DOCSLIB.ORG

Of Operatic Love 11. Transcending Desire

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

When Act III opens, Tristan’s man Kurwenal has brought his master home to Brittany to recover from a dangerous wound. At first delirious, he wakes from a dream of serene beauty. Isolde’s ship is seen approaching. Tristan sends his men down to meet her, then tears the bandages off his wound, to die at her feet. Others arrive, Vagariesof Operatic Love there is more bloodshed, King Mark offers forgiveness, but Isolde desires only to join Tristan in death. — Tristan und Isolde, Act III, Tristan’s dream and suicide 12½ Ian Storey, Gerd Grochowski (Kurwenal); La Scala, 2007 — Tristan und Isolde, Act III, Isolde’s Liebestod 7 Waltraud Meier; La Scala, 2007 http://www.brunyate.com/vagariescolumbia/ [email protected] http://www.rogeratrandom.com 11. Transcending Desire Class Eleven: Transcending Desire C. On the Knife-Edge of Desire The 1912 novella Death in Venice by Thomas Mann (1875–1955) seems in retrospect an obvious choice for Benjamin Britten (1913–76), Operas about love, whose physical consummation is whose last opera it was (1973). But it was also an extraordinarily either willingly postponed or suspended altogether. taxing one personally, since the composer, like Mann’s protagonist Gustav von Aschenbach, was creatively inspired by the beauty of young boys, yet struggled all his life (apparently successfully) to avoid A. Thou Still-Unravished Bride his admiration turning to abuse. To give himself some distance from the subject, he develops ideas in the opera that are only hinted at by In his “Ode on a Grecian Urn,” Keats extols the beauty of a never- Mann, casting the writer’s emotional dilemma as a Platonic struggle consummated love. A similar situation obtains in La Calisto (1652) by between Apollo and Dionysos. Pier Francesco Cavalli (1602–76). Diana is in love with the shepherd Endymion, but to preserve her vow of chastity, she must confine We shall watch the end of the opera in the 1981 filmed version by herself to caressing him at night in a ray of moonlight. Tony Palmer, set in Venice, but incorporating many other visual images that reflect the hallucinatory quality of the work. — La Calisto, Act II, final duet of Diana and Endimione 4 Louise Winter, Graham Pushee; Herbert Wernicke (d), — Death in Venice, Aschenbach’s soliloquy and finale 13 René Jacobs (c); Brussels 2005 Robert Gard, John Shirley-Quirk; Tony Palmer (d), 1981 B. Behind a Veil of Symbols D. A Love Realized in Death Pelléas et Mélisande (1902) by Claude Debussy (1862–1918) ends Tristan and Isolde (1865), the masterpiece of Richard Wagner with the confession of an adulterous, but still unconsummated love. (1813–83), is based on a medieval legend. It is the story of two But it is an opera with its own peculiar sense of time, in which the lovers, Tristan of Brittany and Queen Isolde of Ireland, who process of falling in love seems to stretch out for ever, without recognize their love only on the ship on which he is escorting her as either of the two characters being aware of it. Based on an 1893 play the bride of his liege, King Mark of Cornwall. The legend has it that by the Belgian symbolist Maurice Maeterlinck (1862–1949), it is a they drink a love potion, but that is merely a catalyst for emotions kind of rewriting ofTristan and Isolde, set in a deliberately distant already roiling beneath the surface. medieval world, where nothing is quite as it seems, and every detail — Tristan und Isolde, Act I, ending appears to hold a hidden meaning. Mélisande appears from 5 Waltraud Meier, Ian Storey; Patrice Chéreau (d), nowhere as a lost girl weeping by a woodland well. She is rescued Daniel Barenboim (c); La Scala, 2007 and married by Prince Golaud, but her closest affinity is to his half- brother Pelléas, who seems a lost soul himself. In the scene we shall In Act II, the lovers meet during a night hunt involving the rest of the see, she is in a tower, Rapunzel-like, combing her hair for the night. court. Heedless of the warnings of Isolde’s maid Brangäne, they sing of a consummation they will find only in death. Twice their music — Debussy: Pelléas et Mélisande, Act III, scene 1 12½ Christine Oelze, Richard Croft; Graham Vick (d), Andrew rises towards a climax, twice is it interrupted, the last time by the Davis (c); Glyndebourne 2005 sudden return of King Mark and his court. — Tristan und Isolde, Act II love duet, ending 7½ As above, with Michelle de Young (Brangäne); La Scala, 2007 .
Recommended publications
  • Network Map of Knowledge And

    Network Map of Knowledge And

    Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W.
  • Marie Collier: a Life

    Marie Collier: a Life

    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
  • Neeme Järvi Kurt Atterberg Kurt Atterberg (1887 – 1974)

    Neeme Järvi Kurt Atterberg Kurt Atterberg (1887 – 1974)

    Atterberg SUPER AUDIO CD Symphony No. 4 ‘Sinfonia piccola’ • Suite No. 3 Symphony No. 6 ‘Dollar Symphony’ • En värmlandsrapsodi Gothenburg Symphony Orchestra Neeme Järvi Kurt Atterberg Kurt Atterberg (1887 – 1974) Orchestral Works, Volume 1 Symphony No. 6, Op. 31 ‘Dollar Symphony’ (1927 – 28)* 27:12 in C major • in C-Dur • en ut majeur 1 I Moderato – Poco più vivo – Tranquillo – Tempo I – Più vivo – Tempo I, marcatissimo – Poco più vivo – Tranquillo – Tempo I – Con moto – Subito largamente 8:52 2 II Adagio – Tranquillo – Un pochettino animando – Tempo tranquillo 9:47 3 III Vivace – Poco meno mosso – Tempo I – Poco stretto – Molto sostenuto – Presto 8:20 4 En värmlandsrapsodi, Op. 36 (1933)* 7:57 (A Värmland Rhapsody) ‘…runt om Lövens långa sjö…’ (…round the long Löven lake…) Zu Selma Lagerlöfs 75. Geburtstag Tranquillo, espressivo – Vivo – Tempo tranquillo – Vivo – Tempo tranquillo – Con moto – Tempo I 3 Suite No. 3, Op. 19 No. 1 (1921)†‡ 14:30 Arrangement by the composer for violin, viola, and string orchestra of movements from incidental music (1918) to the mystery play Sœur Béatrice (1901) by Maurice Maeterlinck (1862 – 1949) for violin, viola, and harmonium 5 Prélude. Adagio 3:39 6 Pantomim. Moderato 4:49 7 Vision. Allegro moderato – Con moto – Con moto – Tranquillo – Vivo – Adagio – Lento 5:56 Symphony No. 4, Op. 14 ‘Sinfonia piccola’ (1918)* 19:59 in G minor • in g-Moll • en sol mineur Composed on Swedish National Melodies 8 I Con forza – Tempo commodo – Tempo I – Vivo – Poco tranquillo – Vivo – Sempre quasi agitato – Commodo – Stretto poco – 5:46 9 II Andante – Tranquillo – 7:10 4 10 III Scherzo.
  • Elisa Citterio Discography 2009 Handel Between Heaven and Earth

    Elisa Citterio Discography 2009 Handel Between Heaven and Earth

    Elisa Citterio Discography 2009 Handel Between Heaven And Earth CD Stefano Montanari, conductor Accademia Bizantina Soloists Sandrine Piau,Topi Lehtipuu 2008 Handel The Musick For The Royal Fireworks, Concerti A Due Cori CD Alfredo Bernardini Zefiro Fiorenza Concerti & Sonate CD Stefano Demicheli Dolce & Tempesta 2003 Various Storia Del Sonar A Quattro - Volume III CD Joseph Joachim Quartet 2001 Schuster 6 Quartetti Padovani CD Joseph Joachim Quartet 2000 Vivaldi La Tempesta di Mare CD Fabio Biondi Europa Galante 1998 Monteverdi Settimo Libro Dei Madrigali CD Claudio Cavina La Venexiana Recordings with L’orchestra del Teatro alla Scala di Milano 2015 Mozart Don Giovanni DVD Daniel Barenboim, conductor Orchestra & Chorus of Teatro alla Scala Peter Mattei, Bryn Terfel, Anna Netrebko, Barbara Frittoli, Giuseppe Filianoti, Anna Prohaska 2014 Jarre Notre-Dame De Paris DVD Paul Connelly, conductor Ballet Company & Orchestra of Teatro alla Scala Natalia Osipova, Roberto Bolle, Mick Zeni, Eris Nezha Wagner Goetterdammerung DVD Daniel Barenboim, conductor Orchestra & Chorus of Teatro alla Scala Maria Gortsevskaya, Lance Ryan, Iréne Theorin, Mikhail Petrenko Wagner Siegfried DVD Daniel Barenboim, conductor Orchestra & Chorus of Teatro alla Scala Lance Ryan, Peter Bronder, Terje Stensvold, Johannes Martin Kränzle, Alexander Tsymbalyuk, Anna Larsson, Nina Stemme, Rinnat Moriah Beethoven Fidelio VC Daniel Barenboim, conductor Orchestra & Chorus of Teatro alla Scala Peter Mattei, Falk Struckmann, Klaus Florian Vogt, Jonas Kaufmann, Anja Kampe, Kwangchul
  • Synesthetic Landscapes in Harold Pinter's Theatre

    Synesthetic Landscapes in Harold Pinter's Theatre

    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1645 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 ii © 2010 GRAÇA CORRÊA All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________ ______________________________ Date Chair of Examining Committee Daniel Gerould ______________ ______________________________ Date Executive Officer Jean Graham-Jones Supervisory Committee ______________________________ Mary Ann Caws ______________________________ Daniel Gerould ______________________________ Jean Graham-Jones THE CITY UNIVERSITY OF NEW YORK iv Abstract Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Adviser: Professor Daniel Gerould In the light of recent interdisciplinary critical approaches to landscape and space , and adopting phenomenological methods of sensory analysis, this dissertation explores interconnected or synesthetic sensory “scapes” in contemporary British playwright Harold Pinter’s theatre. By studying its dramatic landscapes and probing into their multi-sensory manifestations in line with Symbolist theory and aesthetics , I argue that Pinter’s theatre articulates an ecocritical stance and a micropolitical critique.
  • Copyright by Laura Kathleen Valeri 2011

    Copyright by Laura Kathleen Valeri 2011

    Copyright by Laura Kathleen Valeri 2011 The Thesis Committee for Laura Kathleen Valeri Certifies that this is the approved version of the following thesis: Rediscovering Maurice Maeterlinck and His Significance for Modern Art APPROVED BY SUPERVISING COMMITTEE: Supervisor: Linda D. Henderson Richard A. Shiff Rediscovering Maurice Maeterlinck and His Significance for Modern Art by Laura Kathleen Valeri, BA Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2011 Abstract Rediscovering Maurice Maeterlinck and His Significance for Modern Art Laura Kathleen Valeri, MA The University of Texas at Austin, 2011 Supervisor: Linda D. Henderson This thesis examines the impact of Maurice Maeterlinck’s ideas on modern artists. Maeterlinck's poetry, prose, and early plays explore inherently Symbolist issues, but a closer look at his works reveals a departure from the common conception of Symbolism. Most Symbolists adhered to correspondence theory, the idea that the external world within the reach of the senses consisted merely of symbols that reflected a higher, objective reality hidden from humans. Maeterlinck rarely mentioned symbols, instead claiming that quiet contemplation allowed him to gain intuitions of a subjective, truer reality. Maeterlinck’s use of ambiguity and suggestion to evoke personal intuitions appealed not only to nineteenth-century Symbolist artists like Édouard Vuillard, but also to artists in pre-World War I Paris, where a strong Symbolist current continued. Maeterlinck’s ideas also offered a parallel to the theories of Henri Bergson, embraced by the Puteaux Cubists Jean Metzinger and Albert Gleizes.
  • The German-Jewish Experience Revisited Perspectives on Jewish Texts and Contexts

    The German-Jewish Experience Revisited Perspectives on Jewish Texts and Contexts

    The German-Jewish Experience Revisited Perspectives on Jewish Texts and Contexts Edited by Vivian Liska Editorial Board Robert Alter, Steven E. Aschheim, Richard I. Cohen, Mark H. Gelber, Moshe Halbertal, Geoffrey Hartman, Moshe Idel, Samuel Moyn, Ada Rapoport-Albert, Alvin Rosenfeld, David Ruderman, Bernd Witte Volume 3 The German-Jewish Experience Revisited Edited by Steven E. Aschheim Vivian Liska In cooperation with the Leo Baeck Institute Jerusalem In cooperation with the Leo Baeck Institute Jerusalem. An electronic version of this book is freely available, thanks to the support of libra- ries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative can be found at www.knowledgeunlatched.org This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. ISBN 978-3-11-037293-9 e-ISBN (PDF) 978-3-11-036719-5 e-ISBN (EPUB) 978-3-11-039332-3 ISSN 2199-6962 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2015 Walter de Gruyter GmbH, Berlin/Boston Cover image: bpk / Staatsbibliothek zu Berlin Typesetting: PTP-Berlin, Protago-TEX-Production GmbH, Berlin Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Preface The essays in this volume derive partially from the Robert Liberles International Summer Research Workshop of the Leo Baeck Institute Jerusalem, 11–25 July 2013.
  • Modern Theories of Drama

    Modern Theories of Drama

    Modern Theories of Drama A Selection of Writings on Drama and Theatre 1850-1990 Edited and annotated by George W. Brandt CLARENDON PRESS • OXFORD 1998 Contents Acknowledgements ix Introduction xiii PART I General Theory The Work of Art of the Future (1849) Richard Wagner 3 The Thirty-Six Dramatic Situations (1895) Georges Polti 12 The Law of the Drama (1894) Ferdinand Brunetiere 19 >OThe Comic in Situations (1900) Henri Bergson 25 Melodrama (1966) Eric Bentley 35 For a Theatre of Situations (1947) Jean-Paul Sartre 42 XTheatre Problems (1954-5) Friedrich Durrenmatt 45 Theatre without a Conscience (1990) Howard Barker 55 Are There Universals of Performance in Myth, Ritual, and Drama? (1989) Victor Turner 62 PART 11 Varieties of Realism The Relationship of Dramatic Art to its Age and Allied Matters: The Preface to Mary Magdalene (1844) Friedrich Hebbel 71 Naturalism (1881) Emile Zola 80 Author's Preface to Miss Julie (1888) August Strindberg 89 liffTlAgainst the Well-Made Play (1911) George Bernard Shaw 99 Death of a Salesman: A Modern Tragedy? (1958) Arthur Miller 106 vi Contents PART in. Anti-Naturalism The Tragical in Daily Life (1894) Maurice Maeterlinck 115 The Theatre (1899) William Butler Yeats 122 Certain Noble Plays of Japan (1917) William Butler Yeats 126 y On the Theatre: The Fairground Booth (1913) Vsevolod Emilievich Meyerhold 132 On the Art of the Theatre: The First Dialogue (1905) Edward Gordon Craig 138 Organic Unity (1921) Adolphe Appia 145 Memoranda on Masks (1932) Eugene O'Neill 153 A Dramatist's Notebook (1933) Eugene
  • Manyfaces of Inspiration Conversations on Australian Creativity

    Manyfaces of Inspiration Conversations on Australian Creativity

    William Barton Bruce Beresford Tony Bilson Wendy Blacklock Joan Carden Geoffrey Chard David Clarkson Michael Crouch Rosemary Crumlin Tania De Jong Ross Edwards Robert Gard Stephen Kovacevic Greta Lanchbery Justin Macdonnell David Malouf John McCallum Elisabeth Murdoch Ted Myers Roland Peelman Helena Rathbone Rodney Seaborn John Shaw ManyFaces of Inspiration Conversations on Australian Creativity Dinah Shearing Rachael Swain ANTONY Ken Tribe Googie Withers JEFFREY Martin & Peter Wesley-Smith Many Faces of Inspiration — Antony Jeffrey.indd 1 2/09/10 4:52 PM ntony Jeffrey has worked A in arts management since 1975 when he joined the Australia Council as Music Board director. He was the first general manager of the Australian Chamber Orchestra and for many years has maintained a close association with the orchestra. Prior to that he was commercial manager of the Australian Opera. More recently he was general manager of the Song Company until 2009. He originally trained as an accountant with Price Waterhouse, where he worked in Australia and overseas until his passion for music seduced him into the professional music scene. Since that time, in addition to his executive appointments, he has worked as director or consultant to many arts organisations including the Australian Ballet, Melbourne Theatre Company, Lyric Opera of Queensland, Musica Viva, Australian Brandenburg Orchestra and the Australian Elizabethan Theatre Trust. He has been a leader in establishing philanthropy, corporate sponsor- ship and strategic planning in the arts in Australia, publishing several books in this field, notably 101 Good Ideas for Assisting the Arts. He was appointed a Member of the Order of Australia in 2008 for his services to the arts.
  • James Cohan Gallery

    James Cohan Gallery

    James Cohan Gallery THURSDAY, APRIL 14, 2005 In Pursuit of a Total Art, the Paris Opera Adds Video to 'Tristan und Isolde' By Alan Riding Ben Heppner and Waltraud Meier as the title characters in "Tristan und Isolde," beneath video scenes by Bill Viola at the Paris National Opera. Photo by Pascal Gely/Enguerand. Copyright 2005 The New York Times Company. PARIS, April 13 - Huge, dense, taxing, with almost all the action taking place in the heart, Wagner's "Tristan und Isolde" is notoriously difficult to stage. Indeed, the composer himself abandoned his first attempt in Vienna in the early 1860's after no fewer than 77 rehearsals. Now, in a daring experiment, the Paris National Opera has invited the American video artist Bill Viola to accompany the work with his own visual commentary. On a 30-foot-wide screen above and behind the somberly lighted space peopled by the singers, images that recall some of Mr. Viola's well-known video pieces variously offer literal, metaphorical and even spiritual complements to one of mythology's most famous and tragic love stories. With only the preludes played to a closed curtain, Mr. Viola's multi-toned video poem runs for some 3 hours 40 minutes, a full-length spectacle in its own right. 533 WEST 26TH STREET NEW YORK NEW YORK 10001 TEL 212 714 9500 FAX 212 714 9510 James Cohan Gallery The production, first performed in a concert version at Disney Hall in Los Angeles in December, is directed by Peter Sellars, with Esa-Pekka Salonen conducting the Paris Opera Orchestra.
  • A Study of Central Characters in Seven Operas from Australia 1988-1998 Anne Power University of Wollongong

    A Study of Central Characters in Seven Operas from Australia 1988-1998 Anne Power University of Wollongong

    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1999 Voiced identity: a study of central characters in seven operas from Australia 1988-1998 Anne Power University of Wollongong Recommended Citation Power, Anne, Voiced identity: a study of central characters in seven operas from Australia 1988-1998, Doctor of Philosophy thesis, Faculty of Creative Arts, University of Wollongong, 1999. http://ro.uow.edu.au/theses/1761 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] VOICED IDENTITY: A STUDY OF CENTRAL CHARACTERS IN SEVEN OPERAS FROM AUSTRALIA 1988-1998 ANNE POWER A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy July 1999 Faculty of Creative Arts University of Wollongong II ABSTRACT Composers of Australian operas, in the decade from 1988 to 1998, have responded to social and political events through the medium of central characters. In each of the seven operas in the study, a character becomes the signifier of reflections on events and conditions that affect Australian society. The works selected are Andrew Schultz's Black River, Gillian Whitehead's The Bride of Fortune, Moya Henderson's Lindy - The Trial Scene, Richard Mills' Summer of the Seventeenth Doll, Alan John's The Eighth Wonder, Martin Wesley-Smith's Quito and Colin Bright's The Sinking of the Rainbow Warrior. These operas are studied in three groups to investigate issues that concern voices of women in the contemporary operatic genre, issues of cultural identity and issues of political protest.
  • An Analysis and Discussion of Zwischenfach Voices by Jennifer

    An Analysis and Discussion of Zwischenfach Voices by Jennifer

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ASU Digital Repository An Analysis and Discussion of Zwischenfach Voices by Jennifer Allen A Research Paper Presented in Partial Fulfillment of the Requirements of the Degree Doctor of Musical Arts Approved April 2012 by the Graduate Supervisory Committee: Carole FitzPatrick, Co-Chair Kay Norton, Co-Chair Dale Dreyfoos Russell Ryan Robert Barefield ARIZONA STATE UNIVERSITY May 2012 ABSTRACT Zwischen in the German language means ‘between,’ and over the past century, as operatic voices have evolved in both range and size, the voice classification of Zwischenfach has become much more relevant – particularly to the female voice. Identifying whether nineteenth century composers recognized the growing opportunities for vocal drama, size, and range in singers and therefore wrote roles for ‘between’ singers; or conversely whether, singers began to challenge and develop their voices to sing the new influx of romantic, verismo and grand repertoire is difficult to determine. Whichever the case, teachers and students should not be surprised about the existence of this nebulous Fach. A clear and concise definition of the word Fach for the purpose of this paper is as follows: a specific voice classification. Zwischenfach is an important topic because young singers are often confused and over-eager to self-label due to the discipline’s excessive labeling of Fachs. Rushing to categorize a young voice ultimately leads to misperceptions. To address some of the confusion, this paper briefly explores surveys of the pedagogy and history of the Fach system. To gain insights into the relevance of Zwischenfach in today’s marketplace, I developed with my advisors, colleagues and students a set of subjects willing to fill out questionnaires.