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An Investigation Into Children's Opera

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An Investigation Into Children's Opera AN INVESTIGATION INTO CHILDREN’S OPERA: A HISTORICAL SURVEY, ITS NATURE AND CONDITION IN CANADA TODAY AFARIN MANSOURI TEHRANI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF PHD IN MUSIC GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO NOVEMBER 2019 © AFARIN MANSOURI TEHRANI, 2019 Abstract Opera is a unique collaboration of music, dance, literature, theatre, and visual arts which some observers believe is the greatest of all art forms. From its origins in Florence, opera has existed as a significant source of cultural and national identity through sharing stories from different nations, addressing social and political issues, and creating new meanings and trends through the combination of old and new. In parallel with contemporary globalization developments, opera continually attempts to reinvent itself by becoming ever more communal, more accessible, and cross-culturally adaptable. This dissertation considers the involvement of children in the merging of music and drama as part of the unbroken tradition dating back to ancient Greece. Opera is capable of entertaining and educating younger generations either as active participants or audience members. It offers the potential to reveal new ideas, illustrate aspects of diverse cultures, support intellectual progress, and facilitate educational and artistic creativity. As a composer and a teaching artist with many years of experience working with children and youth, my teaching philosophy encompasses informing the younger generation about their own cultural values in addition to those of others. This approach supports educational development and encourages the development of strong creative voices in a more diverse society of the future. Through its history, opera has served as a kinaesthetic pedagogical tool for children to assist them in locating their own unique creative selves and artistic personalities. Unfortunately, there are limited resources and references available to facilitate opera production aimed at children. This dissertation seeks to partially remedy this situation by providing a historical overview and analytical and pedagogical resources for individuals (educators, composers, ensemble directors, producers, etc.) who are interested in creating children’s opera or employing opera as a pedagogical approach for children. ii Dedication This thesis is dedicated to the love of my life, A man who stood by me and shared his life and heart with me, Without his love and support I was not able to get here. To my husband, my only and true love: Dr. Nima Eslaminasab iii Acknowledgments I wish to express my gratitude to my supervisor, Professor Michael Coghlan, for his constant support, guidance, and encouragement and helping me keep my hopes up. He supported my vision, believed and trusted my ideas and accepted to work with me. I would also like to thank my entire comprehensive exam and thesis committee members for their time, support, and constructive comments. Of equal importance are my thanks to Professor Mark Chambers and Professor Al Henderson. This research was also supported in parts by Sunnaz Sarah Taheri Graduate Award in Fine Arts at York University and I am particularly pleased to thank Taheri Family, especially Mrs. Nazy Taheri and Mr. Farrokh Eshraghi for their generous support. As a graduate student, I have had the honor of attending many lectures and courses at York University; in particular, I enjoyed and learned much from attending lectures by Prof. Rob Bowman and Prof. Dorothy De Val plus Prof. Sherry Johnson whom I had the pleasure to work with as a Teacher Assistant in her course Music in the City. Special thanks also go to Prof. William Thomas, (former Chair of Department of Music) Tilban-Rios and Triporna Das (Graduate Program Assistants) and Lora Zuech (Administrative Assistant) for all the suggestions and help. Many thanks to my colleagues and friends at Canadian Opera Company (COC) and Canadian Children’s Opera Company (CCOC) for their constant support. Special thanks go to Mrs. Ann Cooper Gay, who gave me so much inspiration. Also Dr. Dean Burry, Alexander Neef, Christie Darville, Nina Draganic, Mrs. Katherine Semcesen, the Education and Outreach Manager at COC, as well as Mr. Ken Hall, Managing Director at CCOC, for sharing their knowledge and network and supporting me throughout my studies and connecting with so many new people, including all amazing teaching artists at COC. iv I am in debt to thank all my previous mentors and role models Mrs. Linda Catlin Smith, Dr. Peter Hatch, Dr. Heather Taves, and Dr. Gary Kulesha, Mrs. Michelle Jaquese, and Mrs Pat Murray. I could not be where I am at today without the generous support and openness of these wonderful people whom thought me perseverance, modesty, integrity, and faith. I wish to express thanks to all my family members for their constant support, encouragement, and understanding. My father, Ahmad Mansouri, was my first and most important role model and inspiration. He taught me to imagine, dream big, never give up, and to set goals that bring goodness to others. My mother, Farideh Kashef, must be acknowledged for her patience, glowing character, and for believing in me. My brothers: Pouya and Azad, who have offered me their love and support and, always kept me inspired and hopeful. Last but not least, I dedicate this thesis to my beloved husband, Dr. Nima Eslaminasab. My only and true love without him nothing was possible. I thank you for staying beside me for many years and supporting me and helping me to reach to my dreams. Words cannot describe my love and gratitude towards you. Afarin Mansouri v TABLE OF CONTENTS Abstract............................................................................................................................... ii Dedication.......................................................................................................................... iii Acknowledgments ..............................................................................................................iv Table of Contents................................................................................................................vi List of Tables................................................................................................................... xiii List of Photos ...................................................................................................................xiv Chapter 1 Introduction.........................................................................................................1 1.1 Research Purpose....................................................................................................1 1.2 Significance of Study..............................................................................................3 1.3 Related Literature and Resources ...........................................................................4 Chapter 2 A Survey of Children’s Opera ............................................................................8 2.1 Early Background- Ancient and Secular Ceremonies ............................................8 2.2 Middle Ages and Early Renaissance: Children and Church Music......................12 2.3 Late Renaissance: Boy Companies and Court Entertainments ...........................16 2.4 17th Century: School Operas.................................................................................24 2.5 18th and 19th Century: Fairytale and Savoy Operas..............................................29 2.5.1 Fairytale Opera ..............................................................................................29 2.5.2 Savoy Opera ..................................................................................................34 2.6 20th Century Children’s Music .............................................................................38 vi 2.6.1 Russia: The Birth Place of Artistic Children’s Symphonic Production ........39 2.6.2 Germany: First Children’s Radio Opera........................................................40 2.6.3 Germany: Schulopern and Lehrstü cke: New Genre of School Operas .....40 2.6.4 England: English School Operas ...................................................................43 2.6.5 United States: First Children’s Television Operas ........................................46 2.6.6 United States: Mini Musicals and Broadway Musicals for children.............48 2.6.7 United States: School Operas and Opera Educational Programs ..................54 2.7 Other Notable Children’s Operas .........................................................................55 2.7.1 El retablo de Maese Pedro 1923....................................................................55 2.7.2 The Cunning Little Vixen 1924.....................................................................57 2.7.3 L’Enfant et les Sortilèges 1926 .....................................................................59 2.7.4 The Second Hurricane 1937 ..........................................................................59 2.7.5 Brundibár 1941..............................................................................................60 2.7.6 Cassations 1967-1982....................................................................................61 2.8 Conclusion............................................................................................................62 Chapter 3 A Survey of Canadian Children’s Music..........................................................66
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