted in a hyperbolized version (gradually increasing the number of participants with the growing dynamics). As some scholars point out, S. Prokofi ev’s choice was not typical: of all works by F. Dostoevsky, “The Gambler” is considered to be the least tense psychologically. Unlike with “Marriage” and “The Nose”, “The Gambler” does not retain the original text. In order to make the text as fl exible as possible, S. Prokofi ev creates new dialogues with more of short phrases and frequent repetitions of some words. Whereas M. Mussorgsky deliberately adheres to the unrhymed prose text, Prokofi ev sometimes rhymes lines or uses the alliterative poetry technique. Following the tradition, G. Chantyr refers to the genre of the novel when composing his operas “Two Captains” and “The Pickwick Club”, which have different composing solutions. In “The Two Captains”, the author is follows Prokofi ev’s scenario: he does not retain the main text of the novel by V. Kaverin. He is attentive to the rhythmic component of the text, trying to convey the peculiarity of the live conversation in the best way, which explains the usage of short, non-melodic expressions. The composer deliberately highlights syllables of word that are important in the intonational sense, emphasizing them with the help of rhythmic “stretches” at the end of a phrase. In “The Pickwick Club” opera, two story lines of the novel by Ch. Dickens are preserved. The author refers to the scenes of the dialogic type, such as a casual conversation, by transmitting intonational features of the language through music instruments. Using the original text does not violate the general development of the composition; on the contrary, it accumulates the principle of continuity, the fl ow-through development of the plot. This relates Shantyr’s opera with “The Nose” by D. Shostakovich. One of the main methods of action development is the usage of ostinato technique, which reinforces the inheritance of Prokofi ev’s tradition. Conclusions. In order to submit a prose text to the opera format, composers adhere to the two main guidelines. The fi rst one is related to being faithful to the corresponding literature work, preserving the style of the writer’s language. Therefore, from the beginning of the twentieth century, a new kind of genre was developed – “literature opera”. The main issue is the harmonization of the music and the literature foundations. The second guideline is marked by partial or complete adaptation of the text, intending to retain only the idea of the work. The aim is to subordinate the text structure to purely musical patterns, and therefore it is appropriate to use the notion of literariness, which is responsible for the correspondence of selected examples to the imaginative literature. In this case, the common method of intonation “bonds” is complemented by the use of alliteracy, which, in its free relation to the original source, makes it possible to create text that gets easily consistent with the musical design.
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Schoene, Katharina, Arash Arya, Friederike Grashoff, Helge Knopp, Alexander Weber, Matthias Lerche, Sebastian König, et al. "Oesophageal Probe Evaluation in Radiofrequency Ablation of Atrial Fibrillation (OPERA): results from a prospective randomized trial." EP Europace 22, no. 10 (August 21, 2020): 1487–94. http://dx.doi.org/10.1093/europace/euaa209.
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Abstract Aims The aim of the study was to determine the incidence of oesophageal lesions after radiofrequency ablation (RFA) of atrial fibrillation (AF) with or without the use of oesophageal temperature probes. Methods and results Two hundred patients were prospectively randomized into two groups: the OPERA+ group underwent RFA using oesophageal probes (SensiTherm™); the OPERA− group received RFA using fixed energy levels of 25 W at the posterior wall without an oesophageal probe. All patients underwent post-interventional endoscopy and Holter-electrocardiogram after 6 months. (Clinical.Trials.gov: NCT03246594). One hundred patients were randomized in OPERA+ and 100 patients in OPERA−. The drop-out rate was 10%. In total, 18/180 (10%) patients developed endoscopically diagnosed oesophageal lesions (EDEL). There was no difference between the groups with 10/90 (11%) EDEL in OPERA+ vs. 8/90 (9%) in OPERA− (P = 0.62). Despite the higher power delivered at the posterior wall in OPERA+ [28 ± 4 vs. 25 ± 2 W (P = 0.001)], the average EDEL size was equal [5.7 ± 2.6 vs. 4.5 ± 1.7 mm (P = 0.38)]. The peak temperature did not correlate with EDEL size. During follow-up, no patient died. Only one patient in OPERA− required a specific therapy for treatment of the lesion. Cumulative AF recurrence after 6 (3–13) months was 28/87 (32%) vs. 34/88 (39%), P = 0.541. Conclusion This first randomized study demonstrates that intraoesophageal temperature monitoring using the SensiTherm™ probe does not affect the probability of developing EDEL. The peak temperature measured by the thermoprobe seems not to correlate with the incidence of EDEL. Empiric energy reduction at the posterior wall did not affect the efficacy of the procedure.
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Döhring, Sieghart. "Zwischen kosmopolitischer Ästhetik und nationaler Verpflichtung: Giacomo Meyerbeer und seine Preußenoper Ein Feldlager in Schlesien." Studia Musicologica 52, no. 1-4 (March 1, 2011): 341–50. http://dx.doi.org/10.1556/smus.52.2011.1-4.24.
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The chief representative of cosmopolitan grand opéra as the composer of an opera for Prussia — this uncomfortable phenomenon owes its origin to an unusual historical situation. Giacomo Meyerbeer was invited to succeed Gaspare Spontini as the chief director of music in Berlin, the city of his birth, and he could not evade the honour of being commissioned to compose a festive opera for the re-opening of the Berlin Opera after its destruction in a fire, even though he considered Paris, now as before, to be his artistic home and the future headquarters of his work as a composer for the theatre. Together with his friend Alexander von Humboldt, who had very close ties to the Prussian royal house, in particular to the young King Friedrich Wilhelm IV, Meyerbeer sought and found a diplomatic solution which made it possible for him to fulfil his commission without too great an artistic compromise. He asked the skilled Parisian librettist Eugène Scribe to write a prose text in French, but to remain anonymous while the official librettist was advertized as Ludwig Rellstab, who translated the French into German, and put the words of the sung items into verse. Since Scribe here also worked strictly to the dramaturgical prescriptions of the composer, the resulting “Lebensbilder aus der Zeit Friedrichs des Großen” (“Pictures from the time of Frederick the Great”, the subtitle of the work) pays homage to the king of Prussia as the patron of peace and the arts. Given this interpretation, which was inspired by contemporary literary and pictorial portraits of Frederick II (by Franz Kugler and Adolph von Menzel), the confrontation with authority found in Meyerbeer’s grand historical operas was here given new life in an unusual context, one which made the concept of the nation relative to a generalized ideal of humanity.
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Titova, Halyna. "The Opera "The Barber of Seville" by Giocchino Rossini in Domestic Paradigms." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 217–32. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251823.
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The article reveals the stage interpretations of G. Rossini's "The Barber of Seville" on the Kyiv opera stage in the second half of the 20th — early 21st centuries by the directors Mykola Smolych (1944) and Dmytro Smolych (1955), Dmytro Hnatyuk (1979), (1990), A. Solovyanenko (2019). The author clarifies the relevance of the appeal to opera in the socio-cultural realities of today, substantiates the request of the audience of the information technology era on the chosen topic and the need to rethink the work at the beginning of the Romantic era in accordance with modern theater scene possibilities. The available musicological research of the opera drama "The Barber of Seville" in the context of the creative heritage of G. Rossini is mentioned in the article. A significant gap in the existing works on this topic is the fragmentary nature of scientific investigations of directorial interpretations of the composition in the musical theaters of Ukraine. The methodology of research of key aspects of opera is chosen: directorial incarnations of the specified period in the conditions of Ukraine — retrospective, interpretive; comparison of different domestic paradigms in the interpretation of the work — genre-stylistic, comparative; directions of development of domestic directing in the context of world tendencies — system analysis. The compositional construction of productions, their difference and proximity in relation to the original compositional source are analyzed. Individual approaches to the director's vision are revealed as well as features, principles of directing tasks and conceptual solutions to the reproduction of artistic images in the play. The performers of the parties in different stage incarnations are outlined. The personal directorial accents of the directors in the interpretation of "The Barber of Seville" on the Kyiv opera stage of the second half of the 20th — the beginning of the 21st centuries are determined, taking into account the specifics of theatrical aesthetics of the times of performances. The existence of certain "models", "examples", "paradigms", which were transformed under the influence of external and internal factors, is proved. The first two productions were embodied in the Ukrainian language against the background of traditional abbreviated musical material, simplifying the musical and stylistic structure of the opera buff. The last production is distinguished by a return to the original musical material — the opening of most bills and performance in Italian. The directions of development of domestic directing in the context of world tendencies are determined: original synthesis of traditional and innovative staging approaches in authentic versions of operas; the possibility of combining different styles, genres, forms in modern versions of opera in the context of postmodern aesthetics. The ways of further research of the chosen subject through the prism of synthesizing the experience of domestic and foreign directing with the use of stage design and innovative art technologies are predicted.
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У, Лиян. "Comparative analysis of the opera “Turandot” by G. Puccini and the Beijing Opera “Princess Turandot”." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 2(277) (October 6, 2021): 209–14. http://dx.doi.org/10.53598/2410-3489-2021-2-277-209-214.
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Проводится сравнительный анализ оперы Дж. Пуччини «Турандот» и пекинской оперы «Принцесса Турандот», который выстраивается на основе оппозиции Запад-Восток. Целью исследования является изучение специфических особенностей пекинской оперы, осуществляемое в опоре на историко-стилевой и культурологический подходы. В ходе исследования доказывается, что принципиальное несовпадение западного классического образца и пекинской версии истории о китайской принцессе определяется разностью культурных традиций, в опоре на которые формируется менталитет творческой элиты Запада и Востока. Теоретическая новизна обусловлена выявлением культурных отличий, обнаруживаемых в таком синтетическом жанре музыкального искусства, как западная опера и пекинская опера. Практическая значимость состоит в возможности использовать полученные данные в процессе интерпретации и реинтерпретации сказки К. Гоцци не в контексте оперного творчества, но и в рамках мирового художественного наследия, частью которого выступает спектакль «Принцесса Турандот». Поставленный в 1922 году Е. Вахтанговым, он и сегодня остается в репертуаре театра, вызывая восторг у публики. The paper presents a comparative analysis of the operas “Turandot” and “Princess Turandot”, which is built on the basis of the West-East opposition. In one case, we are talking about the creation of G. Puccini, in the other - about the Peking opera. The aim of the research is to study the specific features of the Peking opera, carried out in reliance on the historical, stylistic and culturological approaches. The study proves that the fundamental discrepancy between the Western classical model and the Peking version of the story about the Chinese princess is determined by the difference in cultural traditions, on the basis of which the mentality of the creative elite of the West and the East is formed. The theoretical novelty of the study is due to the identification of cultural differences found in such a synthetic genre of musical art as Western opera and Peking opera. The practical significance of the research lies in the possibility to use the obtained data in the process of interpretation and reinterpretation of C. Gozzi's fairy tale not in the context of operatic creativity, but also within the framework of the world artistic heritage, of which the play “Princess Turandot” is a part. Staged in 1922 by E. Vakhtangov, it remains in the theater's repertoire today, delighting the audience.
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Starostina, Aglaia B. "THE HAIRY MAIDEN: RUNAWAY AND DEITY." Folklore: structure, typology, semiotics 3, no. 1 (2020): 27–55. http://dx.doi.org/10.28995/2658-5294-2020-3-1-27-55.
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In this paper, the author offers a perspective on the evolution of the Hairy Maiden (Mao-nü) legends in written and oral Chinese tradition, from the twelfth century to the present day, on material of poems, short stories and records of the collectors of the Song – Qing eras, as well as memories of Hebei from the 1920s – 1940s and modern collections of fairy tales and legends. Attention is also paid to the pre-Song history of the character. The author suggested that it could be considered a borrowing. Field research data from 2014–2016 were used in the research. Mao-nü lives in wooded mountains, she is benevolent towards people. Stories about her can be divided into two distinctive groups. In the first group, she is a supernatural being for whom there is no return to human existence. In the second group, she returns to human existence, leaves the liminal zone and is doomed to die. W. Eberhard and Li Jianguo constructed the schemes close to the invariant of the Mao-nü plot. However, there are a few stories that do not correspond to those schemes as a whole, or their parts, in which the Hairy Maiden acts as a magical assistant. The paper describes the concept of Mao-nü as a deity and traces the connection of the Mao-nü stories to the Daoist hagiography (from “Lie xian zhuan” and on). The author also provides data on the perception of Mao-nü in the visual arts. The paper elaborates on the evidences that prove the direct descendance of the plot of the revolutionary opera “The White-Haired Girl” from ancient folklore. It describes further how the “revolutionary play” influenced the circulation of stories concerning the White-Haired fairy. An attempt is made to determine the ways in which the stories about the Hairy Maiden are connected to the stories about the “wild hairy people”, including the builders of the Great Wall. The author notes that for contemporary stories about Mao-nü, the proximity to written sources and links to the Huashan mountains are characteristic.
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Ożarowska, Aleksandra. "The Marriage of Heaven and Hell: On the Functional Approach to Translating Libretti for Modernised Opera Productions." Anglica. An International Journal of English Studies, no. 26/2 (September 11, 2017): 171–83. http://dx.doi.org/10.7311/0860-5734.26.2.10.
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The present paper focuses on the issue of translating operatic libretti in the form of surtitles. This is a very specific type of translation, and it becomes even more challenging when operatic productions for which surtitles are created are modernised. In such cases the application of skopos theory proves to be the most useful and effective, even though some of its premises may be regarded as controversial. The data for the present study come from the most reputable opera houses, for example the Metropolitan Opera House or Royal Opera House, as they are known for providing their audiences with high-quality libretti translations.
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Clausius, Katharina. "Mit(h)ridate’s Poisoned Roots: Racine, Prose Tragedy, and Opera." Opera Quarterly 32, no. 2-3 (2016): 103–33. http://dx.doi.org/10.1093/oq/kbx001.
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Pollock, Emily Richmond. "Opera by the Book." Journal of Musicology 35, no. 3 (2018): 295–335. http://dx.doi.org/10.1525/jm.2018.35.3.295.
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In 1944 with Nazi Germany just months from defeat, a curious and now little-known book was published in Regensburg: a collection of essays and biographies that strove to define the contemporary state of opera. Titled Die deutsche Oper der Gegenwart (German Opera of the Present Day), this substantial and lavishly produced volume documents the aesthetics of opera during the Third Reich through its profiles of sixty-two composers, more than 250 design drawings and photographs, prose essays on drama and staging, and an extensive works list. The National Socialist alignment of the book’s primary author (the theater historian Carl Niessen) and publishing company (Gustav Bosse Verlag) contextualizes the volume’s problematic scholarly priorities. Niessen interleaved explanations and endorsements of viable manifestations of contemporary German opera with anti-Semitic rhetoric and venomous critiques of rival aesthetic views. The book’s time-capsule version of the “state of the art” also includes evidence that contradicts postwar claims by composers, such as Winfried Zillig, who later recast themselves as persecuted modernists but whose statements within the volume demonstrate their complicity. Pamela Potter has recommended that musicologists address the longstanding historiographical problem of defining “Nazi Music” by paying detailed attention to particularities. Analyzing the form, contents, and rhetoric of a single printed object permits insights into the definition, valuation, and canonization of contemporary opera near the end of the Third Reich.
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Lamorgese, Antonio. "Profili comparatistici su prova testimoniale civile e testimonianza scritta." QUESTIONE GIUSTIZIA, no. 1 (March 2010): 155–65. http://dx.doi.org/10.3280/qg2010-001011.
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L'inserimento della testimonianza scritta nel nostro ordinamento processuale, ad opera della legge n. 69 del 2009, induce a volgere un rapido sguardo al regime della prova testimoniale civile nei principali Paesi europei, nella consapevolezza della inarrestabile tendenza delle discipline processuali a rendersi sempre piů uniformi, in conseguenza di quella continua circolazione delle idee che č la causa prima di una vera e propria osmosi normativa.
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Russo, Gaspare Elios, Silvia Lai, Massimo Testorio, Anna Rita D’Angelo, Andrea Martinez, Alessandra Nunzi, Virgilio DeBono, Dmytro Grynyshyn, and Tania Gnerre Musto. "L'aferesi terapeutica oggi." Giornale di Clinica Nefrologica e Dialisi 26, no. 2 (June 30, 2014): 123–29. http://dx.doi.org/10.33393/gcnd.2014.878.
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Nel 1914, Abel, insieme a Rowentree e Turner, ha introdotto il termine “plasmaferesi”, il cui significato letterale è “sottrazione”. La prima “plasmaferesi terapeutica” risale al 1952 in un paziente affetto da mieloma multiplo, ma, nel 1963, iniziarono le prime applicazioni cliniche per ridurre l'iperviscosità del sangue in pazienti affetti da paraproteinemia, ad opera di Salomon e Fahey. Nel tempo sono state introdotte tecniche sempre più specifiche e selettive, ampliando notevolmente le indicazioni cliniche (plasma-exchange, crioaferesi, leucoaferesi, trombocitoaferesi, linfocitoaferesi LDL aferesi). Le attuali indicazioni alla plasmaferesi vengono definite e periodicamente ristabilite da due associazioni scientifiche americane, l'American Association of Blood Banks (AABB) e l'American Society of Apheresis (ASFA), sulla base delle prove di efficacia del trattamento nelle malattie specifiche. Nel 1993 è stato costituito, nell'ambito della Società Italiana di Nefrologia, il gruppo di studio dell'aferesi terapeutica che ha il compito di sviluppare Linee Guida di riferimento per il trattamento con plasmaferesi. Il fine ultimo della terapia aferetica sarebbe quello di poter rimuovere dal circolo solo le sostanze patogene, ma l'utilizzo di tecniche di rimozione selettiva si accompagna in realtà non tanto a una maggiore capacità di estrazione della sostanza, bensì a una minore rimozione di componenti non patologiche, riducendo il rischio di infezioni, emorragie e reazioni allergiche. Tuttavia, la plasmaferesi potrebbe anche agire modulando il sistema immunitario oltre che rimuovendo le sostanze patogene. L'aferesi terapeutica è indicata in immunologia, dermatologia, ematologia, oncologia e nelle malattie dismetaboliche, neurologiche e renali ed è utilizzata anche nelle emergenze come tecnica di detossificazione sia endogena che esogena, in cui è necessaria la rimozione della sostanza patogena prima che si verifichi un danno d'organo irreversibile. La plasmaferesi terapeutica ha subito negli anni un cambiamento notevole conseguente allo sviluppo tecnologico delle apparecchiature e a un'espansione delle indicazioni. Infatti, l'innovazione tecnologica ha introdotto metodiche che permettono un trattamento più tollerabile e meno invasivo. Hemofenix utilizza la filtrazione mediante membrana attraverso un sistema di nanofiltrazione, il filtro ROSA. Hemofenix, permettendo di eseguire il trattamento con un singolo e piccolo ago e con un volume extracorporeo ridotto, circa 70 mL, potrebbe ridurre i rischi per il paziente, anche pediatrico. Ulteriori vantaggi potrebbero essere rappresentati dalla breve durata del trattamento e dalla mancata necessità di utilizzare il plasma come fluido di sostituzione, riducendo il rischio di infezioni e reazioni allergiche. Sicuramente, oltre alla sicurezza, dovrà essere valutata la reale efficacia in trial clinici randomizzati, confrontando questa metodica con le terapie aferetiche classiche.
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Frainier, Margaret. "A Tale of Three Rusalkas: Krasnopol’sky, Pushkin, and Dargomyzhsky." 19th-Century Music 45, no. 2 (2021): 167–82. http://dx.doi.org/10.1525/ncm.2021.45.2.167.
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Conventional histories of Russian opera mark Mikhail Glinka’s 1836 opera Zhizn’ za tsarya (A Life for the Tsar) as the point of origin for Russian nationalist opera that quickly burst into full bloom, yet by the middle of the century homegrown opera had fallen out of performance repertory in favor of Western European and particularly Italian imports. It was around this time that a group of amateur composers later known as the kuchka (the “Mighty Handful” or “Mighty Five”) re-ignited the debate around creating a uniquely Russian genre of opera; however, their efforts only obscured Russian opera’s European roots rather than establish a completely separate genre. Yet their critical campaign proved successful, and the idea of Russian opera as a uniquely nationalist genre remains especially prevalent. This article examines Aleksandr Dargomyzhsky’s Rusalka (1856), one of the earliest examples of this new type of Russian nationalist opera, and how it responds to the dominance of Italian opera in Russia during the mid-century by embedding Italian operatic conventions into the score itself. Rusalka also inaugurated the operatic trend of adapting literary works by Aleksandr Pushkin, the writer often cited as the father of Russian literature. This article illustrates how both Pushkin’s dramatic Rusalka and Dargomyzhsky’s operatic adaptation of it a generation later imitated Western European literary and theatrical conventions. Paradoxically, the ways in which Pushkin and Dargomyzhsky would conceal these Western parallelisms would later be hailed as markers of a uniquely “Russian” literary and operatic style in a critical campaign designed to erase Russia’s long history of artistic dialogue with the wider Continent.
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Szerzô, Katalin. "Ödön Mihalovich: Toldi szerelme (Toldis Liebe). Eine ungarische Oper vom Ende des 19. Jahrhunderts." Studia Musicologica 52, no. 1-4 (March 1, 2011): 85–94. http://dx.doi.org/10.1556/smus.52.2011.1-4.6.
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On 18 March 1893 the opera Toldi by Ödön (Edmund von) Mihalovich (1842–1929) was premiered at the Royal Hungarian Opera House in Budapest. Three month later Ferenc Erkel, founder and single most important composer of the Hungarian national opera died. One of the funeral speeches at his burial was held by Mihalovich. This gesture was meant as a symbolic mounting of the guard on the national operatic scene. However, Toldi, written on a libretto based on Toldi szerelme (Toldi’s Love), the middle epic of János Arany’s Toldi trilogy, proved to be unsuccesful. It was staged again as Toldi’s Love in 1895 after a thorough revision. One cannot overlook the fact that in the newly composed third act Mihalovich wanted to write the loyalist counterpart of the conflictuous third act in Erkel’s Bánk bán. The paper discusses the question whether the first and only opera on a Hungarian text by the solid Wagnerite Mihalovich could at the time fulfil the official national expectations and become the representative national opera of the Millennium, that is, the Thousand Year Jubilee of the Carpathian Basin’s conquest by the Hungarian tribes, celebrated in 1896.
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Kolesnik, Evdokia. "Psychologization Of Oksana’s Vocal and Stage image from S. GulakArtemovsky’s Opera ―Zaporozhian Za Dunaiem‖ in Creative Version of Lev Venedyktov." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 106–16. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233131.
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The author carried out the research aimed both to determine the factors of creation of S. Gulak-Artemovsky's opera "Zaporozhets beyond the Danube" and to reveal its characteristic features. Changes in the libretto of the work were proved, their influence on the development of the conflict, the peculiarities of its resolution in the implementation of the play were indicated. Due to the review of literary sources, their thematic systematization was carried out according to the following parameters: features of the life of the Transdanubian Cossacks after the destruction of the Zaporozhian Sich; preservation of national traditions, customs, rites of the Ukrainian ethnos abroad; the specifics of the manifestation of the mentality of Ukrainians against the background of their coexistence with another nation, which differs in cultural and religious identification. The methodological study of educational issues through the prism of a comprehensive cross-sectoral understanding of the historical, socio-psychological, cultural, musicological and theatrical aspects of the opera is outlined. Peculiarities of the musical dramaturgy of the work, its construction on the synthesis of creatively reconsidered genre-style features of the French and Italian lyric-commission opera with the Ukrainian song and dance folklore are published. Three dramatic lines in the opera are characterized: lyrical-romantic (images of Andrew and Oksana), comic (images of Karas and Odarka), patriotic (generalized image of the people). The process of creating a holistic vocal-stage image of the heroine was analyzed through the prism of the author’s article E. Kolesnyk who was the performer of Oksana's part under the guidance the Chief Choirmaster of the National Opera of Ukraine L. Venediktov. The individual specific approaches of the artist to the deepening of the psychology of the heroine’s artistic image through the use of a synthesis of various means involved in stage expression were determined. The fruitfulness of the outstanding choirmaster's cooperation with the experience of an opera conductor and singer in revealing the musical drama of opera composition in accordance with the composer's idea is proved. The author predicted the prospects for further explorations of the concept concerning the creating of holistic vocal and stage characters which goal is to find and display new synthesis of artistic means of expression with their inclination to neo-syncretism.
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Forsiuk, Tamara. "Opera by G. Rossini "Il Barbiere di Seviglia" Through the Prism of Director's Analysis of a Creative Artistic Project." Ukrainian musicology 47 (October 21, 2021): 39–48. http://dx.doi.org/10.31318/0130-5298.2021.47.256719.
Full textAbstract:
The phenomenon of popularity of the opera «Il Barbiere di Seviglia» by G. Rossini in the context of the global communication of cultures from different countries of the world, the search for a dialogue to their interaction is considered. The relevance of the research suggests the need to solve the problem of director's interpretations of the opera in the context of the revival of the Rossini style of singing in accordance with the author's score. The scientific novelty is determined by defining new approaches to the interpretation of the opera, identified in the conceptual vision of the director's idea of his own project. The purpose of the study is to determine the concept of director's interpretations of the opera by G. Rossini «Il Barbiere di Seviglia» in the context of the new paradigmatics of musical theater. Research methods selected: historical and biographical — to clarify the features of the work by G. Rossini in the context of the formation of Italian opera; genre-stylistic, comparative — to outline the specifics of the musical drama «Il Barbiere di Seviglia» by G. Rossini, its differences from the work of the same name by G. Paisiello; interpretive — to consider the directorial versions of postmodern opera; prognostic — to determine the vector of the conceptual vision of the director's idea of his own project. The main results and conclusions of the study are in the following aspects. It has been found that G. Rossini's opera «Il Barbiere di Seviglia», written on the border of classicism and romanticism, laid the foundation for a new style - Italian romantic opera, which influenced the formation of European national opera schools. It is proved that the musical dramaturgy of G. Rossini's opera «Il Barbiere di Seviglia» by S. Sterbini's libretto differs from J. Paisiello's opera of the same name by Petrofellini's libretto, which is not illustrative as in the latter, specifics of the original source by P. Beaumarchais. The director's incarnations of the opera are the Italian and Russian versions at the Helicon Theater, Russia, and two versions at the National Opera of Ukraine and the Academy's Opera Studio. The conceptual vision of the graduate student of her own project «Il Barbiere di Seviglia» by G. Rossini is predicted, which provides an original synthesis of authentic and modern interpretive styles, traditional and innovative means of expression with their tendency to syncretism based on a combination of scientific achievements and domestic directors.
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Kuzmenko, A. O., and V. E. Railianova. "Lingvuistic features of the English language opera aria." Bulletin of Luhansk Taras Shevchenko National University, no. 3 (341) (2021): 76–85. http://dx.doi.org/10.12958/2227-2844-2021-3(341)-76-85.
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The article deals with the relationship between discourse and text, as well as song discourse and song text. The place and role of the style of the opera aria in the world culture (musical culture) has been determined. The object of the study is the English-language song texts of opera arias, and the subject is their stylistic arrangement. The signs of dialogism in the English-language song texts of opera arias are clarified: the use of interjections, the first and second person of pronouns and verbs, imperative constructions and addresses. It has been proven that stylistic means of addition and substitution play a significant role in style. The stylistic addition is aimed at depicting the magical and mystical with a breath of the imaginary. On the other hand, vernacular using interjections, imperatives, abbreviated forms reinforce the ordinariness of life. All stylistic techniques of addition are aimed at more emotional saturation of the realities of human existence in the English-language song texts of opera arias. Personification is perhaps the main technique of opera arias, because everything that is sung about the feeling of love is filled with human skills and capabilities. Stylistic figures of addition and substitution in the English-language opera arias emphasize the emphatic nature of thought and the acuteness of the speaker's perception of the world around him.
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Hatipova, I. A. "Mikhail Vasilyevich Sechkin – Pianist, Conductor, Teacher." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 155–70. http://dx.doi.org/10.34064/khnum2-18.09.
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Target setting. In the modern musical culture of the Republic of Moldova M. V. Sechkin stands out as one of the key figures. He proved to be a multi skilled musician: piano player, conductor, and pedagogue. The scientific challenge disclosed in the article touches on creation of a coherent reflection of the work conducted by M. Sechkin in musical and artistic institutions of the Republic of Moldova during 1988–2015. Thus, notably contributing to the theoretical perception of the process of musical art development in the Republic of Moldova at the turn of the 21st century while filling up the gap in studying the history of Moldovan musical culture. Review of literature. The activity conducted by M. Sechkin was not reflected in the scientific literature. The present paper is the first attempt to present the creative portrait of the musician by summarizing press articles and a range of interviews. The purpose of this paper is confined to disclosing the contribution made by the famous piano player, conductor, and pedagogue M. Sechkin in the process of musical art development in Moldova at the turn of the 21st century. Research methodology. In the research of creative activity of M. Sechkin, use has been made of a complex of methods applicable in modern study of art: the empirical level of scientific research was established through informal personal conversations with M. Sechkin and other musicians, directly linked with his activity. Applied at the theoretical level were general scientific methods, such as analysis and synthesis, induction and deduction, comparison, etc. Statement of basic material. Over the years, M. V. Sechkin, born on March 31, 1943 in the Ukrainian City of Kharkov, has contributed decisively to the development of musical culture in the Republic of Moldova as a pianist, opera and symphony orchestra conductor, professor and public figure. He took his first lessons in music from his mother Maria Sechkin Zakharchenko, the follower of K. N. Igumnov. He attended the profile secondary musical school, class of Regina Gorovitz – the sister to the famous pianist Vladimir Gorovitz. In 1966, M. Sechkin graduated from Kharkov Conservatoire as a pianist on the class of Professor Mikhail Khazanovsky and then selected to remain with the Chair as an assistant. However, his dream of making a carrier of symphony and opera conductor has taken the young musician to a different path. The interest for conducting appeared under the influence of the art of conducting revealed by Leonid Khudoley, disciple of Nikolay Golovanov. Therefore, two years later, after graduation, M. Sechkin has entered the faculty of conductors at Kharkov Institute of Arts. One year later, he moves to Kyiv Conservatoire named after P. I. Tchaikovsky, where he attended the class of Professor Mikhail Kanershtein, disciple of one of the founders of the Soviet school of conducting Nicolay Malko. Next followed probation assistantship, where M. Sechkin attended a training course headed by the outstanding Ukrainian conductor Stephan Turchak. Having accomplished his probation assistantship, M. Sechkin has joined the Symphonic orchestra of Zaporozhye Philharmonics and later on invited to Donetsk Opera Theatre, where he mastered a rather comprehensive theatrical repertoire. The Chisinau (Moldova) period of maestro’s creative biography started beck in 1988, when he accepted the invitation to join the Moldovan State Conservatoire as Professor of the Chair of Special Piano and the Chair of Operatic Training. By then he headed the Students Symphony Orchestra, being one of the first conductors of Opera Studio. The Studio repertoire included the best images of West European and Russian opera classics. Prepared from the scratch were such operas as Carmen by G. Bizet and the Noblewoman Vera Sheloga by N. А. Rimsky Korsakov. The students – alumni of this conservatoire then worked successfully at the National Opera Theatre, performed in prestigious opera scenes around the world; among these one could mention Petru Racovita, Natalia Margarit, Lilya Sholomey, Yuri Gasca, Robert Khvalov, Stephan Curudimov, Mefodie Bujor, and Liliana Lavric. The Opera Studio Orchestra was touring in Italy and Spain. For a number of decades, M. Sechkin acted as one of the key conductors at the National Opera and Ballet Theatre, while from 1990 to 1992 acted as the Principal Conductor and the Art Director. Here he worked on staging the ballets Romeo & Juliette by S. Prokofiev, Spartacus by А. Khachaturian, and operas the Marriage of Figaro by W. Mozart, Don Carlos by G. Verdi, and Iolanta by P. I. Tchaikovsky. In parallel to the theatre plays, M. Sechkin has brightly proven his qualities as a conductor of the Symphony Orchestra of the National Philharmonics named after S. Lunchevici. Under his leadership (2008–2013), the orchestra performed more than twenty show programs, including premiere hits by P. Tchaikovsky (Symphony No. 5, symphony Manfred), A. Scriabin (Symphony No. 2 and No. 3), and S. Rachmaninoff (Symphony No. 3). Many of the musicians are marking high conducting mastery of M. Sechkin in performing orchestral accompaniment and special work with the soloists prior to orchestra performance. Likewise appreciated was the work of maestro with young musicians. The conductor devotes a lot of his time to promoting the oeuvre of Moldovan composers. Since 2000 and until nowadays, within the frameworks of the Days of New Music Festival, jointly with the National Philharmonics Orchestra, the maestro prepared a number of programs compiled from the works of V. Polyakov, V. Zagorsky, V. Rotaru, A. Luxemburg, O. Negruza, B. Dubossarsky, and Z. Tcaci. In 30 years of his activity in Chisinau, M. Sechkin cooperated with all of the known orchestra ensembles. Back in 90th, maestro was successfully touring with the National Opera and Ballet Theatre in Italy, Spain, Portugal, Switzerland, Rumania and Chile. In Rumania, M. Sechkin was working full time as a conductor and then as the principal conductor of the Symphony Orchestra of the city of Botosani (1998–2013), where he managed to stage about 70 show programs. The multifaceted and fruitful activity of the musician was repeatedly marked with Certificates of Honor and Diplomas. In 1996, he was decorated with the award Maestru în Artă (Master of Arts) and in 2018 with the noble award of the People’s Artist of the Republic of Moldova. Conclusions and prospects. While appreciating the contribution made by this outstanding musician into the development of the musical culture in the Republic of Moldova, one could clearly see the determinant trajectory of his life and artistic journey – the stalwart devotion to music, musical education, nurturing young performers and listeners of different age group generations.
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Efanova, Marina. "Opera House: triad conductor-director-teacher in the creative activity of E. V. Kolobov." PHILHARMONICA. International Music Journal, no. 3 (March 2022): 11–21. http://dx.doi.org/10.7256/2453-613x.2022.3.38005.
Full textAbstract:
The subject of the article is the multifaceted activity of an opera theater conductor in the unity of his directorial and pedagogical activity, necessary for professional development and creative realization of the team. The article identifies and describes various aspects of the complex impact on the opera theater staff through performing, communicative and emotional-volitional components on the example of the work of the outstanding Russian conductor, the founder of the New Opera Theater named after E.V. Kolobov, Evgeny Vladimirovich Kolobov (1946-2003). Methods of systematic and historical approaches, comparative and stylistic analysis, work with literary and musical sources were used in the work. The scientific novelty of the research consists in establishing the dialectical unity of different aspects of E. V. Kolobov's activity, which allows us to consider it as a symbiosis of conductor - director - teacher", in focusing attention on his pedagogical hypostasis, which had a huge impact on specific musicians and the theater team as a whole. The analysis of E.V. Kolobov's activity during his work at the Novaya Opera Theater allows us to get into the essence of his interpretations of the author's concepts and see the changing role of the orchestra in opera scores, as well as the interpretative and aesthetic principles that underlie opera conducting. It is proved that the tasks of an opera theater conductor include not only determining the repertoire policy, goals and objectives of joint creativity, organizing the rehearsal process, managing collective activities, but also creating conditions that contribute to the development of the creative capacities of musicians and singers.