Littérature scientifique sur le sujet « Prove in opera »
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Articles de revues sur le sujet "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 (mai 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 (7 octobre 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) (21 mars 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 (11 juillet 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 (1 mars 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 (juin 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 et SEN HU. « SUPERLUMINAL NEUTRINOS FROM SPECIAL RELATIVITY WITH DE SITTER SPACETIME SYMMETRY ». Modern Physics Letters A 27, no 14 (5 mai 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 (octobre 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 (28 février 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.
Thèses sur le sujet "Prove in opera"
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NONNATO, ALICE. « Prestazione d'opera intellettuale e onere della prova dell'inadempimento ». Doctoral thesis, Università degli studi di Ferrara, 2014. http://hdl.handle.net/11392/2388929.
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The intellectual performance of professional consists in an activity carried out with full autonomy and discretion on a subject - the professional - in respect of his client - a creditor of intellectual performance - and it's a topic that always turns on the legal debates , both with reference to the nature and characteristics of the performance, both with reference to the contractual liability in the event of non-fulfillment of the obligation.
This type of performance has always been the subject of a debate on the legal doctrine focus on the legal classification and is the center of the "classical" dichotomy “duty of best efforts” and “duty to achieve a certain result”. This distinction in today's legal debate has perhaps lost consistency but which is still very dear to the case law, in particular with reference to the obligation of the lawyer. If, in fact, with reference to the obligation of doctor the case law has brought forth a work of demolition of the dichotomy in question, with reference to the performance of the lawyer you will find many judgments which continue to give importance and to emphasize the differences that are classically traced to dichotomy “duty of best efforts” and “duty to achieve a certain result”, especially in order to the burden of proof in cases of breach of contract.
This thesis analyzes profusely issues relating to the nature of the obligations of the professional and intellectual work, and the debate on the dichotomy “duty of best efforts” and “duty to achieve a certain result”, as well as the overall theme of the failure, then dropped the details of the events doctrinal and jurisprudential which involved the allocation of the burden of proof of the failure, particularly as regards the obligation of the contract for project work.
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Dittmann, Gudrun. « Oper zwischen Anpassung und Integrität : zu den Uraufführungen zeitgenössischer deutscher Opern am Leipziger Neuen Theater im NS-Staat / ». Essen Verl. Die Blaue Eule, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2694968&prov=M&dok_var=1&dok_ext=htm.
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Clausius, Katharina Anne Crawford. « Opera after poetry : Enlightenment 'dramma per musica' amid the arts ». Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/267190.
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With its bold combination of epic style and vernacular prose, François Fénelon’s Les Aventures de Télémaque (1699) created a stir that preoccupied the literary, theatrical, musical, and art world throughout the eighteenth century. My dissertation places the novel at the centre of a crucial exchange between the French revisionist movement – with its mandate to redefine neoclassical theatre – and Italian dramma per musica in the second half of the eighteenth century. While littérateurs like Antoine Houdar de la Motte and Voltaire argued publicly over the theoretical viability of prose tragedy on the back of Télémaque, the operatic stage was actively absorbing and experimenting with principles of de la Motte’s new brand of theatre: a less compounded application of the Aristotelian unities, a bolder approach to character portrayal, a painterly approach to scenography, and an integration of tropes from the epic. I rely on two case studies to argue that dramma per musica began to adopt specific principles of de la Motte’s contentious “prose tragedy” genre: Vittorio Amedeo Cigna-Santi’s Mitridate libretto (set by Quirino Gasparini in 1767 and Mozart in 1770), which was based on the same Racine play that incited de la Motte and Voltaire’s animosity; and Giambattista Varesco’s Idomeneo, based on Danchet’s adaptation of Fénelon. Literary scholarship, familiar with the heated paper war incited by Fénelon’s novel thanks to Fabienne Moore and Romira Worville’s research, has so far paid little heed to the eighteenth-century operatic stage as the most prominent and sustained reworking of the neoclassical tragic tradition. In answer to Reinhard Strohm’s appeal to synthesize literary and musicological approaches towards a cross-disciplinary poetics of Enlightenment opera, I show that dramma per musica actively reconfigures a neoclassical tradition in flux alongside the century’s noisiest literary revisionist movement, reimagining theatrical praxis as part of a broader poetics of arts and letters.
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Gribenski, Michel. « Le chant de la prose dans l'opéra (France, Italie, Allemagne), 1659-1902 : élements de poétique, d'esthétique et d'histoire du goût ». Thesis, Paris 4, 2008. http://www.theses.fr/2008PA040197.
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Si l’opéra sur un livret en prose ne se manifeste publiquement en Europe qu’au tournant des XIXe et XXe siècles, dans les domaines russe, puis français, enfin allemand et tchèque, des essais de chant de prose et des réflexions sur ses conditions de possibilités sont cependant intervenus, en France, dès le XVIIIe siècle. Envisagée comme forme verbale apériodique, la prose peut ainsi être considérée comme étant au fondement du genre de l’opéra. D’une part, en effet, dans la tragédie lyrique et auparavant dans l’opéra italien, des vers mêlés apériodiques sont d’emblée associés à un chant lui aussi largement apériodique, notamment dans le récitatif. Cette caractéristique formelle du récitatif est soulignée par la notion analogique péjorative de « prose musicale », élaborée dans la seconde moitié du XVIIIe siècle, en France et en Allemagne, par les partisans de la mélodie périodique italienne. D’autre part, l’ opposition entre le régime du récitatif et le régime de l’air peut être interprétée comme un conflit entre un principe dramatique linéaire de prosa oratio et un principe lyrique circulaire de versus. Sur un plan stylistique, la notion formelle de prose s’articule en outre à celle de prosaïsme, non seulement dans le drame lyrique naturaliste en prose, mais plus généralement dans le chant de type récitatif, considéré par certains théoriciens comme la prose du chant, parce qu’il est apériodique et dévolu aux matières de moindre valeur lyrique. Cette articulation entre les plans formel et stylistique s’opère notamment dans la prosodie musicale, et plus spécifiquement à travers le traitement de l’e caduc, qui fait l’objet de débats idéologiques touchant aux limites entre le naturel et le prosaïsme. Les tentatives de divers compositeurs, poètes et théoriciens pour dépasser l’antagonisme entre le vers et la prose conduisent dès lors à repenser le genre, non en termes de dichotomie formelle et stylistique, mais comme une unité organique. Celle-ci prend ainsi la forme d’un poème lyrico-dramatique, qui s’incarne dans un discours poético-musical associant chant, orchestre, et silence. Le problème du chant de la prose dans l’opéra apparaît donc comme un révélateur des enjeux génériques, esthétiques, voire idéologiques du théâtre lyriqueAlthough prose opera only appeared in Europe at the turn of the nineteenth and twentieth centuries, in Russian, French, German and Czech opera, some ventures into prose singing and reflections about it did occur in France as early as the eighteenth century. Seen as an aperiodic verbal form, prose can be considered to have been an essential part of the operatic genre from the beginning. Indeed, aperiodic free mixed verse is used in French tragédie en musique, and before that in Italian opera, in association with largely non-periodic singing, especially in recitative. This formal characteristic of recitative is summed up in the metaphoric and pejorative phrase of “musical prose”, which was created in France and Germany in the second half of the eighteenth century by admirers of the Italian periodic melody. This opposition between two modes of singing, recitative-like and aria-like singing, can be seen as a conflict between two contradictory principles in opera: on the one hand, a prosa oratio principle, whose linearity represents the dramatic progressive succession ; on the other hand, a versus principle, whose periodic circle constitutes the traditional form of lyrics. On a stylistic level, prose also has to do with prosaic matters and language, not only in the naturalistic drame lyrique, but more generally in recitative singing. The latter is sometimes considered the prose of music, not only because of its form, but also because it deals with less lyrical matters than aria. This relationship between formal and stylistic levels is particularly tight in prosodic matters, especially in the treatment of the famous mute e, which provokes multiple ideological debates concerning natural, realistic, or prosaic styles of diction. Attempts to solve this problematic opposition between verse and prose logics led various musicians, librettists and theorists to go beyond formal and stylistic dichotomy and to rethink opera as an organic whole: in the form of a lyric-dramatic poem and a poetic-musical speech, where singing, orchestra, and silence are combined. The problem of prose singing in opera thus clearly reveals the generic, aesthetic, and ideological issues concerning lyric theatre
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Plank, Christiane. « Die melodramatische Szene in der Oper des 19. Jahrhunderts : eine musikdramatische Ausdrucksform / ». München : Utz, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2613156&prov=M&dok_var=1&dok_ext=htm.
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Toussaint, Ulrike. « Studien zu den Opern Werner Egks / ». Mainz : Are-Ed, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2670369&prov=M&dokv̲ar=1&doke̲xt=htm.
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Mesly, Olivier. « Voyage au coeur de la prédation entre vendeurs et acheteurs : une nouvelle théorie en vente et marketing ». Thèse, Université de Sherbrooke, 2010. http://savoirs.usherbrooke.ca/handle/11143/371.
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There is an inherent tension between a seller and a buyer as their relationship progresses towards closing the deal.The salesperson fears that the buyer wastes his time, which he could otherwise spend towards real potential buyers.The buyer questions the sincerity of the salesperson. Both evaluate the amount of trust and cooperation they should invest in the relationship. It is possible, after all, that the salesperson wants to take advantage of every weakness he detects in the buyer in order to guarantee the sale, and it is equally possible that the buyer tries to fool the salesperson, with false credit information for example. This thesis examines tensions that exist between salespeople and buyers by using an extended version of grounded theory, by which date is collected and analysed both qualitatively and quantitatively. It demonstrates that perceived predation reduces considerably the quality of the relationship.The thesis suggests that the phenomenon of predation exists in every sphere of human activity, including in the legal system.The PARDU Model ( pr edator-pr ey) initially developed to discuss the phenomenon of predation evolves, as the research progresses, towards the OPERA Model and the MESLYª grid, which offer pratical tools to better manage informational predation.
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Kienzle, Ulrike. « ... dass wissend würde die Welt ! Religion und Philosophie in Richard Wagners Musikdramen ». Würzburg Königshausen und Neumann, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2643325&prov=M&dok_var=1&dok_ext=htm.
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Schmidt, Alexander. « Co-Opera - Kooperationen mit Leben füllen : ein multiperspektivischer Blick auf die Entwicklung von Unternehmenskooperationen innerhalb von Clustern und Netzwerken / ». Heidelberg : Carl-Auer-Verl, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2929955&prov=M&dok_var=1&dok_ext=htm.
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Homann, Rainer. « Die Partitur als Regiebuch ». Osnabrück epOs Music, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2678019&prov=M&dok_var=1&dok_ext=htm.
Texte intégralLivres sur le sujet "Prove in opera"
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Amati, Fulvia. La fabbrica del festival : Immagini dai laboratori e dai palcoscenici del Rossini Opera Festival 1995 durante le prove de Guillaume Tell, Zelmira, La cambiale di matrimonio. Pesaro : Rossini Opera Festival, 1996.
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Young, Mark, dir. Opera Bufa. Rockhampton, Queensland, Australia : Otoliths, 2007.
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editor, Lefter Ion Bogdan, dir. Opere. Piteşti : Paralela 45, 2014.
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Corazzini, Sergio. Opere : Poesie e prose. Pisa : Istituti editoriali e poligrafici internazionali, 1999.
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Opere : Poesie e prose. Pisa [etc.] : Istituti editoriali e poligrafici internazionali, 1999.
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Fieled, Adam. Opera Bufa (original Otoliths book pdf). Sous la direction de Mark Young. Rockhampton, Queensland, Australia : Otoliths, 2007.
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Blair, Stacy. Opera Bufa : Expanded Edition. Sous la direction de Adam Fieled. Conshohocken, Pa-Plymouth Meeting, Pa : IA (Funtime Press), 2013.
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Young, Mark, dir. Opera Bufa (excerpt : OB in Otoliths 6). Rockhampton, Australia : Otoliths, 2007.
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Room, Red, dir. Opera Bufa (excerpt : OB in RR '14). California, USA : Red Room, 2014.
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Tozzi, Federigo. Opere : Romanzi, prose, novelle, saggi. 3e éd. Milano : Mondadori, 1993.
Trouver le texte intégralChapitres de livres sur le sujet "Prove in opera"
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Loday, Jean-Louis, et Bruno Vallette. « Methods to Prove Koszulity of an Operad ». Dans Grundlehren der mathematischen Wissenschaften, 263–324. Berlin, Heidelberg : Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-30362-3_8.
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Parr, Sean M. « Vestiges of Virtuosity ». Dans Vocal Virtuosity, 220–60. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197542644.003.0007.
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The specificity of late coloratura’s function in arias has its roots in operatic writing before mid-century. Examining the role pairings in Meyerbeer’s popular nineteenth-century repertory opera, Les Huguenots, serves as a starting point for understanding the transition from coloratura as a normative singing style to one that functions as an uncommon and conspicuous gesture in operas like Offenbach’s Les Contes d’Hoffmann, Delibes’ Lakmé, and Massenet’s Manon. The soprano roles in these operas hark back to the zenith of coloratura singing at mid-century, when high notes and melismas were an aural analogue to the ornamental decadence of Second Empire Paris. Coloratura arias in these operas are the late-century exceptions that prove the rule; they are echoes of the virtuosic vocality of the mid-century examples explored in the book. And they help codify the establishment of the modern French coloratura soprano.
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Mikuła, Maciej. « Iura scripta and Operae iurisperitorum in Municipal Courts of the Kingdom of Poland (Sixteenth to Eighteenth Centuries) ». Dans Authorities in Early Modern Law Courts, 122–36. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474451000.003.0006.
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In the early modern era, so called Ius municipale Polonicum was in use in towns in the Kingdom of Poland. The catalogue of sources of law included i.a. acts of Magdeburg law, royal and parliamentary legislation, legal acts of city councils. Also works of lawyers (operae iuriperitorum) played a significant role in the legal practice. Municipal criminal books (records) deliver a lot of evidence, which prove it. Not only legal regulations (iura scripta), also works of lawyers (operae iurisperitorum) were quoted in the verdicts and proceeding’s documents, prepared by parties (prosecutors and defendants), for instance works of: Bartłomiej Groicki, Ten postępek wybran jest z praw cesarskich (1559); Bartłomiej Groicki, Porządek sądów i spraw miejskich prawa majdeburskiego w Koronie Polskiej, (1559); Joost de Damhouder, Praxis rerum criminalium, Antverpiae 1570; Julii Clari patritii Alexandrini... Opera Omnia, Lugduni 1575; Benedict Carpzov, Practicae novae Imperialis Saxonicae rerum criminalium, Lipsiae 1639; Andrzej Lipski, Practicarum Observationum ex Iure Civili et Saxonico..., Rigae 1602. The paper shows why and how aforementioned works were used by parties and courts in the legal practice.
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Roos, Hilde. « Eoan’s Best Opera Success : An Amorous Fantasy ». Dans La Traviata Affair, 58–97. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520299887.003.0004.
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Chapter 3 deals with the group’s opera productions between 1957 and 1963, which, in hindsight, proved to be artistically their best years. At the time, the idea of a colored opera group that produced Verdi operas continued to mesmerize Cape Town’s white audiences and situated the group in the center of Cape Town’s Western art and music activities. Eoan was, indeed, the first non-European group in South Africa to formally and consistently produce opera on a semiprofessional level. A sense of excitement and wonder is palpable throughout this period, not only in documentation on the reception of the group, but also in the many artifacts in the Eoan Group Archive that document the internal operations of the group.
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Daub, Adrian. « Balladic Consciousness ». Dans What the Ballad Knows, 104—C3.N51. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190885496.003.0004.
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Abstract Opera and the ballad had an intimate yet vexed relationship. Eighteenth-century opera had occasionally turned to narrative romances or ballads, as one type of aria among many, always in the service of the broader plot. Romantic opera began taking a serious interest in folklore, the rhythms of everyday life, and the poetic forms of the people. But for all that, opera proved hesitant in adapting the ballad form to its own ends. Some operas of the period were often balladic without containing ballads, while others contained ballads as discrete numbers, which ironically made them to contemporaries less Romantic and less balladic. Richard Wagner centered Der fliegende Holländer (1843) on a ballad that tells the opera’s story in compressed form, and at the same time claimed the opera as an extended ballad. This chapter investigates what demands Wagner was placing on his audience while doing so, and what kind of a receptivity he thought ballads demanded both on the stage and off. Wagner operates with a picture of a collective unconscious that gives rise to and dictates various responses to the ballad.
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Vlasova, Yekaterina. « The Stalinist Opera Project ». Dans Russian Music since 1917. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266151.003.0008.
Texte intégralRésumé :
This chapter focuses on the concerted attempts made during the Stalinist era to create a repertory of new Soviet operas on Socialist Realist lines—a project in which the dictator is known to have attached great importance. In spite of the resources lavished on the Bolshoi Theatre to help it realise this aim, the project proved an abysmal failure: scarcely any of the works commissioned made it onto the stage, either because of their artistic mediocrity or because they fell foul of the censor. This episode is a dramatic illustration of the counterproductive effects of state interference in artistic life.
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Dean, Terry. « Semyon Kotko and War and Peace ». Dans Rethinking Prokofiev, 193–212. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0012.
Texte intégralRésumé :
Prokofiev was both a voracious reader and a compulsive writer—of letters, diaries, an extensive autobiography, and even of poems and short stories. His interest in text, and in particular in its dramatic impact, determined that, for almost all his operas, he was his own librettist. This allowed him not only control of all compositional elements but also realized his preference for setting passages of non-rhyming prose in a declamatory style, which he believed to be more realistic and dramatically effective. Nevertheless, upon his return to the Soviet Union, Prokofiev found that this approach to text sources was seldom compatible with the demands of Socialist Realism. The chapter explores his reliance on collaborators more familiar than he was with Soviet aesthetics, and it focuses, in particular, on his collaboration with his second wife, Mira Mendelson on the opera War and Peace, with reference to their manuscript notebooks.
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Mordden, Ethan. « With One Look I’ll Be May ». Dans Pick a Pocket Or Two, 178–86. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190877958.003.0013.
Texte intégralRésumé :
This chapter looks in greater detail at the career of Andrew Lloyd Webber, who commands many styles, freely moving from one to another within a single score. The Phantom Of the Opera (1986) dabbles in pastiche of vintage opera forms, yet its title song is disco. Evita (1978) opens with a choral requiem, which is dissonantly modern, but then Che Guevarra turns around and addresses the audience in rock. The through-sung scores set soothing melody right next to jagged recitative. Ultimately, Lloyd Webber's music is a paradox, and this is one reason why he has detractors. After Jesus Christ Superstar (1971) and Evita, Lloyd Webber’s subsequent projects attracted intense interest. Many people regarded Cats (1982) as a folly. But Cats proved irresistible then and after, in part because it turned pop opera joyful after the hieratic ceremonies of its two founding titles. Superstar is not a comedy and Evita's “comedy” is actually bitter irony; but Cats is all for fun, tempered only by the occasional solemnity.
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Weinrib, Laura. « The Second New Deal and the Fourth Courtroom Wall ». Dans Power, Prose, and Purse, 267–86. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190873455.003.0012.
Texte intégralRésumé :
This essay explores Marc Blitzstein’s 1937 labor opera, The Cradle Will Rock, as an assault on legal legitimacy. Since its famous first production—a pared-down performance in which actors delivered their parts from the house, improvised when the WPA canceled the scheduled opening of the controversial project—critics have emphasized Cradle’s indebtedness to the German playwright Bertolt Brecht, to whom Blitzstein dedicated the work. Consistent with Brecht’s Verfremdungseffekt, Blitzstein distances the audience from Cradle’s characters, substituting rational understanding for unreflective empathy. Like Brecht, he employs this theatrical device to expose the cultural and economic underpinnings of familiar social practices, including capitalism. Imported to the US context, the Brechtian reimagining of theatrical conventions resonated with a corresponding attack on formal legal justice. At the height of the New Deal’s crisis of legal legitimacy, Cradle depicts a judicial system baldly beholden to wealth and property. The anti-union steel magnate at the show’s center bribes and manipulates journalists, professionals, and public officials to promote his concept of “liberty,” namely, freedom from organized labor. By amplifying the effects of economic interests on legal outcomes while undermining empathy with the characters who facilitate and legitimate repression, Cradle invites the audience to consider its own complicity in law’s injustice.
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Kreuzer, Gundula. « Flat Bayreuth : A Genealogy of Opera as Screened ». Dans Screen Genealogies. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland : Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463729000_ch09.
Texte intégralRésumé :
Gundula Kreuzer challenges common assumptions about the ‘screenification’ of contemporary opera productions by reconsidering historical screening techniques within staged opera. Beginning with the Baroque picture-frame stage, she highlights how a desire for visual illusion on stage came into conflict with the increasingly complicated array of equipment, scenery, and props required to produce such elaborate scenes. Retracing strategies tested out at Wagner’s Festspielhaus at Bayreuth, she argues that the theatre’s curtain line came to imply an invisible screen with the capacity to organize the various media on the deep stage into a unified whole, a perception fostered by the visual and acoustic environment of the auditorium. Rather than a part of the telos of modernist painting, she highlights this flattened planar format as the outcome of technical and aesthetic conflict, whose legacy proves highly relevant to contemporary experiments with operatic staging.
Actes de conférences sur le sujet "Prove in opera"
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Lu, Xiaozhou. « A Probe into the Successful Factors of the Chinese National Opera “Struggles in an Ancient City” ». Dans 4th International Conference on Art Studies : Science, Experience, Education (ICASSEE 2020). Paris, France : Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.037.
Texte intégral
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Rebello, Gabriel Antonio F., Gustavo Camilo, Leonardo Silva, Lucas Guimarães, Lucas Airam C. de Souza, Igor Alvarenga et Otto Carlos Muniz Bandeira Duarte. « Provendo uma Infraestrutura de Software Fatiada, Isolada e Segura de Funções Virtuais através da Tecnologia de Corrente de Blocos ». Dans I Workshop em Blockchain : Teoria, Tecnologias e Aplicações. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/wblockchain.2019.7480.
Texte intégralRésumé :
As tecnologias de fatiamento da rede (Network Slicing), virtualização de funções de rede (Network Function Virtualization - NFV) e redes definidas por software (Software-Defined Networking - SDN) proveem serviços fim-a-fim ágeis e sob demanda. A identificação de uma função virtual defeituosa torna-se obrigatória, pois serviços alocam recursos em um ambiente distribuído e sem confiança entre os pares composto por múltiplos inquilinos e provedores de serviço concorrentes. Este artigo propõe e desenvolve uma arquitetura baseada em correntes de blocos para prover auditabilidade às operações de orquestração de fatias de rede. Um protótipo de um caso de uso foi desenvolvido e implementado utilizando a plataforma Hyperledger Fabric na qual cada fatia de rede opera sobre um canal isolado. Os resultados mostram que é possível prover segurança à criação de fatias de rede, mas que a obtenção de consenso e o número de transações requeridas pelas fatias de rede são um grande desafio.
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Santos, Isanio Lopes Araujo, Flavia C. Delicato, Paulo F. Pires, Thais Batista, Ana Liz Souto Oliveira et Luci Pirmez. « Usando Aspectos e Composição Dinâmica para prover Adaptação Ciente ao Contexto em Sistemas Ubíquos ». Dans Simpósio Brasileiro de Engenharia de Software. Sociedade Brasileira de Computação, 2008. http://dx.doi.org/10.5753/sbes.2008.21332.
Texte intégralRésumé :
Aplicações para a computação ubíqua operam em ambientes onde a disponibilidade de recursos muda significativamente durante a sua operação. Tal característica demanda que aplicações sejam adaptativas e cientes do seu contexto de execução. Visando atender esses requisitos, nós propomos PACCA (Projeto de Aplicações Ciente ao Contexto e Adaptativas), um arcabouço para desenvolvimento e execução de aplicações adaptativas cientes de contexto. O paradigma de orientação a aspectos é usado no PACCA para modularizar o comportamento adaptativo e dissociá-lo da lógica da aplicação. A orientação a aspectos aliada a composição dinâmica de software oferecem suporte para adaptação ciente ao contexto, guiada por políticas previamente definidas.
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Cogut, Sergiu. « Școala de la Târgoviște și metaromanul (în baza operei „Ficțiune și infanterie” de Costache Olăreanu) ». Dans Filologia modernă : realizări şi perspective în context european. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/filomod.2021.15.12.
Texte intégralRésumé :
Articolul se axează pe eluicidarea uneia dintre trăsăturile dominante ale grupării de scriitori ce este cunoscută ca „școala de la Târgoviște” și anume predilecția membrilor ei pentru valorificarea metaromanului și astfel cultivarea unei proze autoreferențiale. Una dintre creațiile reprezentative în acest sens este romanul Ficțiune și infanterie de Costache Olăreanu publicat în 1980 și care poate fi considerat una dintre primele scrieri postmoderne din literatura română, fiind calificat ca un manual al tehnicilor și trucurilor textualiste, anticipând astfel proza optzeciștilor. Prin intermediul acestei opere autorul denunță impostura protagonistului său Victor Testiban ce pretinde a fi un romancier realist, dar în realitate nu este.
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Nunes, Diogo Cirne, et Frederico Araújo da Silva Lopes. « Uma Plataforma para promover a Interoperabilidade entre Órgãos de Segurança Pública ». Dans Workshop de Computação Urbana. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/courb.2022.223496.
Texte intégralRésumé :
De forma a acompanhar o avanço tecnológico, é comum buscar o desenvolvimento de técnicas que auxiliam na automatização de procedimentos anteriormente feitos inteiramente de forma manual. Assim, é comum que alguns serviços já estejam habituados a serem realizados de forma analógica, dificultando uma possível mudança nas práticas já enraizadas. Em especial, isso ocorre quando os procedimentos envolvem a ação de órgãos distintos, cada um com suas próprias práticas já estabilizadas há anos e distintas dos demais. Por outro lado, a interoperabilidade entre sistemas é utilizada de forma a permitir que as entidades envolvidas possam operar em conjunto de forma transparente para o usuário. Nesse contexto, este trabalho propõe uma plataforma de middleware que provê a interoperabilidade entre os órgãos policiais e de perícia criminal, visando a melhoria no serviço prestado por estes e a resposta cada vez mais rápida para a sociedade nos serviços de investigação de crimes contra a vida.
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A. Moreno Vásquez, Francis, et Kleber Melo e Silva. « Proteção Diferencial de Barramentos Baseada na Potência Instantânea ». Dans Simpósio Brasileiro de Sistemas Elétricos - SBSE2020. sbabra, 2020. http://dx.doi.org/10.48011/sbse.v1i1.2218.
Texte intégralRésumé :
Este artigo apresenta um algoritmo de prote¸c˜ao diferencial de barramentos baseado no conceito da potˆencia instantˆanea. Esta grandeza ´e utilizada para determinar os sinais de opera¸c˜ao e restri¸c˜ao em uma formula¸c˜ao baseada nas l´ogicas 1-de-1 e 2-de-2, comumente utilizadas em rel´es comerciais. Ainda, esta t´ecnica contempla um refor¸co harmˆonico no seu sinal de restri¸c˜ao para faltas externas. A avalia¸c˜ao do algoritmo proposto ´e feita utilizando uma subesta¸c˜ao de barra dupla com disjuntor simples (230 kV), modelado no Alternative Transients Program (ATP). Os resultados obtidos mostram que o tempo de decis˜ao do m´etodo proposto pode ser na grande maioria dos casos a metade da fun¸c˜ao tradicional, baseada em correntes, considerando inclusive diferentes instante de falta, resistˆencias de falta e tipos de falta. Tamb´em, pode ser constatado que o algoritmo oferece confiabilidade para atuar corretamente diante de faltas evolutivas. Na pr´atica, a rapidez de decis˜ao da t´ecnica apresentada permite reduzir eventuais danos por propaga¸c˜ao de curtos-circuitos, representa uma maior margem de seguran¸ca para os transformadores de corrente quando saturados e se encaixa com os requerimentos de rel´es comerciais para garantir atua¸c˜oes corretas.
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Klein, Sikke, Ivar Austrem et Jan Mowill. « The Development of an Ultra Low Emissions Liquid Fuel Combustor for the OPRA OP16 Gas Turbine ». Dans ASME Turbo Expo 2002 : Power for Land, Sea, and Air. ASMEDC, 2002. http://dx.doi.org/10.1115/gt2002-30107.
Texte intégralRésumé :
During the last few years OPRA has been working intensively on the development of an ultra low emissions combustor for the OP16 gas turbine. The main focus has been on the combustion of liquid fuels (diesel fuel #2), but a natural gas and a dual fuel system has also been developed. The most important aspect of the development has been the patented Controlled Fuel Air Ratio (COFAR) system incorporating the venturi premixer, the air valve and the fuel injection nozzle. The original diesel fuel injection nozzle of the OP16 was a hybrid design, comprising a pressure swirl central injector surrounded by a classic air-blast atomizer. While the emissions with this fuel nozzle were quite good (30 ppm up to 85% load), subsequent natural gas tests demonstrating single digit emissions, while running at a higher average flame temperature indicated that there was scope for improvement of the fuel preparation system. It was clear that atomization, evaporation and mixing of the diesel fuel could be further improved. For better understanding of the combustion of diesel fuel, an atomization and mixing model was developed, to study the quality of the fuel/air mixture leaving the pre-mixer. Based on the results of this study, a fuel nozzle system, using multipoint injection with small pressure swirl nozzles was selected. Three different sets of atomizers have been evaluated and a nozzle arrangement comprising five identical pressure swirl nozzles showed the best results. The emissions on diesel fuel with the new injector proved very satisfactory. The NOx concentration was kept below 25 ppm from 50% load up to 90% load and below 30 ppm at full load. CO and UHC were well below 10 ppm. These low emissions were achieved by running at a low flame temperature (below 1820K). Furthermore, no combustion dynamics or flame instability was observed.
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n. v. santos, pedro henrique, et Regina Maria Prosperi Meyer. « LONGE DO EQUILÍBRIO ». Dans Seminario Internacional de Investigación en Urbanismo. Bogotá : Universidad Piloto de Colombia, 2022. http://dx.doi.org/10.5821/siiu.10154.
Texte intégralRésumé :
The present article aims to explore some assumptions about how complexity operates more flexible approaches to urbanism. To this end, were analyzed theoretical productions and contemporary design strategies that eschew very deterministic and generalizing logics, thus admitting the possibility of characterizing cities as a system far-from-equilibrium. After characterizing such condition, some properties inherent to the complex nature of cities were defined, without very clear outlines. An indication – or arrangement - that makes possible to understand some alternatives of acting in the city, not in an imperative way, but recognizing its indeterminacies as project tools. They are: Interactions, which operate and engender dynamics, establishing constructive relations of new realities; Becoming, as an expression of the creative force, the possibilities of multiple and mutual fecundations; and Entropy, which reveals our ability to recognize the possibilities of a system facing off unpredictability and new arrangements.
Keywords: Complexity, Urban Design, Cities.
O urbanista italiano Bernardo Secchi (1934-2014), em diversas ocasiões, enfatiza sua preocupação com a simplificação do funcionamento urbano própria do Movimento Moderno e levanta a necessidade sobre um novo olhar para a cidade contemporânea que, ao mesmo tempo, opera maiores níveis de abstração e de precisão (SECCHI, 2006). As questões que orientam essa pesquisa estão relacionadas às contribuições das teorias sobre Complexidade, que, assim como para as ciências exatas e biológicas, apresentam para o campo das sociais um importante ferramental para a revisão de paradigmas deterministas e que enriquece as concepções de fenômenos considerados caóticos ou aleatórios. Buscamos investigar com quais pressupostos a Complexidade opera, analisando abordagens mais flexíveis, produções teóricas e estratégias projetuais contemporâneas que escampam das lógicas muito deterministas e generalizantes, admitindo assim a possibilidade de caracterizar as cidades como um sistema que não tende ao equilíbrio.
A noção de equilíbrio e a imagem da cidade-máquina e do planejamento controlador, desviaram o debate sobre as questões críticas essenciais e ajudou a manter a ilusão de um falso controle sobre a morfologia urbana e suas dinâmicas. A imagem de uma “boa” cidade – equilibrada – era, nessa ilusão, aquela que se apresentava homogênea, onde todas suas variações e diversidades pudessem ser controladas através, por exemplo, do zoneamento e da hipercodificação, ideia também refutada por Jane Jacobs em 1961. Com isso, a percepção de que o Planejamento Urbano deveria trabalhar buscando uma cidade estável e funcional começou a sobrecarregar não só sua teoria e prática, mas também a noção de que as cidades eram compreensíveis através de analogias com a ciência reducionista e as tecnologias industriais do passado. Após os anos 70, quando os objetivos do Planejamento Urbano passaram a ser refutados e as incertezas sobre as possíveis transformações teóricas e práticas que deveriam ser propostas para pensar as cidades, o mundo mudou (BATTY, 2012).
O químico Ilya Prigogine, ao propor sua tese sobre estruturas dissipativas e auto-organização de sistemas longe do equilíbrio, indica os problemas relacionados ao reducionismo, abrindo possibilidades para novos níveis de descrição e análise de diversos fenômenos do universo, chama a responsabilidade da física para além de comportamentos analisados em ambientes perfeitamente controlados, estáveis e previsíveis. Anuncia assim uma “nova ciência” capaz de interpretar os comportamentos evolutivos que escorregam entre as “malhas da rede científica” e leva em conta as incertezas e diversidades da natureza e seus eventos complexos, por vezes considerados, aos olhos deterministas, transitórios e sem importância. Interessa então entender concepções teóricas que permitem possibilidades menos duras, fechadas e estáticas de percepção dos espaços e suas dinâmicas.
Para tal, é preciso considerar que, em sistemas longe do equilíbrio como as cidades, sua evolução apresenta comportamentos e estados variados, de previsibilidade limitada. Como Prigogine insiste em dizer, nada mais natural, uma vez que estamos falando de um mundo real onde a “natureza apresenta-nos, de fato, a imagem da criação, da imprevisível novidade. Nosso universo seguiu um caminho de ramificações sucessivas: poderia ter seguido outros” (PRIGOGINE, 1996). Dada a impossibilidade de controlar seus desdobramentos, nos é disponível entender tal sistema através de seus “eventos e qualidades – transições de fase – resultantes de fluxos de matéria e energia que passam por eles. ” (BRISSAC, 2010).
Para a análise das estratégias projetuais proposta nessa pesquisa, viu-se a necessidade de definir algumas propriedades que oferecessem bases comparativas, reconhecer indícios pela qual algo prova pertencer a categorias não estabelecidas aqui. Tal definição não pretendem ter um contorno muito claro com função de predicados para esses projetos, muito menos uma lista fechada, mas uma indicação, um certo agenciamento/ agrupamento ou um reconhecimento de como “ se relacionar com a matéria - através de suas próprias tendências e não pela imposição de uma forma preestabelecida. ” (BRISSAC, 2010).
Considerando as características atribuídas aos sistemas complexos, definimos as seguintes propriedades: Interações, que operam, engendram – e são engendradas por – dinâmicas, influencias, perturbações, disputas e articulações, estabelecem relações construtivas de novas realidades, são linhas de forças que agem como combustível para trajetórias não-lineares de futuros incertos, trata-se, portanto de estratégias que entendam o projeto como síntese resultante das interações de múltiplos fatores, internos e externo; Devir, o "jorro efetivo de novidade imprevisível” (PRIGOGINE, 2009), de força criativa, o que está em vias de ser (vínculo com o futuro incerto), estratégias que, de uma forma ou de outra, tem como pressupostos a função de palco (que também faz parte do espetáculo) para possibilidades de fecundações múltiplas e mutuas, da força “comunicativa e contagiosa” – colocada por Deleuze e Guattari – que, sem códigos precedentes, constrói; e Entropia, a medida da probabilidade da ocorrência de eventos e da nossa habilidade em reconhecer possibilidades de determinado sistema face à imprevisibilidade de interações e novos arranjos resultantes, estratégias que assumem o carácter evolutivo das cidades, de configurações de “ajustes soltos” (ALLEN, 1999), menos codificada – ou de codificações muito abstratas – mas que de certa maneira apresentam condições para assimilar eventos, transformando-se, que assumem como premissa a tensão entre ordem e desordem e seu “ caráter provisório, instável e de sobreposições contínuas” (MEYER, 2003).
Palavras-chave: Complexidade, Projeto Urbano, Cidades.
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Bouten, Thijs, Nick Gralike et Lars-Uno Axelsson. « Development, Atmospheric Testing and Field Operation of a Fuel Flexible Gas Turbine Combustion System for Crude Oil Volatile Organic Compounds ». Dans ASME Turbo Expo 2022 : Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/gt2022-82390.
Texte intégralRésumé :
Abstract Volatile Organic Compounds (VOCs) evaporate from crude oil due to their volatile characteristics. These VOCs are conventionally vented, thereby contributing significantly to the harmful emission in the crude oil loading, storage and transport on offshore platforms, ships, storage tanks, terminals and shuttle tankers. The VOCs can be captured by a VOC recovery system, thereby reducing the harmful emissions significantly. The heavier fractions (mainly C3+) out of VOCs can be stored as liquid VOC (LVOC). The non-condensable fraction is a surplus gas (SVOC) mainly consisting out of lighter hydrocarbons and inert gases. The composition of LVOC and SVOC significantly varies depending on the type of crude oil. The application of both LVOC is challenging due to the high volatility, high dew point and varying compositions, while the SVOC is challenging because of the high variation in inert gas concentration, which depends on the crude oil level in the cargo tank. This paper will present the development and testing of a new tubular combustion system that can operate on the LVOC and SVOC from a VOC recovery unit as well as on LNG in case the VOC recovery plant is not operational. The challenges of the high variety in fuels are mainly translated in a dedicated fuel nozzle for the low calorific fuel combustor. This novel nozzle allows for stable operation on a wide variety of fuels with limited supply pressure requirements. The combustor has been tested in OPRA’s state-of-the-art atmospheric combustor test rig. Hereby various fuels have been supplied. The results presented in this paper focus on the validation of flame stability, operational window, turn down and emissions operating on different mixtures of low calorific gas (SVOC) and high calorific gas (LVOC, propane and natural gas). After successful completion of the atmospheric testing, a full-scale engine test has been performed with the OP16 gas turbine in OPRA’s engine test cell. Multiple gensets are installed on shuttle tankers and have been successfully commissioned with the various fuels. Operational experience from these sea trials are discussed. It has been proven that the OPRA OP16 gas turbine can utilize 100% of the VOC emissions recovered from the shuttle tanker, whereby power is supplied to the vessel. This results in a significant reduction of the ship’s emissions.