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Artículos de revistas sobre el tema "OpEpA"

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Publicado: 25 de julio de 2024

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1

Gagliardi, Bruna, Tereza Cristina de Carvalho, Túlio Lourenço Pupim, Francisco Guilhien Gomes Junior, Tathiana Silva Timóteo, Nilce Naomi Kobori, Maria Heloisa Duarte Moraes y José Otávio Machado Menten. "Efeito de fungicidas para controle da ferrugem asiática na qualidade de sementes de soja". Revista Brasileira de Sementes 31, n.º 4 (2009): 120–25. http://dx.doi.org/10.1590/s0101-31222009000400014.

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Para avaliar o efeito residual de fungicidas para o controle da ferrugem asiática (Phakopsora pachyrhizi) em sementes de soja do cultivar BRS-133 utilizaram-se 13 tratamentos (Testemunha, Priori + Nimbus, Aproach + Nimbus, Priori Xtra + Nimbus, Sphere + Aureo, Opera, Stratego + Aureo, Nativo + Aureo, Impact Duo + Oppa, Celeiro + Iharol, Battle + Oppa, Aproach Prima + Nimbus, Folicur ). O experimento foi conduzido em campo experimental em Paulínia-SP, em delineamento em blocos ao acaso, com quatro repetições. O efeito residual dos fungicidas nas sementes foi analisado pelos testes de germinação, envelhecimento acelerado, germinação em areia e pelo teste de sanidade das sementes. Conclui-se que os tratamentos não influenciaram na qualidade das sementes e que o tratamento Battle + Oppa foi eficiente no controle do patógeno Cercospora kikuchii nas sementes.
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2

Barroso da Silva, Fernando Luís, Fabio Sterpone y Philippe Derreumaux. "OPEP6: A New Constant-pH Molecular Dynamics Simulation Scheme with OPEP Coarse-Grained Force Field". Journal of Chemical Theory and Computation 15, n.º 6 (6 de mayo de 2019): 3875–88. http://dx.doi.org/10.1021/acs.jctc.9b00202.

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3

Donington, Robert. "Opera as Opera Is". Musical Times 128, n.º 1732 (junio de 1987): 314. http://dx.doi.org/10.2307/1193723.

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4

McEwen, Mitch y Marcelo López-Dinardi. "House Opera | Opera House". ARQ (Santiago), n.º 91 (diciembre de 2015): 26–31. http://dx.doi.org/10.4067/s0717-69962015000300004.

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5

Kim, Katalin. "A National Opera Abroad Ferenc Erkel's Opera Hunyadi László Performed Outside of Hungary". Musicologica Olomucensia 35, n.º 2 (15 de enero de 2024): 79–107. http://dx.doi.org/10.5507/mo.2023.011.

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6

Helman, Alicja. "Opera w filmie — opera filmowa". Literatura i Kultura Popularna 24 (18 de abril de 2019): 83–96. http://dx.doi.org/10.19195/0867-7441.24.7.

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Opera in film — film operaThe author discusses possible relationships between cinema and opera. Both of them belong to the realm of synthetic art Gesamtkunstwerk, which has been evolving since the reforms of Richard Wagner, but nowadays has a completely new status. The author claims that cinema incorporates numerous strategies characteristic of opera. Yet proper film opera does not exist as a separate genre, and cinema only occasionally uses opera’s compositional patterns.
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7

Nicoleta, Mirza. "The Work of Art in Jung’s Approach". Incursions into the Imaginary 9, n.º 1 (10 de diciembre de 2018): 279–88. http://dx.doi.org/10.29302/inimag.2018.9.19.

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8

Anderson, Robert. "Opera". Musical Times 127, n.º 1717 (marzo de 1986): 155. http://dx.doi.org/10.2307/965500.

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9

Osmond-Smith, David y Rudy Shackelford. "Opera..." Musical Times 129, n.º 1746 (agosto de 1988): 405. http://dx.doi.org/10.2307/965970.

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10

FRANK, EDWIN. "OPERA". Yale Review 98, n.º 4 (2010): 80–87. http://dx.doi.org/10.1353/tyr.2010.0084.

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11

Kirsch, Adam. "Opera". Hopkins Review 11, n.º 1 (2018): 20. http://dx.doi.org/10.1353/thr.2018.0004.

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12

Buckley, Christopher. "Opera". Iowa Review 26, n.º 1 (abril de 1996): 160–61. http://dx.doi.org/10.17077/0021-065x.4555.

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13

FRANK, EDWIN. "OPERA". Yale Review 98, n.º 4 (27 de septiembre de 2010): 80–87. http://dx.doi.org/10.1111/j.1467-9736.2010.00668.x.

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14

Clum, John M., Wayne Koestenbaum y John Dizikes. "Opera without Queens/ Queens without Opera". Performing Arts Journal 16, n.º 2 (mayo de 1994): 107. http://dx.doi.org/10.2307/3245765.

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15

Gilman, Todd. "The Beggar's Opera and British Opera". University of Toronto Quarterly 66, n.º 3 (marzo de 1997): 539–61. http://dx.doi.org/10.3138/utq.66.3.539.

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16

Ferrari, Gabrielle. "Opera Archeology, 
Opera Apocalypse". PAJ: A Journal of Performance and Art 46, n.º 2 (1 de mayo de 2024): 61–67. http://dx.doi.org/10.1162/pajj_a_00713.

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17

Posavec, Stjepan, Karlo Beljan, Nina Herceg y Špela Pezdevšek Malovrh. "Contingency Valuation of Croatian Arboretum Opeka". South-east European forestry 3, n.º 2 (31 de diciembre de 2012): 97–101. http://dx.doi.org/10.15177/seefor.12-11.

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18

Tomof, Kiril. "Italian opera in Stalin’s Soviet Union". Contemporary Musicology, n.º 3 (2019): 107–49. http://dx.doi.org/10.56620/2587-9731-2019-3-107-149.

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This article explores the role of Italian opera in Soviet musical life from the end of World War II through the beginning of the Cold War. Italian opera provided inspiration for Soviet musical careers, exemplars against which Soviet musical development was measured, and simple musical enjoyment for Soviet audiences. The article analyzes two archival source bases that shed light on these dynamics. One source is box office data from the opera and ballet theaters in Moscow, Leningrad, and the Soviet Union's national republics. Analysis of this data demonstrates that operas by Italian composers provided a solid backbone of consistency in opera programming against which the tumultuous pursuit of a distinctively Soviet, multinational opera played out. Some especially famous operas were also so popular that they kept audiences coming to the theaters. The other archival source is bureaucratic correspondence regarding an effort to recruit Italian opera pedagogues to visit the USSR’s conservatories. Analysis of the correspondence uncovers Soviet bureaucrats’ insecurity about cultural development just as Soviet influence was expanding into Eastern Europe. It also reveals Soviet perceptions of Italian musical elites facing the complexities of the Cold War division of Europe. The article contributes to our understanding of the connection between performances of Italian opera and the construction of a Soviet musical culture that placed a very high value on opera as an advanced form of musical expression. It reveals that even during a period often considered the most insular in Soviet history, Soviet musicians and cultural administrators were engaging with their counterparts in the West. Finally, it demonstrates that the distinction between “international” and “transnational” cultural exchange that is often key to the way scholars of globalization analyze interactions that cross national borders is not as important in a Soviet context in which society was essentially embedded in the state bureaucracy.
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19

Apter, Ronnie y Mark Herman. "Opera Translation: Turning Opera Back into Drama". Translation Review 59, n.º 1 (marzo de 2000): 29–35. http://dx.doi.org/10.1080/07374836.2000.10523755.

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20

Nicholls, D. "Virtual Opera, or Opera between the Ears". Journal of the Royal Musical Association 129, n.º 1 (1 de enero de 2004): 100–142. http://dx.doi.org/10.1093/jrma/129.1.100.

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21

Nicholls, David. "Virtual Opera, or Opera between the Ears". Journal of the Royal Musical Association 129, n.º 1 (2004): 100–142. http://dx.doi.org/10.1093/jrma/fkh004.

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A number of authors, including John Covach and especially Edward Macan, have investigated the links between art music and progressive rock. This article builds on and extends such work by positing, defining, discussing and dissecting a hybrid genre I term virtual opera. Exemplified by such albums as The Who's Tommy (1969) and Quadrophenia (1973), Genesis's The Lamb Lies Down on Broadway (1974) and Frank Zappa's Joe's Garage (1979), each of which is subjected to detailed examination, virtual operas find their ideal site of performance between the ears of individual listeners, rather than on stage or screen. In each case, the aural and visual dimensions of the albums combine to create multi-layered musico-dramatic narratives, freed from the usual performance constraints associated with either opera or rock.
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22

Hutcheon, Linda y Michael Hutcheon. "Opera and National Identity: New Canadian Opera". Canadian Theatre Review 96 (septiembre de 1998): 5–8. http://dx.doi.org/10.3138/ctr.96.001.

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Much has changed on the Canadian stage since 1969, when composer Barbara Pentland lamented to Musicanada that “[w]hat comes from outside the country must de facto be superior. Prime example: the opening of our multi-million-dollar ‘National’ Arts Centre with an imported French ballet company dancing to a score by a Greek composer conducted by an American born in Germany” (qtd. in Kallmann and Potvin 1033). In fact, by 1969 things were already changing – at least on the operatic stage. The centennial year 1967 had made government money available for commissions, and as a result there was an explosion of new operatic productions: Murray Adaskin’s Grant, Warden of the Plains, Kelsey Jones and Rosabelle Jones’s Sam Slick, Robert Turner and George Woodcock’s The Brideship, Raymond Pannell’s The Luck of Ginger Coffey and, perhaps the best known, Mavor Moore and Harry Somers’s Louis Riel.
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23

Kalamković, Snežana. "Hrtkovci, site Vranj, a brick from Late Antiquity". Radovi Zavoda za hrvatsku povijest Filozofskog fakulteta Sveučilišta u Zagrebu 46 (2014): 147–60. http://dx.doi.org/10.17234/radovizhp.46.1.

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24

Baužaitė, Elvina. "Vilnius City Opera kultūrinės vertės žymės". Teatrologiniai eskizai 6 (2020): 5–31. http://dx.doi.org/10.7220/2345-0231.6.1.

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25

Stothart, Robert. "Opera House". Missouri Review 44, n.º 1 (2021): 42–59. http://dx.doi.org/10.1353/mis.2021.0005.

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26

Forbes, Elizabeth y John W. Freeman. "Repertory Opera". Musical Times 126, n.º 1711 (septiembre de 1985): 538. http://dx.doi.org/10.2307/964464.

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27

Forbes, Elizabeth, William R. Moran, Roger Blanchard, Roland de Cande y Robert H. Cowden. "Opera Voices". Musical Times 128, n.º 1727 (enero de 1987): 28. http://dx.doi.org/10.2307/964636.

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28

Banfield, Stephen. "British Opera". Musical Times 127, n.º 1726 (diciembre de 1986): 693. http://dx.doi.org/10.2307/964675.

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29

Millington, Barry. "Producer's Opera". Musical Times 128, n.º 1735 (septiembre de 1987): 476. http://dx.doi.org/10.2307/964839.

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30

Cross, Eric y A. Scarlatti. "Scarlatti Opera". Musical Times 126, n.º 1714 (diciembre de 1985): 735. http://dx.doi.org/10.2307/965207.

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31

Keys, Ivor y Ian Kemp. "Grand Opera". Musical Times 130, n.º 1760 (octubre de 1989): 612. http://dx.doi.org/10.2307/965584.

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32

Forbes, Elizabeth, Robert Turnbull, Ethan Mordden y Rupert Christiansen. "Opera Compendia". Musical Times 129, n.º 1747 (septiembre de 1988): 462. http://dx.doi.org/10.2307/965670.

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33

Brown, David y Nicholas John. "Opera Guide". Musical Times 129, n.º 1747 (septiembre de 1988): 464. http://dx.doi.org/10.2307/965673.

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34

Roseberry, Eric, Prokofiev y Shostakovich. "Russian Opera". Musical Times 132, n.º 1786 (diciembre de 1991): 614. http://dx.doi.org/10.2307/965796.

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35

Steane, John, Henry Pleasants y Earl of Harewood. "Opera Surveyed". Musical Times 131, n.º 1765 (marzo de 1990): 147. http://dx.doi.org/10.2307/966004.

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36

Donington, Robert y Nicholas John. "Opera Guides". Musical Times 130, n.º 1756 (junio de 1989): 349. http://dx.doi.org/10.2307/966037.

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37

Donington, Robert y Joseph Kerman. "Opera Revisited". Musical Times 130, n.º 1762 (diciembre de 1989): 749. http://dx.doi.org/10.2307/966765.

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38

Dean, Winton y George Martin. "Opera Surveyed". Musical Times 130, n.º 1762 (diciembre de 1989): 750. http://dx.doi.org/10.2307/966766.

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39

Potter, Keith, Philip Glass y Robert T. Jones. "Opera Glass". Musical Times 129, n.º 1749 (noviembre de 1988): 602. http://dx.doi.org/10.2307/966792.

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40

Chater, James, Hubert Naich y Don Harran. "Opera Omnia". Notes 44, n.º 3 (marzo de 1988): 559. http://dx.doi.org/10.2307/941537.

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41

Susskind, Charles y John Tyrrell. "Czech Opera". Notes 47, n.º 4 (junio de 1991): 1158. http://dx.doi.org/10.2307/941649.

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42

Autexier, Philippe A. y John Tyrrell. "Czech Opera". Revue de musicologie 75, n.º 1 (1989): 117. http://dx.doi.org/10.2307/928979.

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43

Koprowski, Richard y Ethan Mordden. "Opera Anecdotes". Notes 42, n.º 4 (junio de 1986): 787. http://dx.doi.org/10.2307/897799.

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44

Harwood, Gregory W., David Kimbell y Deirdre O'Grady. "Italian Opera". Notes 49, n.º 2 (diciembre de 1992): 561. http://dx.doi.org/10.2307/897913.

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45

Chater, James, Alfonso Ferrabosco y Richard Charteris. "Opera Omnia". Notes 44, n.º 4 (junio de 1988): 807. http://dx.doi.org/10.2307/941041.

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46

de Toledo, Benedito Lima y Elza B. de Oliveira Marques. "Opera Houses". Journal of Decorative and Propaganda Arts 21 (1995): 42. http://dx.doi.org/10.2307/1504131.

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47

Graham, Stephen. "Opera Resources". Music Educators Journal 79, n.º 3 (noviembre de 1992): 6. http://dx.doi.org/10.2307/3398469.

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48

Larkin, Fiona. "[Tesco Opera]". Circa, n.º 111 (2005): 41. http://dx.doi.org/10.2307/25564266.

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49

Lysloff, René T. A. "Opera Jawa". Visual Anthropology 28, n.º 5 (20 de octubre de 2015): 451–53. http://dx.doi.org/10.1080/08949468.2015.1086216.

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50

AGOL, A. W. "Opera Krostik". Opera Quarterly 16, n.º 2 (1 de enero de 2000): 257–59. http://dx.doi.org/10.1093/oq/16.2.257.

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