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Tesi sul tema "Operas"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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1

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

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2

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

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3

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

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Abstract (sommario):

The opera is scored for chamber orchestra consisting of one oboe, two Bb clarinets, two horns in F, one trumpet in C, one tenor trombone, two percussionists (playing snare drum, bass drum, tambourine, wood block, triangle, suspended cymbal, crash cymbal, agogo bells, cow bell, brake drum, metal whistle, whip, large gong, Glockenspiel, chimes, timpani in F (low) and C), eight or more violins in two parts, six or more violas in two parts, and eight or more cellos in two parts. The characters are Alejandro Jiminez, a dramatic tenor; the Manager of Burger Palace, a baritone; the Suits 1/Fast Food

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4

Asplund, Christian T. "Two chamber operas /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/15513.

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5

Bergström, Gunnel. "In search of meaning in opera : an opera singer's approach to the dialetics of words, music, & myth in opera from Monteverdi to Verdi /." Online version, 2000. http://bibpurl.oclc.org/web/26209.

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6

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

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7

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

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Abstract (sommario):

Aboulker’s operatic works present an opportunity for opera workshop programs in the United States to perform contemporary operatic works in a foreign language, revitalizing the operatic repertoire and giving students the opportunity to prepare and perform roles without the weight and influence of significant performance history. Aboulker’s style, which has been called “effectively simple,” allows developing students to work on new French language repertoire without the burden of excessively difficult or atonal vocal lines. Aboulker’s works are tuneful and humorous and her longest operatic work

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8

McKellar, Shannon Colwyn. "Institutional voices : five Britten operas." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267084.

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9

Artemas-Polak, Natalie. "The operas of Gustav Holst." Thesis, University of Surrey, 2006. http://epubs.surrey.ac.uk/843193/.

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Abstract (sommario):

Gustav Holst was a contributor to the genre of English opera throughout his career. His name is not usually associated with opera, and yet he composed thirteen in all; five were published, three are lost, and the remaining five exist solely in manuscript. The dissertation begins with Holst's background and influences, the most important of which were the music of Sullivan and Wagner, and the ways in which Holst's music of his early period imitated those styles. Other aspects with which Holst came into contact are discussed here; namely Sanskrit literature, the English folksong movement, and th

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10

Seinen, Nathan Christopher. "Prokofiev's Soviet operas : four essays." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283904.

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11

Harris, Ellen T. "Harmonic Organization of Handel's Operas." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37217.

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12

Drake, Jeremy. "The operas of Darius Milhaud /." New York ; London : Garland, 1989. http://catalogue.bnf.fr/ark:/12148/cb35521748h.

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13

Jackson, Paul. "The operas of David Pérez /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371220232.

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14

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

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15

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

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Abstract (sommario):

Studies of Italian opera in London during the first half of the eighteenth century have focussed on George Frideric Handel (1685-1759). As the most prolific composer of this genre in the English capital, this is unsurprising, but it has meant that other composers, contemporaneously active in this field, have been relatively neglected. This is especially true of the period 1733 – 1737, during which time two Italian opera companies attempted to co-exist in the city. Leading one of the companies was Handel, with the Neapolitan, Nicola Porpora (1686-1768), recruited to compose the works for the ri

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16

Frehner, Paul (Paul Anton). "Sirius on earth : 2001-2003, a chamber opera in five scenes, in full score." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84688.

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Sirius on Earth is a chamber opera that deals satirically with social and political issues that are pertinent to a Western multicultural urban setting. Angela Murphy wrote the libretto, which is based on an original dramatic scenario conceived of by the composer. This dissertation consists of two parts: the opera in full score and an analysis of the opera. Sirius on Earth is scored for a cast of eight singers and an ensemble of fifteen players. The analysis is related to the overall objectives of the work which include representing and satirizing the musical and cultural diversity inher

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17

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

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Abstract (sommario):

Over the last quarter-century, scholars have taken a unified approach in discussing form in Italian and French opera of the nineteenth century. This approach centers around the four-part aria and duet form begun by Bellini, codified by Rossini, modified by Verdi, and dissolved by Puccini. A similar trajectory can be seen in French opera in the works of Meyerbeer, Gounod, and Massenet; however, only Meyerbeer and Gounod have received significant critical attention. This is in part due to Massenet's reception as a "composer for the people," a title ill fitting and ripe for reconsideration. T

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18

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

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Abstract (sommario):

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

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19

Rodmell, Paul Julian. "The operas of Sir Charles Stanford." Thesis, University of Birmingham, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398152.

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20

Bruce, Richard Douglas. "Schubert's mature operas : an analytical study." Thesis, Durham University, 2003. http://etheses.dur.ac.uk/4050/.

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Abstract (sommario):

This thesis examines four of Franz Schubert's complete operas: Die Zwillingsbrűder D.647, Alfonso und Estrella D.732, Die Verschworenen D.787, and Fierrabras D.796. These works date from the period of 1818-1823, sometimes referred to as Schubert's 'years of crisis'. While this period saw many changes in the composer's personal situation, it is commonly thought that he underwent a process of creative re-evaluation during these years. This was also the period of Schubert's life during which he was most seriously engaged in writing music for the stage. Thus, I argue in this thesis that it is poss

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21

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

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Abstract (sommario):

The East Cape Opera Company was founded by Gwyneth Lloyd in 1995 and has performed in various Eastern Cape venues and festivals as well as conducting a tour of the Netherlands. The Company has performed well known operas and operettas such as Mozart's The Magic Flute, Gilbert and Sullivan's The Mikado as well as their own original isiXhosa operas such as Temba and Seliba, The Moon Prince - Inkosana Yenyanga and The Clay Flute. This thesis is situated within the context of apartheid and post-apartheid, and an emerging post-1994 South African’s operatic culture that embraces multiculturalism. Th

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22

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

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23

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

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Abstract (sommario):

The Italian seicento has been considered a dead century by many literary scholars. As this study demonstrates, such a conclusion ignores important literary developments in the field of librettology. Indeed, the seventeenth-century operatic libretto stands as a monument to literary invention. Critical to the development of this new literary genre was the prologue, which provided writers with a context in which to experiment and achieve literary transcendence. This study identifies approximately 260 dramatic works written in Venice between the years 1637 and 1682, drawn together for the first ti

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24

Cheng, Yu-sum Anthony. "From Hades an opera in four acts /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38522883.

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25

Stolz, Nolan Ryan. "The touch : a black box opera /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1394663551&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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26

Thomalla, Hans. "Fremd, Medea, strange : opera-scene for soprano, choir, instrumental ensemble and live electronics /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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27

Sohet, Dominique. "Les operas de haydn : contraintes et liberte." Paris 4, 1987. http://www.theses.fr/1987PA040388.

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Abstract (sommario):

Esterhaza, ou furent composes la majorite des operas de haydn, impliquait par sa geographie, sa situation politique et culturelle, et les gouts des princes regnants, une serie de contraintes qui eurent des consequences directes aussi bien sur les types de livrets selectionnes (themes, adaptations) que sur les choix musicaux lies a la constitution de la troupe (orchestre, choeur, solistes). Il s'avere que le compositeur, toujours respectueux envers son prince et envers ses interpretes, a puise dans ces imperatifs l'originalite meme de son style d'opera: de la contrainte a la liberte<br>Esterhaz

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28

Jobe, Robert DeRoy. "The operas of André-Ernest-Modeste Grétry /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371219281.

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29

Keith, John. "The operas of Jean-François Le Sueur /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371221580.

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30

Paige, Diane Marie. "Women in the operas of Leoš Janáček /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40043438t.

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31

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

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Abstract (sommario):

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

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32

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

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Abstract (sommario):

Premiering at the twilight of the gauchesco era and the dawn of Argentine musical Modernism, El matrero (1929) by Felipe Boero (1884-1958) remains underexplored in terms of its social milieu and artistic heritage. Instantly hailed as a masterpiece, the work retains a place in the local repertory, though it has never been performed internationally. The opera draws on myths of the gaucho and takes further inspiration from the energized intellectual environment surrounding the one-hundred-year anniversary of Argentine Independence. The most influential writers of the Centenary were Leopoldo Lugon

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33

Li, Yiman. "Study of symbolic expressions in Peking Opera's costumes and lyrics." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002149.

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34

Chowrimootoo, Christopher Craig. "Middlebrow Modernism: Britten's Operas and the Great Divide." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11102.

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Abstract (sommario):

This study examines the way Britten's operas and their audiences muddied the waters of the so-called "great divide" between modernism and mass culture, mediating between the aesthetics of difficulty and distinction on the one hand, and the pleasures and conventions associated with popular opera on the other. Using the fraught responses of early critics as a way in, I examine the precise musical and critical strategies through which the operas confounded a range of marked modernist binaries - between innovation and tradition, difficulty and sentimentality, modernism and mass culture. One of the

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35

Mundye, Charles. "Ezra Pound's operas : an analytical and contextual study." Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245908.

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36

Brown, L. R. "Woman and telenovelas (soap operas) in northeast Brazil." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.597019.

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Abstract (sommario):

In this dissertation I look at the consumption of one of the most popular forms of entertainment in Latin America: the <i>telenovela. </i>My research is based in Brazil, which has the most successful and most profitable <i>telenovela</i> industry in Latin America. Current research into <i>telenovelas </i>has reached an impasse. It either posits the <i>telenovela </i>as an ideological tool to brainwash the masses, or as a symbolic site at which 'culturally competent' agents negotiate with the text and are involved in the construction of meaning and culture. I argue that this impasse is the resu

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37

Joo, Kwan Kyun. "An Anthology of Tenor Arias from Korean Operas." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752385/.

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Abstract (sommario):

The first Western opera to be performed in Korea was Verdi's La Traviata on January 16, 1948, by the Joseon Opera Company. The first Korean opera, Chunhyangjeon by Jae Myung Hyun, premiered at the Korean National Theater in May 1950, just before the outbreak of the Korean War. Daejeon.go.kr reports that since that year approximately 200 Korean operas have been produced in Korea. Nevertheless, there have been consistent efforts to create and introduce Korean operas to the public. Most of them ended up being "one-off" performances with a single production. Most research on Korean opera has focu

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38

Meneer, Nathanael. "Horatio Parker's Mona: an experiment in American grand opera." Thesis, Boston University, 2012. https://hdl.handle.net/2144/32036.

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Abstract (sommario):

Thesis (M.A.)--Boston University<br>Horatio William Parker (1863-1919) was a prominent American composer who belonged to the Second New England School (the "Boston Six"), and served as the Dean of Music at Yale University from 1904 until his death. His opera Mona (Opus 71) was created in collaboration with his librettist, Brian Hooker (1880-1946), as an entry to a contest that was being held by the Metropolitan Opera Company for the best English-language opera written by an American-born composer. Parker and Hooker won the contest, and received $10,000 in prize money along with a production of

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39

Yang, Wai Yin. "The historical development of Cantonese opera in the Republican period /." View Abstract or Full-Text, 2003. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202003%20YANG.

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Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2003.<br>Includes bibliographical references (leaves 232-238). Also available in electronic version. Access restricted to campus users.

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40

Shainin, Christopher David Aristophanes. "Bird scenes /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11296.

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41

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

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Abstract (sommario):

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

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42

Carson, Michael 1959. "Riders to the Sea." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277892/.

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Abstract (sommario):

Riders to the Sea is a chamber opera in one act of approximately 40 minutes in duration. The single act is divided into six scenes that progress without pause. The vocal parts are comprised of 2 sopranos, 1 mezzo-soprano, 1 baritone, and an off-stage chorus of men's voices (tenor I, tenor II, baritone, and bass; two per part). The orchestra will be comprised of winds (1-1-1-1-1), brass (2-2-1-1), strings (2-2-2-2-1), piano, 2 percussionists, and tape, that will be used to provide a continuous background of surf and wind sounds. Authentic Irish folk songs are threaded throughout the work, gener

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43

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

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44

Kye, Hee-seng. "The third voice : anima as drama in Mozart's operas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2015. http://hdl.handle.net/10722/212609.

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Abstract (sommario):

This thesis investigates the processes through which the characters and their relationship, and the drama take shape in Mozart’s operas. In his mature operas, there are moments when music seems to say something that is not in harmony with what the words express. This discrepancy suggests that Mozart tells us, through music (vocal or instrumental), the characters’ most private thoughts that are not revealed in the text alone. I call this innermost part of the psyche that is in contact with the unconscious ‘anima’, a concept borrowed from Jungian psychology. Through anima, Mozart narrates his ve

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45

Hodge, Andrew M. Hodge Andrew M. "Modernist continuities of realist opera in the twentieth century : some thoughts about contemporary music drama /." 2003. http://wwwlib.umi.com/cr/yorku/fullcit?pMQ99324.

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Abstract (sommario):

Thesis (M.A.)--York University, 2003. Graduate Programme in Ethnomusicology.<br>Typescript. Includes portions of the libretto and score of the author's opera Hanging at dawn. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ99324

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46

Cho, Eun Deuk. "Doctoral thesis recital (voice)." 2014. http://hdl.handle.net/2152/25242.

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47

Miller, Joshua. "Doctoral thesis recital (directing)." 2015. http://hdl.handle.net/2152/30119.

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48

Bazler, Corbett. "The Comedies of Opera Seria: Handel's Post-Academy Operas, 1738-1744." Thesis, 2013. https://doi.org/10.7916/D8M90GW5.

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Abstract (sommario):

This dissertation explores the ways in which Handel's late operas intersect with other forms of theater in mid-eighteenth-century London. It seeks to explain how certain comic features of these late works--from the lighter subject matter of the libretti to Handel's unconventional musical settings--can be seen to echo the heated criticism leveled at Italian opera seria during this period, criticism usually voiced by satirical pamphlets and operatic parodies. It concludes that so-called "serious opera" was not always taken too seriously by London audiences, or even by Handel himself. Instead, op

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49

Bazler, Corbett. "The Comedies of Opera Seria: Handel’s Post-academy Operas, 1738-1744." Thesis, 2012. https://doi.org/10.7916/D8DN4C7H.

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Abstract (sommario):

This dissertation explores the ways in which Handel’s late operas intersect with other forms of theater in mid-eighteenth-century London. It seeks to explain how certain comic features of these late works—from the lighter subject matter of the libretti to Handel’s unconventional musical settings—can be seen to echo the heated criticism leveled at Italian opera seria during this period, criticism usually voiced by satirical pamphlets and operatic parodies. It concludes that so-called "serious opera" was not always taken too seriously by London audiences, or even by Handel himself. Instead, oper

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50

Reed, Russell Mathew Welcher Dan. "Scenes from imaginary operas." 2005. http://wwwlib.umi.com/cr/utexas/fullcit?p3165089.

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