If I Translate Word for Word…” SSUE I by Nina Gettler
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The Pomegranate Cycle
The Pomegranate Cycle: Reconfiguring opera through performance, technology & composition By Eve Elizabeth Klein Bachelor of Arts Honours (Music), Macquarie University, Sydney A PhD Submission for the Department of Music and Sound Faculty of Creative Industries Queensland University of Technology Brisbane, Australia 2011 ______________ Keywords Music. Opera. Women. Feminism. Composition. Technology. Sound Recording. Music Technology. Voice. Opera Singing. Vocal Pedagogy. The Pomegranate Cycle. Postmodernism. Classical Music. Musical Works. Virtual Orchestras. Persephone. Demeter. The Rape of Persephone. Nineteenth Century Music. Musical Canons. Repertory Opera. Opera & Violence. Opera & Rape. Opera & Death. Operatic Narratives. Postclassical Music. Electronica Opera. Popular Music & Opera. Experimental Opera. Feminist Musicology. Women & Composition. Contemporary Opera. Multimedia Opera. DIY. DIY & Music. DIY & Opera. Author’s Note Part of Chapter 7 has been previously published in: Klein, E., 2010. "Self-made CD: Texture and Narrative in Small-Run DIY CD Production". In Ø. Vågnes & A. Grønstad, eds. Coverscaping: Discovering Album Aesthetics. Museum Tusculanum Press. 2 Abstract The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory. -
Vocality and Listening in Three Operas by Luciano Berio
Clare Brady Royal Holloway, University of London The Open Voice: Vocality and Listening in three operas by Luciano Berio Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music February 2017 The Open Voice | 1 Declaration of Authorship I, Patricia Mary Clare Brady, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: February 1st 2017 The Open Voice | 2 Abstract The human voice has undergone a seismic reappraisal in recent years, within musicology, and across disciplinary boundaries in the humanities, arts and sciences; ‘voice studies’ offers a vast and proliferating array of seemingly divergent accounts of the voice and its capacities, qualities and functions, in short, of what the voice is. In this thesis, I propose a model of the ‘open voice’, after the aesthetic theories of Umberto Eco’s seminal book ‘The Open Work’ of 1962, as a conceptual framework in which to make an account of the voice’s inherent multivalency and resistance to a singular reductive definition, and to propose the voice as a site of encounter and meaning construction between vocalist and receiver. Taking the concept of the ‘open voice’ as a starting point, I examine how the human voice is staged in three vocal works by composer Luciano Berio, and how the voice is diffracted through the musical structures of these works to display a multitude of different, and at times paradoxical forms and functions. In Passaggio (1963) I trace how the open voice invokes the hegemonic voice of a civic or political mass in counterpoint with the particularity and frailty of a sounding individual human body. -
Francesco Cavalli One Man. Two Women. Three Times the Trouble
GIASONE FRANCESCO CAVALLI ONE MAN. TWO WOMEN. THREE TIMES THE TROUBLE. 1 Pinchgut - Giasone Si.indd 1 26/11/13 1:10 PM GIASONE MUSIC Francesco Cavalli LIBRETTO Giacinto Andrea Cicognini CAST Giasone David Hansen Medea Celeste Lazarenko Isiile ORLANDO Miriam Allan Demo BY GEORGE FRIDERIC HANDEL Christopher Saunders IN ASSOCIATION WITH GLIMMERGLASS FESTIVAL, NEW YORK Oreste David Greco Egeo Andrew Goodwin JULIA LEZHNEVA Delfa Adrian McEniery WITH THE TASMANIAN SYMPHONY ORCHESTRA Ercole Nicholas Dinopoulos Alinda Alexandra Oomens XAVIER SABATA Argonauts Chris Childs-Maidment, Nicholas Gell, David Herrero, WITH ORCHESTRA OF THE ANTIPODES William Koutsoukis, Harold Lander TOWN HALL SERIES Orchestra of the Antipodes CONDUCTOR Erin Helyard CLASS OF TIMO-VEIKKO VALVE DIRECTOR Chas Rader-Shieber LATITUDE 37 DESIGNERS Chas Rader-Shieber & Katren Wood DUELLING HARPSICHORDS ’ LIGHTING DESIGNER Bernie Tan-Hayes 85 SMARO GREGORIADOU ENSEMBLE HB 5, 7, 8 and 9 December 2013 AND City Recital Hall Angel Place There will be one interval of 20 minutes at the conclusion of Part 1. FIVE RECITALS OF BAROQUE MUSIC The performance will inish at approximately 10.10 pm on 5x5 x 5@ 5 FIVE TASMANIAN SOLOISTS AND ENSEMBLES Thursday, Saturday and Monday, and at 7.40 pm on Sunday. FIVE DOLLARS A TICKET AT THE DOOR Giasone was irst performed at the Teatro San Cassiano in Venice FIVE PM MONDAY TO FRIDAY on 5 January 1649. Giasone is being recorded live for CD release on the Pinchgut LIVE label, and is being broadcast on ABC Classic FM on Sunday 8 December at 7 pm. Any microphones you observe are for recording and not ampliication. -
Accessible Opera: Overcoming Linguistic and Sensorial Barriers
This is a post-print version of the following article: Orero, Pilar; Matamala, Anna (2007) Accessible Opera: Overcoming Linguistic and Sensorial Barriers. Perspectives. Studies in Translatology, 15(4): 427-451. DOI: 10.1080/13670050802326766 http://www.tandfonline.com/doi/full/10.1080/13670050802326766#.U0afL-Z_sWU Accessible Opera: Overcoming Linguistic and Sensorial Barriers The desire to make media available for all has been rapidly accepted and implemented by most European countries. Opera, as one of the many audiovisual representations, also falls under the category of production which needs to be made accessible and this article aims to analyse how opera has gone through a complete transformation to become a cultural event for all, overcoming not only linguistic but also sensorial barriers. The first part of the article analyses the various forms of translation associated with opera and the main challenges they entail. The second presents different systems used to make opera accessible to the sensorially challenged, highlighting their main difficulties. Examples from research carried out at the Barcelona’s Liceu opera house are presented to illustrate various modalities, especially audio description. All in all, it is our aim to show how translated-related processes have made it possible to open opera to a wider audience despite some initial reluctance. 1. Overcoming linguistic barriers Performing opera in the source language or in the language of the audience has been a major discussion in the literature of Translation Studies —and references are found from as distant fields as Music Studies and as early as the beginning of the 20th century (Spaeth 1915), but it is Nisato (1999:26) who provides a comprehensive summary of the current three possibilities in opera performance, which in our opinion can perfectly coexist: “performing the opera in its original language and provide the listener with either a synopsis or translated libretto, to perform in the original language and make use of surtitles, or to perform a sung translation of the work”. -
NEWSLETTER Editor: Francis Knights
NEWSLETTER Editor: Francis Knights Volume v/1 (Spring 2021) Welcome to the NEMA Newsletter, the online pdf publication for members of the National Early Music Association UK, which appears twice yearly. It is designed to share and circulate information and resources with and between Britain’s regional early music Fora, amateur musicians, professional performers, scholars, instrument makers, early music societies, publishers and retailers. As well as the listings section (including news, obituaries and organizations) there are a number of articles, including work from leading writers, scholars and performers, and reports of events such as festivals and conferences. INDEX Interview with Bruno Turner, Ivan Moody p.3 A painted villanella: In Memoriam H. Colin Slim, Glen Wilson p.9 To tie or not to tie? Editing early keyboard music, Francis Knights p.15 Byrd Bibliography 2019-2020, Richard Turbet p.20 The Historic Record of Vocal Sound (1650-1829), Richard Bethell p.30 Collecting historic guitars, David Jacques p.83 Composer Anniversaries in 2021, John Collins p.87 v2 News & Events News p.94 Obituaries p.94 Societies & Organizations p.95 Musical instrument auctions p.96 Conferences p.97 Obituary: Yvette Adams, Mark Windisch p.98 The NEMA Newsletter is produced twice yearly, in the Spring and Autumn. Contributions are welcomed by the Editor, email [email protected]. Copyright of all contributions remains with the authors, and all opinions expressed are those of the authors, not the publisher. NEMA is a Registered Charity, website http://www.earlymusic.info/nema.php 2 Interview with Bruno Turner Ivan Moody Ivan Moody: How did music begin for you? Bruno Turner: My family was musical. -
Puccini's Gianni Schicchi
Puccini’s Gianni Schicchi - A survey by Ralph Moore Having already surveyed the first two operas in Puccini’s triptych Il trittico, I conclude with the last instalment, Gianni Schicchi. There are nearly fifty recordings if live recordings are counted but despite the claim on the Wikipedia that it “has been widely recorded”, it enjoys no more studio recordings than its two companion pieces. I survey below eleven, consisting of all nine studio accounts plus two mono radio broadcasts all in Italian; I am not considering any live recordings or those in German, as the average listener will want to hear the original text in good sound. The plot may be based on a cautionary tale from Dante’s Inferno about Schicchi’s damnation for testamentary falsification but its comic treatment by librettist Giovacchino Forzano, in the commedia dell'arte tradition, makes it a suitably cheery conclusion to a highly diverse operatic evening consisting of a sequence which begins with a gloomy, violent melodrama, moves on to a heart-rending tear-jerker and ends with this high farce. It is still genuinely funny and doubtless the advent of surtitles has enhanced its accessibility to non-Italian audiences, just as non-Italian speakers need a libretto to appreciate it fully when listening. This was Puccini’s only comic opera and satirises the timeless theme of the feigned grief and greed of potential heirs. The starring role is that of the resourceful arch-schemer and cunning impostor Gianni Schicchi but the contributions of both the soprano and tenor, although comparatively small, are important, as each has a famous, set piece aria, and for that reason neither part can be under-cast. -
Cultural Confrontations at Lithuania's National Drama Theatre &L
Lease_v10.doc 1 <MT>Theatre as Action, Dramaturgy as Streben <MST>Cultural Confrontations at Lithuania’s National Drama Theatre <AU>Bryce Lease <TEXT1>In March 2014, Jonas Vaitkus, the artistic director of the Lietuvos Rusų Dramo s Teatras (Lithuanian Russian Drama Theatre) in Vilnius, declined an invitation to include his recent stage adaptation of Eugene Onegin staring the Ukrainian actor Grigorijus Gladijus at the annual Baltijskij dom (Baltic Home) theatre festival in St. Petersburg, which brings together Russian-language drama from former Soviet states.1 Vaitkus’s decision, which received unanimous support from the theatre’s ensemble, was outlined in an open letter that castigated the organizer of the festival, Sergei Šubo, for signing the Russian Ministry of Culture’s list of artists who support Vladimir Putin’s aggressive political action in Ukraine in the spring of 2014. While Vaitkus makes it clear that Šubo has the right to attach his own name to such a list, he reprimands the organizer’s choice to sign on behalf of Baltijskij dom, which assigns complicity to every artist who participates in the festival. Vaitkus carefully points out his allegiance to the Lithuanian government’s position on the revolutionary developments in Ukraine, which they consider a sovereign state, Lease_v10.doc 2 and their refusal to recognize the legality of the referendum on Crimea and Russia’s subsequent annexation of the region.2 Vaitkus concludes the letter: “We express our respect, our sympathy and our hope that in your country [Russia] a time will -
Translating, Adapting, and Performing Opera in Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte at the King's Theatre" (2017)
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Translating, Adapting, And Performing Opera In Eighteenth- Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre Lily Tamara Kass University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Comparative Literature Commons, Music Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Kass, Lily Tamara, "Translating, Adapting, And Performing Opera In Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre" (2017). Publicly Accessible Penn Dissertations. 2379. https://repository.upenn.edu/edissertations/2379 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2379 For more information, please contact [email protected]. Translating, Adapting, And Performing Opera In Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre Abstract This dissertation examines music and text circulation in cosmopolitan Europe during the last decades of the eighteenth century through the lens of translation. London in the late eighteenth and early nineteenth centuries was the largest center of Italian operatic performance outside of Italy. All performances sung at the King’s Theatre, London, were sung in Italian, the presumed language of opera, even when the works had been originated in other languages. This created the need for a culture of translation and adaptation of works from abroad, making them suitable for a London audience partially through the retention of foreignness and partially through domesticating practices. In the 1790s, a period of political tension between Britain and post-Revolution France, four French operas were presented at the King's Theatre in Italian translations attributed to the poet Lorenzo Da Ponte (1749-1838): Gluck's Iphig�nie en Tauride, Gr�try's Z�mire et Azor, Monsigny's La belle Ars�ne, and Sacchini's Arvire et �v�lina. -
The Career of South African Soprano Nellie Du Toit, Born 1929
THE CAREER OF SOUTH AFRICAN SOPRANO NELLIE DU TOIT, BORN 1929 ALEXANDRA XENIA SABINA MOSSOLOW Thesis presented in partial fulfillment of the requirements for the degree of Master of Music in the Faculty of Arts, at the University of Stellenbosch Stellenbosch Supervisor: April 2003 Acáma Fick DECLARATION I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature:……………………………… Date:………………………. ABSTRACT Who is Nellie du Toit and what is the extent of her career as singer and voice teacher? The void in South African historiography in respect to the life and work of South African performing artists gave rise to investigate the career of Nellie du Toit. Known as one of South Africa’s most illustrious opera singers of the 1960’s and 1970’s, who made her career exclusively in South Africa, she is regarded as one of the most sought after voice teachers. Her career as singer spanned almost three decades. As voice teacher her career of over forty years is still ongoing. This study traces her biographical details chronologically beginning with her youth years in a very musical family. Her full-time music studies took place at the South African College of Music in Cape Town, from 1950 to 1952. Here her singing teacher Madame Adelheid Armhold and Gregorio Fiasconaro, head of the Opera School, were influential in laying the foundations for her career. After a period of over a year in England Du Toit was one of several young South African singers to contribute to pioneering opera in South Africa, often sung in the vernacular. -
A Fall to Feast On!
FALL 2014 | VOLUME 21 | NUMBER 1 A FALL TO FEAST ON! YOU ASK? ALEXANDER NEEF ANSWERS! THE YOUNGEST AUDIENCE: A NEW GENERATION DISCOVERS OPERA ANATOMY OF AN OPERA FALSTAFF RACETTE AND KADUCE CAPTURING BUTTERFLY GERALD FINLEY: COMING HOME MEET THE 2014/2015 ENSEMBLE STUDIO A MESSAGE FROM GENERAL DIRECTOR ALEXANDER NEEF Welcome to the 2014/2015 season! A gift to our friends Editorial Board: Robert Lamb, Managing Director Roberto Mauro, Artistic Administrator Christie Darville, Chief Advancement Officer Claudine Domingue, Director of Public Relations I’m very proud that this season, for the strongly encourage you to join us and get a Editors: first time in decades, all of the operas will first look at a new generation of Canadian Gianna Wichelow, be created in part or wholly by the COC. opera stars as they perform in hopes of Senior Manager, Creative and Publications Once again, the world’s finest Canadian joining our famed Ensemble Studio. Claire Morley, and international artists will appear on our Associate Manager, Editorial stage; artists who are greeted with open Our season announcement last January Editors E-mail: [email protected] arms at all the major opera companies. was such a huge success that we’ve decided Design: BT/A Some, like Patricia Racette in Madama to go even bigger for our 2015/2016 season. Contributors: Claudine Domingue, Director of Public Relations; Nikita Gourski, Development Butterfly and Joshua Hopkins in The Our subscribers are invited to attend the exciting launch celebration, including Communications Officer; Claire Morley, Barber of Seville, are world-renowned for Associate Manager, Editorial; Jennifer Pugsley, their roles, while others like Gerald Finley music and special guests, on January Media Relations Manager; Gianmarco Segato, 14, 2015 to see what’s in store next year. -
Fundraising and Publicity for Operas in Seventeenth-Century Venice Sandy Thorburn
Document generated on 10/02/2021 3:36 p.m. Canadian University Music Review Revue de musique des universités canadiennes What News on the Rialto? Fundraising and Publicity for Operas in Seventeenth-Century Venice Sandy Thorburn Volume 23, Number 1-2, 2003 Article abstract Commercial operas of seventeenth-century Venice, the earliest public operas, URI: https://id.erudit.org/iderudit/1014523ar are generally described as rigorously literary from 1637-1660. Various tools, DOI: https://doi.org/10.7202/1014523ar including sets, machines, and musical forms helped audiences from various classes and places understand this Venetian Carnevale entertainment. The See table of contents goal—to create a commercial entertainment industry that reflected and highlighted the wonders of Venice—was identified early in the history of Venetian commercial opera. This paper seeks to define the extent to which Publisher(s) nascent commercial enterprises like newspapers, the mail, publishing, and advertising defined the content and nature of these early operatic works. Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Thorburn, S. (2003). What News on the Rialto? Fundraising and Publicity for Operas in Seventeenth-Century Venice. Canadian University Music Review / Revue de musique des universités canadiennes, 23(1-2), 166–200. https://doi.org/10.7202/1014523ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 2004 (including reproduction) is subject to its terms and conditions, which can be viewed online. -
Reinventing the Concert Experience: Investigating the Effect of Staging on the Performance of Choral Music
Reinventing the Concert Experience: Investigating the Effect of Staging on the Performance of Choral Music A document submitted to The Graduate School of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTORAL OF MUSICAL ARTS In the Ensembles and Conducting Division of the College-Conservatory of Music Choral Conducting March 4, 2020 by Molly Ann Getsinger B.M.E., Shepherd University, 2012 M.M., Westminster Choir College, 2017 Committee Chair: Dr. L. Brett Scott, D.M.A. Committee Member: Dr. Earl Rivers, D.M.A. Committee Member: Dr. Quinn Patrick Ankrum, D.M.A. ABSTRACT This document will explore the current practice of the addition of staging in choral performance. In an effort to counteract the current trajectory of decreasing attendance figures for classical music performances, artistic directors and ensembles are seeking to redefine the concert experience. The addition of staging is becoming an increasingly popular option within choral music performance. Seeking to both enhance the dramatic narrative of a work and engage differently with modern audiences, conductors are adding staging to choral works that were not originally conceived or intended to be performed with theatrical elements. Choral ensembles (professional, collegiate, and volunteer alike) are collaborating with dance companies, hiring actors, or choosing to incorporate movement for the singers themselves. Dramatic staging of traditional choral literature as discussed in this document is a comparatively recent phenomenon within the history of choral music. As a result, there is relatively little published research or writings on the subject. The aim of this study is to provide a framework for interpretation as to why the trend has emerged and its potential future applications.