DOCSLIB.ORG

Italo-Ibero-American Relationships in the Musical Theatre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Italo-Ibero-American Relationships in the Musical Theatre ABSTRACTS IMS Study Group IMS Study Group ABSTRACTS Italo-Ibero-American Relationships Anibal E. CETRANGOLO (Universidad de San Martin, Buenos Aires / Università Ca’Foscari, in the Musical Theatre Venice) “The nostalgic willow: Opera on the river” Tuesday, March 21, 14:00-17:00, H 416 This paper analyzes the penetration of lyric theatre along the rivers of South American countries. “Italian Opera in the Southern Cone. Transnational vs. National” Foreign communities - chiefly Italian ones - built opera houses on the shores of the navigable rivers of the region, above all the Paraná and the Uruguay. This kind of circulation had notable character- Session chair istics. Productions were often handled by a single impresario, which meant that the same lyrical Anibal E. CETRANGOLO (Universidad de San Martin, Buenos Aires / Università Ca’Foscari, Venice) product circulated across the borders of Argentina, Uruguay and Brazil. One can assume, then, that this huge area hosted an enormous audience that attended a unique opera season. In contrast to Session Abstract initial impressions, documentary evidence reveals that important international artists performed in The presence of opera in Latin America was not a passive phenomenon. A dichotomy was creat- these theatres. It is also evident that these theaters had a very different representative function in ed between the arrival of Italian lyric companies and the local response to these cultural migrations. comparison with opera houses in the capitals of the country. While the Colon Theater, the Solis, the This session of the RIIA examines these aspects, underlining both the transnational movement Municipal of Santiago and the Municipal of Rio, with stable orchestras and choruses, proudly rep- (marked by business dynamics), and the attempt by local groups to appropriate the lyric genre. The resented the country, provincial theaters - visited occasionally by troupes that remained briefly in the first part of the session explores the spectra of lyric circulation in provincial urban centers, where place - were instead a nostalgic link with a world situated very far away. migrants built lyric theaters that were visited by troupes which profited from the great navigable rivers (Argentina, Uruguay, Brazil) or travelled by railway (Argentina Chile). But operatic penetra- tion was varied not only in a geographical sense: opera covered also the complete social spectrum. Fernando BERÇOT, Clarissa BOMFIM, Maria FILIP, Bruno LIGORE, Michele MESCALCHIN, The second part of the session discusses the local reaction: young Latin-American states aimed to Giulia MURACE, and Ignacio WEBER (RIIA Theaters Group) employ opera in the construction of the nation attempting to create an operatic repertoire using “Operatic migrations on the River Parana” legends, the indigenous Uruguayan literature or the musical repertoire of northeastern Argentina. In these activities, visual aspects – scenography and costumes – were of great importance. The opera is a cultural object which claims to interdisciplinary and transnational study. The travel of lyric companies crosses frontiers and this fact methodologically banishes the tendency to Individual Abstracts consider the countries of the continent as isolated realities. Is unsustainable to reduce the analysis of I. Opera and Italians in South America the opera considering sound as the only factor forgetting other constituent components of the lyric scene as management, set design, machinery or choreography. This young team of RIIA coordinated Ditlev RINDOM (University of Cambridge, UK) by A. Cetrangolo RIIA is formed by persons from different countries and different areas of interest. “Listening to Verdi at Buenos Aires’s Fin-de-Siècle” The group studies the river theaters and has made a first scan in a specific case, the Teatro Aguiar of San Nicolás de los Arroyos, and aims to develop a protocol that could be applicable to other places. This paper focuses upon the South American premiere of Verdi’s Otello in Buenos Aires in June This object of study was born from the restoration of the curtain that Giuseppe Carmignani 1888, in order to address a broader set of issues centred upon the relationship between an increasing- painted for Rosario’s Opera House the Teatro El Círculo. This work is a copy of Parma theater cur- ly stable, commodified Italian operatic canon and the burgeoning Argentinian metropolis. The pre- tain showing that migration in opera involved other factors than musical ones. The group analyzes sentation of Verdi’s latest opera provided a golden opportunity for Buenos Aires to reinforce its po- other river presences which show operatic travel in Argentina and Brazil. The analysis of other occu- sition within a global operatic network, while also provoking intense local media interest due to the pants of those scenarios as the dancers, are considered with relevance. competition between two Italian impresarios first to present the opera. These juxtaposed produc- tions precipitated a complex legal dispute, as well as engendering a prolonged critical discussion of the opera and its various manifestations (or mediations) as performance. This paper examines the Otello episode in the context of wider discussions surrounding urban development and the operatic canon in fin-de-siècle Buenos Aires, focusing particularly upon ideas about the operatic future and the long-range implications of opera’s complex mediality. 10 11 IMS03-05.indd 10-11 2017/01/10 13:23 ABSTRACTS IMS Study Group IMS Study Group ABSTRACTS José Manuel IZQUIERDO (University of Cambridge, UK) Marita FORNARO BORDOLLI (Centro de Investigación en Artes Musicales y Escénicas/Escuela “Italian dominance in Chile’s musical and operatic life, 1890 – 1925: networks and families” Universitaria de Música Universidad de la República, Uruguay) “On exoticism and multiculturalism in Uruguayan opera” The two most influential centers of music in Chile between the 1890s and the 1920s where the Teatro Municipal, the opera house in Santiago, and the National Conservatoire. While later gener- This paper explores the presence of indigenous cultures, European immigrants and exotic cul- ations criticized the period for being “too Italianate”, centered on the performance on opera rather tures in the operas produced in Uruguay. After an overall picture, including a focus on an idealized than on local composition, rarely has this idea of Italian influence been scrutinized, or more specifi- Far East, we address the romantic representation of indigenous cultures of the Uruguayan territory cally defined. What was Italian in it? In this paper, which is a work in progress, I want to discuss how (after their extermination) in literature and opera. The analysis focuses on the opera Liropeya (1881; the networks of Italian influence generated in the period, and how they sustained an increasing in- premiered 1912) by León Ribeiro, based on the poem El Charrúa by Pedro Bermúdez; the represen- fluence not only locally, but in their relation with neighboring countries and Europe. The Teatro tation of The Other is characterized in the language of Italian romantic opera. Secondly, this opera Municipal was dominated in musical and administrative terms by the Padovani family, while the is compared with Marta Gruni by Jaurès Lamarque Pons (premiered 1967). This opera, composed Conservatoire by the composers Enrique Soro -whose father was Italian and studied in Milan- and after the homonymous sainete of the Uruguayan playwright Florencio Sánchez, is set in a conventil- Luigi Stefano Giarda, an Italian composer who wrote the opera for the festivities of the Centenary lo (communal housing) in Montevideo, inhabited by European immigrants and descendants of in 1910. This Italian group influenced local composition, Chilean singers and the selection of opera enslaved people. Its arias and recitatives are based on two manifestations of popular urban music: companies and repertoire during the entire political period. I will study how these two groups (of tango and Afro-Uruguayan candombe. We reflect upon the presence of these cultures in librettos the Conservatorio and the Teatro Municipal) worked together, and how the Italian families created and music, and it is linked to representations in popular music of the first half of the 20thcentury. networks to sustain and dominate local culture. The visit of Pietro Mascagni in 1911, and the increas- ing criticism by Chilean musicians of this Italian influence in the 1920s will be two important points to be discussed. Laura MALOSETTI COSTA (CONICET – IIPC-TAREA UNSAM Universidad de San Martin, Buenos Aires) “Tabaré, migration of an American tragedy” II. The local response Tabaré is a poem published in 1888 from the Uruguayan Juan Zorrilla de San Martin. The paper Sergio Marcelo DE LOS SANTOS (Universidad de la República, Uruguay) analyzes the mythical origins of the subject: a drama at Spanish conquest of the Rio de la Plata in the “Renewal and permanence of the opera in Uruguay” sixteenth century, and some aspects of his several – at least four - operatic reformulations. It studies the settings of scenographer Rodolfo Franco for the premiere of Alfredo Schiuma’s version at the Since the last century, the panorama of the opera in Uruguay has been studied from diverse Teatro Colón in Buenos Aires in 1925 and the long literary and iconographic tradition that the trag- points of view. The musicological perspective was complemented with the view of historians, sociol- edy of the early extermination of the
Load more

Recommended publications
  • Let Freedom Sing! Four African-American Concert Singers in Nineteenth-Century America
    LET FREEDOM SING! FOUR AFRICAN-AMERICAN CONCERT SINGERS IN NINETEENTH-CENTURY AMERICA By SONYA R. GABLE-WILSON A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Sonya R. Gable-Wilson ACKNOWLEDGMENTS Special thanks are given to my husband, Ken Wilson. Without his never-ending love, support (both mentally and financially), encouragement, and many, many sacrifices, I could not have persevered and completed this project. Throughout this task I also had the joy of working with a great committee: Elizabeth Graham, Raymond Chobaz, Arthur Jennings, Brian Ward, and David Kushner. This group gave frequent advice, new ideas, and often steered me toward a more objective direction. I am especially grateful to David Kushner, not only for his wisdom, guidance, patience, and many chats over the past several years, but also for instilling in so many students a love of musicology. Most of all, many thanks go to all of these people for believing in my success. This project would not have existed without the assistance of many individuals in various public libraries, city halls, and universities nationwide, who contributed their time and efforts in helping with this research. Special thanks are given to the University of Florida music librarians, Robena Cornwell and Michelle Wilbanks-Fox, for their knowledge and continued support over the years. Without these ladies, this huge task would have been impossible. Also, recognition and appreciation should be given to Luvada Harrison and Linda Thompson Williams for taking the time to answer questions concerning the industry.
    [Show full text]
  • (Museum of Ventriloquial Objects): Reconfiguring Voice Agency in the Liminality of the Verbal and the Vocal
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UCL Discovery MUVE (Museum of Ventriloquial Objects) Reconfiguring Voice Agency in the Liminality of the Verbal and the Vocal Laura Malacart UCL PhD in Fine Art I, Laura Malacart confirm that the work presented in the thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Laura Malacart ABSTRACT MUVE (Museum of Ventriloquial Objects) Reconfiguring Voice Agency in the Liminality of the Verbal and the Vocal This project aims at reconfiguring power and agency in voice representation using the metaphor of ventriloquism. The analysis departs from ‘ventriloquial objects’, mostly moving image, housed in a fictional museum, MUVE. The museum’s architecture is metaphoric and reflects a critical approach couched in liminality. A ‘pseudo-fictional’ voice precedes and complements the ‘theoretical’ voice in the main body of work. After the Fiction, an introductory chapter defines the specific role that the trope of ventriloquism is going to fulfill in context. If the voice is already defined by liminality, between inside and outside the body, equally, a liminal trajectory can be found in the functional distinction between the verbal (emphasis on a semantic message) and the vocal (emphasis on sonorous properties) in the utterance. This liminal trajectory is harnessed along three specific moments corresponding to the three main chapters. They also represent the themes that define the museum rooms journeyed by the fictional visitor. Her encounters with the objects provide a context for the analysis and my practice is fully integrated in the analysis with two films (Voicings, Mi Piace).
    [Show full text]
  • UNIVERSITY of CALIFORNIA RIVERSIDE the 1964 Festival Of
    UNIVERSITY OF CALIFORNIA RIVERSIDE The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero- American Musical Relations in the Context of Cold War Politics A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Alyson Marie Payne September 2012 Dissertation Committee: Dr. Leonora Saavedra, Chairperson Dr. Walter Clark Dr. Rogerio Budasz Copyright by Alyson Marie Payne 2012 The Dissertation of Alyson Marie Payne is approved: ______________________________________________________________ ______________________________________________________________ _______________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgments I would like to acknowledge the tremendous help of my dissertation committee, Dr. Leonora Saavedra, Dr. Walter Clark, and Dr. Rogerio Budasz. I am also grateful for those that took time to share their first-hand knowledge with me, such as Aurelio de la Vega, Juan Orrego Salas, Pozzi Escot, and Manuel Halffter. I could not have completed this project with the support of my friends and colleagues, especially Dr. Jacky Avila. I am thankful to my husband, Daniel McDonough, who always lent a ready ear. Lastly, I am thankful to my parents, Richard and Phyllis Payne for their unwavering belief in me. iv ABSTRACT OF THE DISSERTATION The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero- American Musical Relations in the Context of Cold War Politics by Alyson Marie Payne Doctor of Philosophy, Graduate Program in Music University of California, Riverside, September 2012 Dr. Leonora Saavedra, Chairperson In 1964, the Organization of American States (OAS) and the Institute for Hispanic Culture (ICH) sponsored a lavish music festival in Madrid that showcased the latest avant-garde compositions from the United States, Latin America, and Spain.
    [Show full text]
  • Parola Scenica: Towards Realism in Italian Opera Etdhendrik Johannes Paulus Du Plessis
    Parola Scenica: Towards Realism in Italian Opera ETDHendrik Johannes Paulus du Plessis A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of PhD by Thesis Abstract This thesis attempts to describe the emergence of a realistic writing style in nine- teenth-century Italian opera of which Giuseppe Verdi was the primary architect. Frequently reinforced by a realistic musico-linguistic device that Verdi would call parola scenica, the object of this realism is a musical syntax in which nei- ther the dramatic intent of the text nor the purely musical intent overwhelms the other. For Verdi the dramatically effective depiction of a ‘slice of a particular life’—a realist theatrical notion—is more important than the mere mimetic description of the words in musical terms—a romantic theatrical notion in line with opera seria. Besides studying the device of parola scenica in Verdi’s work, I also attempt to cast light on its impact on the output of his peers and successors. Likewise, this study investigates how the device, by definition texted, impacts on the orchestra as a means of realist narrative. My work is directed at explaining how these changes in mood of thought were instrumental in effecting the gradual replacement of the bel canto singing style typical of the opera seria of Rossini, Donizetti, and Bellini, by the school of thought of verismo, as exemplified by Verdi’s experiments. Besides the work of Verdi and the early nineteenth-cen- tury Italian operatic Romanticists, I touch also briefly on the œuvres of Puccini, ETDGiordano and the other veristi.
    [Show full text]
  • Ópera Y Masonería: El Cántico Fúnebre De José María Velásquez Revista De Estudios Históricos De La Masonería Latinoamericana Y Caribeña, Vol
    Revista de Estudios Históricos de la Masonería Latinoamericana y Caribeña ISSN: 1659-4223 Universidad de Costa Rica López Maya, Juan de Dios Ópera y masonería: El Cántico fúnebre de José María Velásquez Revista de Estudios Históricos de la Masonería Latinoamericana y Caribeña, vol. 8, núm. 2, 2016, pp. 118-147 Universidad de Costa Rica DOI: 10.15517/rehmlac.v8i2.25775 Disponible en: http://www.redalyc.org/articulo.oa?id=369548871008 Cómo citar el artículo Número completo Sistema de Información Científica Redalyc Más información del artículo Red de Revistas Científicas de América Latina y el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto REHMLAC+, ISSN 1659-4223, Vol. 8, no. 2, Diciembre 2016 – Abril 2017/118-147 118 Ópera y masonería: El Cántico fúnebre de José María Velásquez Opera and Freemasonry: The Funeral Canticle of José María Velásquez Juan de Dios López Maya Doctor en Humanidades, master en Musicología Latinoamericana y licenciado en Composición Musical. Profesor jubilado de la Universidad Experimental de las Artes, Venezuela. Correos electrónicos: [email protected] y [email protected] DOI: http://dx.doi.org/10.15517/rehmlac.v8i2.25775 Fecha de recibido: 8 de octubre de 2016 - Fecha de aceptación: 12 de noviembre de 2016 Palabras clave Músicos venezolanos del siglo XIX; Francisco Conde; Juan José Conde; ritos funerarios Keywords Venezuelan musicians of the Nineteenth Century; Francisco Conde; Juan José Conde; funeral rites Resumen El Cántico Fúnebre es una obra para tenor y orquesta escrita por el compositor venezolano del siglo XIX José María Velásquez con texto del político y escritor Francisco Conde.
    [Show full text]
  • Malena Kuss: Publications
    MALENA KUSS: PUBLICATIONS BOOKS: Performing Beliefs: Indigenous Peoples of South America, Central America, and Mexico, edited by Malena Kuss. Austin: University of Texas Press, 2004, 416 pp., 2 CDs. Music in Latin America and the Caribbean: An encyclopedic history, vol. 1. Performing the Caribbean Experience, edited by Malena Kuss. Austin: University of Texas Press, 2007, 537 pp., 2 CDs. Music in Latin America and the Caribbean: An encyclopedic history, vol. 2. ARTICLES: a) opera in Latin America; music historiography; b) Alberto Ginastera; c) bibliographic research; d) reviews a) Opera in Latin America; music historiography “On Shifts and Rifts, or Musicology Without Borders,” in Grenzüberschreitungen. Musik im interdisziplinären Diskurs. Festschrift für Tilman Seebass zum 75. Geburtstag, edited by Raymond Ammann, Federico Celestini, and Lukas Christensen. Innsbruck: Innsbruck University Press, 2014, 185–92. See Academia.edu “Modernismo rumbero in Carpentier’s and Caturla’s Puppet Opera Manita en el Suelo (1931–1934),” Review 82: Literature and Arts of the Americas (New York, Americas Society), 44/1 (2011), 136–142. “Il pensiero occidentale da un punto di vista transculturale (la decolonizzazione dell’America latina)” / “Western thought from a transcultural perspective: Decolonizing Latin America” in Enciclopedia della musica: L’unità della musica, 5 vols., edited by Jean-Jacques Nattiez. Torino: Giulio Einaudi editore, 2005, vol. 5, 32– 64. French edition, “La pensée occidentale du point de vue transculturel (décoloniser l’approche de la musique d’Amérique latine) in Musiques, une encyclopédie pour le XXIe siècle: L’ Unité de la musique, vol. 5 (Paris: Actes Sud / Cité de la Musique, 2007), 68–102. For English original, see Academia.edu “The Caribbean: A Reflective Overview” (with Hazel Campbell); “Cuba: A Quasi- Historical Sketch”; “Puerto Rico”; The Netherlands Antilles: A Historical Sketch,” in Performing the Caribbean Experience, vol.
    [Show full text]
  • Four Recent Productions of Dido and Aeneas
    Dramaturgical Analysis of Opera Performance: Four recent productions of Dido and Aeneas Holly Champion A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy School of the Arts and Media Faculty of Arts and Social Sciences February 2016 i Abstract The scholarly analysis of the modern performance of opera is a rapidly expanding interdisciplinary field, yet so far this body of literature has consisted almost entirely of short- form articles and chapters. This thesis posits and demonstrates a new large-scale methodology for the analysis of the modern performance of opera, drawing from theatre studies, performance studies, musicology, cultural history, and other fields, but primarily from dramaturgy. It focuses on analysing the construction of meaning and signification through modern musical and theatrical performance of opera, elucidating this through analysis of four recent productions of Henry Purcell and Nahum Tate’s c.1683–88 opera Dido and Aeneas; those of Sasha Waltz and Guests (2005), Les Arts Florissants (2008), The Royal Opera / The Royal Ballet (2009) and Opera Australia (2009). This thesis analyses and discusses the opera and the four productions through DVD recordings and live performance, while also integrating a range of primary and secondary sources. Comparing productions enables insights to be made into the interpretative possibilities offered by the operatic text. The thesis argues that these four productions of Dido and Aeneas explore a number of themes that are investigated chapter by chapter: themes of duality and dilemma; power, freedom and oppression; gender, sex and sexuality; the supernatural; and death and suicide. These arise partly from the opera's narrative and its intertextual relationship with Virgil's The Aeneid, and partly from the layers of cultural and artistic history that have accrued around the opera.
    [Show full text]
  • Libretto Spring 2020
    Libretto Spring 2020 COVID-19: What is Austin Opera doing? . From the Austin Opera Staff Despite the changes in our season brought on by Covid-19, Austin Opera is doing well. Though we had to cancel Turandot, we made the easy decision to pay our artists a portion of their contracted fee to assist them through these difficult months. A few even chose to donate that back to Austin Opera! Image from https://www.furman.edu/covid-19/ Your Austin Opera staff is working diligently on several fronts to make lemonade from lemons, and to be sure that not only does Austin Opera remain a vital and stable part of our community, it continues to reach out to its patrons and opera lovers with great performances by great artists! We are working to transform Winter Journey from a canceled performance into a film project that can be viewed around the world! One of our most successful programs is Live from Indy Terrace, a weekly webcast of a premier artist bringing you beautiful music; this new series has already been viewed by more than 5,000 people, which is more than attended Everest! If you haven't heard them live, here are all the links to the various places you can watch Live from Indy Terrace: https://austinopera.org/inside-indy-terrace https://vimeo.com/austinopera https://www.youtube.com/austinopera https://www.facebook.com/AustinOpera On the financial front, staff and board are ensuring that we have applications in for funds available from government and non-profits intended to stabilize organizations such as ours through these troubled times.
    [Show full text]
  • Reconfiguring Voice Agency in the Liminality of the Verbal and the Vocal
    MUVE (Museum of Ventriloquial Objects) Reconfiguring Voice Agency in the Liminality of the Verbal and the Vocal Laura Malacart UCL PhD in Fine Art I, Laura Malacart confirm that the work presented in the thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Laura Malacart ABSTRACT MUVE (Museum of Ventriloquial Objects) Reconfiguring Voice Agency in the Liminality of the Verbal and the Vocal This project aims at reconfiguring power and agency in voice representation using the metaphor of ventriloquism. The analysis departs from ‘ventriloquial objects’, mostly moving image, housed in a fictional museum, MUVE. The museum’s architecture is metaphoric and reflects a critical approach couched in liminality. A ‘pseudo-fictional’ voice precedes and complements the ‘theoretical’ voice in the main body of work. After the Fiction, an introductory chapter defines the specific role that the trope of ventriloquism is going to fulfill in context. If the voice is already defined by liminality, between inside and outside the body, equally, a liminal trajectory can be found in the functional distinction between the verbal (emphasis on a semantic message) and the vocal (emphasis on sonorous properties) in the utterance. This liminal trajectory is harnessed along three specific moments corresponding to the three main chapters. They also represent the themes that define the museum rooms journeyed by the fictional visitor. Her encounters with the objects provide a context for the analysis and my practice is fully integrated in the analysis with two films (Voicings, Mi Piace). Chapter 1 addresses the chasm between the scripted voice and the utterance using the notion of inner speech, leading into a discussion about the role of the inner voice, not as silent vocalisation but as a fundamental cognitive tool that precedes writing.
    [Show full text]
  • T Ransnational O Pera S Tudies C Onference @ Bern.2017 2Nd Transnational Opera Studies Conference University of Bern, Switzerland 5 – 7 July 2017
    t ransnational o pera s tudies c onference @ bern.2017 2nd transnational opera studies conference University of Bern, Switzerland 5 – 7 July 2017 Programme Committee Marco Beghelli (Università di Bologna) Céline Frigau Manning (Université de Paris-VIII) Anselm Gerhard (Universität Bern) Axel Körner (University College London) Gundula Kreuzer (Yale University) Vincenzina C. Ottomano (Universität Bern) Arne Stollberg (Humboldt-Universität zu Berlin) Cristina Urchueguía (Universität Bern) Conference Organizers Anselm Gerhard (Universität Bern) Vincenzina C. Ottomano (Universität Bern) Assistant Organizer Valeria Lucentini (Universität Bern) contact: [email protected] CREDITS INDEX This conference is organized by Universität Bern Institut für Musikwissenschaft Presentation 4 Programme Committee 5 www.musik.unibe.ch Welcome Reception 9 in collaboration with Site Plan 9 Schweizerische Musikforschende Gesellschaft – Sektion Bern Wednesday, 5th July / Morning 10 www.smg-ssm.ch Wednesday, 5th July / Afternoon I 20 Wednesday, 5th July / Afternoon II 28 We are delighted to acknowledge the generous support of Thursday, 6th July / Morning I 36 Nachwuchsförderungs-Projektpool der Universität Bern Thursday, 6th July / Morning II 44 Philosophisch-historische Fakultät der Universität Bern Thursday, 6th July / Afternoon 49 Schweizerische Akademie der Friday, 7th July / Morning I 60 Geistes- und Sozialwissenschaften Friday, 7th July / Morning II & Afternoon 68 www.sagw.ch Index of Participants 76 Burgergemeinde Bern www.bgbern.ch PRESENTATION The call
    [Show full text]
  • What Is “Lyric Diction”
    The Russian Word in Song: Cultural and Linguistic Issues of Classical Singing in the Russian Language Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Kathleen Manukyan, M.A. Graduate Program in Slavic and East European Languages and Literatures The Ohio State University 2011 Dissertation Committee: Irene Delic, Advisor Helena Goscilo Andrea Sims Copyright by Kathleen Manukyan 2011 Abstract This is an interdisciplinary dissertation that addresses an array of questions relating to Russian opera and, in particular, the Russian language as it is sung in ―classical‖ or, to use the Russian term, ―academic‖ music (art song and opera). The first half of the dissertation examines several matters of cultural and literary interest, including: the first major programming of Russian operatic music in the West during Sergei Diaghilev‘s Saisons Russes; the adaptation of Russian literature to opera; the notion of a Russian ―national‖ vocal timbre; and the current culture of vocal training, professional opera singing, and opera production in Russia. Having examined some historical, textual, and cultural contexts surrounding the art of singing as practiced in Russia, the second half of the dissertation studies Russian lyric diction – that is, how the language is pronounced for communication and expression during performance of the vocal repertoire. After establishing and contextualizing the precise definition of ―lyric diction,‖ the dissertation investigates ways that the pronunciation of Russian changes from its speech norms in the lyric diction. The centerpiece of the study is an analysis of the vowel reduction patterns of sung Russian.
    [Show full text]
  • Singers, Directors, Agents, Promoters, Etc
    JENNERSDORF: FESTIVALSOMMER : opera INTENDANZ: DIETMAR KERSCHBAUM J Der Wildschütz 22. internationale sommerakademie pragwienbudapest Master Course for Voice Focussing on Opera July 26 – August 08, 2012 in Jennersdorf Komische Oper von Peter Edelmann Albert Lortzing KS Thomas Moser Schloss Tabor KS Dunja Vejzovic´ in Neuhaus am Klausenbach Master Course Opera Accompaniment for Pianists August 01 – 08, 2012 in Jennersdorf Brenda Rein Premiere: 2. August 2012 Workshops weitere Vorstellungen: Katharina Czernin 4., 5., 8., 10., 11. Brenda Rein und 12. August 2012 Gloria Sattél Monika Steiner Regie: Dominik Wilgenbus Johannes Wildner Musikalische Leitung: Sebastian Weigle Informationen unter: J:opera Jennersdorf: Festivalsommer Kirchenstrasse 4, A-8380 Jennersdorf +43 (0)3329 - 43037 [email protected] www.jopera.at www.isa-music.org Master Course for Voice Focussing on Opera (Deutsche Spieloper and Mozart) July 26 – August 08, 2012 in cooperation with J:opera Jennersdorf: Festivalsommer Master Courses, Workshops Music Festival For the third time the isa voice master course will take place in cooperation July 26 – August 26, 2012 with J:opera (part of the project TourKult) and will be arranged around a real opera production of J:opera Jennersdorf: Festivalsommer (www.jopera.at). Participants of isa12 will be able to witness and get involved with the produc- organised by tion of Lortzing’s opera “Der Wildschütz”. They will get in contact with professi- the Universität für Musik und darstellende Kunst Wien onal singers, directors, agents, promoters,
    [Show full text]