DOCSLIB.ORG

The Fandom of the Opera: How the Audience for a Centuries-Old Art Form Helped Create the Modern Media World

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Fandom of the Opera: How the Audience for a Centuries-Old Art Form Helped Create the Modern Media World Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 1 What Is Opera? Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 2 What Is Opera? a form of musical theater Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 3 What Is Opera? a form of musical theater that I recognize when I hear it? Justice Potter Stewart Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 4 What Is Opera? a form of musical theater that is entirely sung? http://markllewelynevans.co.uk/abc-of-opera-workshops-and-programmes-for-children/ Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 5 The ABC Operas opera opera with spoken words opéra-comique Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 6 Some Other Popular “Operas” singspiel operetta bühnenweihfestspiel Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 7 What Is Opera? Latin: opus = work, opera = works Singing Instrumental Music Storytelling Opus Acting [a piece of work] Visual Arts © Berkeley Stage Craft Breathed http://www.be Dancing rkeleybreathed .com/ Nudity & Erotica (ok, not always, but sex often) “exotick & irrational” - Samuel Johnson Los Angeles Opera web site Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 8 Not Cheap! “Of all the noises known to man, opera is the most expensive” - attributed to Molière Thank You Very Much! Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 9 When Was The First Opera? Galileo’s father: ancient Greece Vincenzo Galilei’s Ludus Danielis 13th century opera book 1581 Poliziano’s Fabula di Orfeo c.1480 Leonardo da Vinci designed stage machinery Dafne 1597/8 “studies for the staging of Poliziano’s Orfeo” from the Codex Arundel c. 1506 Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 10 Why Is Galileo Called Galileo? Isaac Newton Johannes Kepler Nicholas Copernicus Edmund Halley Claudius Ptolemy Christiaan Huygens Giovanni Cassini Galileo Galilei Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 11 Vincenzo Galilei, 1520-1591 father of opera founding member of Count Bardi’s Camerata father of modern acoustics equations for tuning strings and pipes father of Galileo chose mellifluous name taught him to experiment Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 12 Invention of the Opera House: 1637 orchestra in front of stage boxes to rent & sell to the rich large size melodramma > melodrama sound ducts tickets libretto for 1st opera in an th 17 -century opera ticket opera house Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 13 Spectacular from the Start Alfonso Parigi opera design, Florence, 1637 Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 14 Drottningholms Slottsteater, 1766 Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 15 Curtain, Wind, Thunder Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 16 Wing Flats Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 17 Flies Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 18 Flying Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 19 Traps & Elevators Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 20 Ocean Waves Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 21 In Operation Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 22 Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3earliest-known opera criticism in the U.S. 23 Pre-Electricity Lighting Equipment example of a bozza for color and focus 1638 remote-controlled lighting dimmer Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 24 Lighting Control fiber optic Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 25 Pre-Electricity Lighting Effects Mnichovo Hradiste Simulated Lighting Change “The Development of Scenic Spectacle” Appalachian State University used with permission of Frank Mohler, professor emeritus http://spectacle.appstate.edu/movies/mnichovo-hradiste-lighting-change Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 26 And Audience Lighting? pre-mid-19th-century candle wicks weren’t consumed & had to be trimmed backstage: stagehands onstage: performers sconces: footmen chandelier: ? pair of snuffers made in 1680 © Victoria and Albert Museum, London Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 27 Darkened Room & Exit Lighting Source gallica.bnf.fr / National Library of France Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 28 Flame-Based Lighting Consumes Oxygen Generates CO2 breathing difficulty Lavoisier venting Generates Heat Causes Cold Drafts Sets Things Afire Matisse at opera Ventilating and Heating, John Shaw Billings, night of deadly fire The Engineering Record, 1893 Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 29 Salle Le Peletier 1873 Fire codes, extinguishers Vienna Opera: 21-man “fire watch” Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 30 Symbiotic Relationship of Opera & New Media New Media Get from Opera Opera Gets from New Media prestige, funding reduced expenses (in house) stories, characters, & stars new audiences existing audiences new revenue streams Media Existing in 1637 books motion-picture projection automated music playback automata image projection c. 1420 musical clock 1625 Giovanni da Fontana Metropolitan Museum of Art Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3Bellicorum instrumentorum liber 31 Media in the Opera House 1637: sound ducts by 1726: on-stage projection 1901: archival/ study recordings 1903: electronic assistance for the hearing impaired 1908: sound Lionel Mapleson making surveillance 1st non-interfering location recordings Acousticon hearing-aid Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 32 Early Moving-Image Projection in Opera 1728 book Hamburg Opera (no later than 1726) magic lantern Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 33 Electric Arc Projection 1849 electric-arc sunrise effect, Paris Opera, Jules Duboscq later rainbow, spouting fountain, etc. Nature applauds battery-fume safety 1st patent of photographic motion- picture projection system, 1852 (in 3D!) Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 34 Photography 1841: Antoine Claudet takes the first snapshots—of members of the Italian Opera in poses that could not be held long (destroyed in a studio fire) Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 35 “No Opera, No X-Rays!” Percy Brown, ARRS 1881: 1st opera house electric incandescent light London, soon followed by Boston, Brno, Paris 1882: 1st Edison central power plant so opera houses needed their own generators 1895: Roentgen writes-up discovery of x-rays 1896: Ernest Codman qualified as “expert in X-ray” in Boston court 1896 1st “skiagrapher” at Boston Children’s Hospital Codman Bowditch power from opera house (when performing) X-ray Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 36 Current Projection: Real-Time Interactive CG Sensors: infra-red cameras microphones rotational encoders Processing interactive images depth selection video warping Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 37 warp engines deal with motion of individual planks; depth planes for 3D effect Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3http://www.nytimes.com/2010/09/19/arts/music/19ring.html 38 Kurt Weill Operas Incorporate Media 1927: Royal Palace - movie 1937: Berg’s Lulu 1928: Der Zar läßt sich photographieren - phonograph record (distributed with the score) 1930: Aufstieg und Fall der Stadt Mahagonny - loudspeaker from the 1937 film scene of Berg’s Lulu Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 39 First Out-of-House Opera Medium: Books libretto = little book 1598 – gift Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 40 First Out-of-House Opera Medium: Books cheaper paper 1598 – gift 1600 – for sale Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 41 First Out-of-House Opera Medium: Books 1711 – multi-sales translation & reading light (Handel’s candles) 1598 – gift 1600 – for sale Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 42 Live Titles anticipates the teleprompter 1881: UK patent 4267 (gas lit) 1976: Live from Lincoln Center 1983: Surtitles 1995: Met Titles 2007: multilingual Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 43 2014 On Site Opera’s Pigmalion (1748) Google Glass major role Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 44 Beyond the Opera House: 1673 Athanasius Kircher Phonurgia Nova Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 45 Prediction of Other Opera Media Charles Wheatstone’s “enchanted lyre” “telephone concerts” “Who knows but by these means the music of the opera, performed at the King’s Theatre, may ere long be simultaneously enjoyed at Hannover Square Rooms, the City of London Tavern, and even at the Horn’s Tavern in Kennington.” Repository of Arts, September 1, 1821 Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 46 The Telephone: Loss of the Visual 1848: home-delivery for a fee, Punch 1849: electric tests, Havana Opera 1876: NY Times predicts BO drop 1877: Du Maurier cartoon in Punch aria Providence Boston also from Philadelphia 1878: Don Pasquale in Bellinzona 1880: Zürich to Bâle, 80 km microphone for opera first courtesy home listeners Punch, December 14, 1877 Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 47 “The Drama in America” March 25, 1877, p. 4 “Music at a Distance” June 17, 1877, p. 14 Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 48 Antonio Meucci head of special effects at Florence opera house technical director at Havana opera house began working on the telephone in 1849 moved to U.S. in 1850 HR 269 2002 Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 49 Electronic Media vs. Ticket Sales NY Times – March 22, 1876 Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 50 The Frys of Philadelphia William (father): creator & publisher of The National Gazette 1820-41 Musical Fund Society member, proposer of the Academy of Music Joseph Reese: lawyer, publisher, librettist, translator, banker William Henry: composer, music critic, reporter Edward Plunket: editor, impresario Mark Schubin, Opera Philadelphia, 2018 Dec. 2-3 51 William Henry Fry 1st grand opera by an American performed on an American stage opened June 4, 1845 at the Chestnut Street Theatre (original Chestnut Street Theatre was the 1st lit by gas in the U.S.) later translated to Italian Mark Schubin, Opera Philadelphia, 2018 Dec.
Recommended publications
  • Giselle Saison 2015-2016

    Giselle Saison 2015-2016

    Giselle Saison 2015-2016 Abonnez-vous ! sur www.theatreducapitole.fr Opéras Le Château de Barbe-Bleue Bartók (octobre) Le Prisonnier Dallapiccola (octobre) Rigoletto Verdi (novembre) Les Caprices de Marianne Sauguet (janvier) Les Fêtes vénitiennes Campra (février) Les Noces de Figaro Mozart (avril) L’Italienne à Alger Rossini (mai) Faust Gounod (juin) Ballets Giselle Belarbi (décembre) Coppélia Jude (mars) Paradis perdus Belarbi, Rodriguez (avril) Paquita Grand Pas – L’Oiseau de feu Vinogradov, Béjart (juin) RCS TOULOUSE B 387 987 811 - © Alexander Gouliaev - © B 387 987 811 TOULOUSE RCS Giselle Midis du Capitole, Chœur du Capitole, Cycle Présences vocales www.fnac.com Sur l’application mobile La Billetterie, et dans votre magasin Fnac et ses enseignes associées www.theatreducapitole.fr saison 2015/16 du capitole théâtre 05 61 63 13 13 Licences d’entrepreneur de spectacles 1-1052910, 2-1052938, 3-1052939 THÉÂTRE DU CAPITOLE Frédéric Chambert Directeur artistique Janine Macca Administratrice générale Kader Belarbi Directeur de la danse Julie Charlet (Giselle) et Davit Galstyan (Albrecht) en répétition dans Giselle, Ballet du Capitole, novembre 2015, photo David Herrero© Giselle Ballet en deux actes créé le 28 juin 1841 À l’Académie royale de Musique de Paris (Salle Le Peletier) Sur un livret de Théophile Gautier et de Jules-Henri Vernoy de Saint-Georges D’après Heinrich Heine Nouvelle version d’après Jules Perrot et Jean Coralli (1841) Adolphe Adam musique Kader Belarbi chorégraphie et mise en scène Laure Muret assistante-chorégraphe Thierry Bosquet décors Olivier Bériot costumes Marc Deloche architecte-bijoutier Sylvain Chevallot lumières Monique Loudières, Étoile du Ballet de l’Opéra National de Paris maître de ballet invité Emmanuelle Broncin et Minh Pham maîtres de ballet Nouvelle production Ballet du Capitole Kader Belarbi direction Orchestre national du Capitole Philippe Béran direction Durée du spectacle : 2h25 Acte I : 60 min.
  • H-France Review Vol. 11 (May 2011), No. 99 Annegret Fauser and Mark

    H-France Review Vol. 11 (May 2011), No. 99 Annegret Fauser and Mark

    H-France Review Volume 11 (2011) Page 1 H-France Review Vol. 11 (May 2011), No. 99 Annegret Fauser and Mark Everist eds., Music, Theater, and Cultural Transfer: Paris, 1830-1914. Chicago and London: The University of Chicago Press, 2009. x + 439 pp. Appendix, bibliography, discography and filmography, contributors, index. $55.00 U.S. (cl.) ISBN 978-0-226-23926-2 Review by Clair Rowden, Cardiff University. For those of us that work on French music during the nineteenth century, this book is a collection of essays that exemplifies what we do and yet it is far from banal. We ‘insiders’ tend to forget the honest and engaging nature of such work, studying and examining not only musical artefacts, but the aesthetic, cultural and institutional history which shaped those artworks and in turn forged the nature of our discipline. Annegret Fauser and Mark Everist, both at the height of their games, have given us a book which those in many other fields of musicological study may envy in its scope and integrity. Indeed, this book has already won the coveted Solie prize, awarded by the American Musicological Society, and I would not be surprised if it went on to win more. But as the editors-authors are quick to point out, this volume grew out of the international symposium, “The Institutions of Opera in Paris from the July Revolution to the Dreyfus Affair”, co-organised by Annegret Fauser and the late and much regretted Elizabeth C. Bartlett, and the book is both a tribute to the current discipline and to Beth Bartlett’s place within its development.
  • National Endowment for the Arts Annual Report 1989

    National Endowment for the Arts Annual Report 1989

    National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216
  • Section 2 Stage Works Operas Ballets Teil 2 Bühnenwerke

    Section 2 Stage Works Operas Ballets Teil 2 Bühnenwerke

    SECTION 2 STAGE WORKS OPERAS BALLETS TEIL 2 BÜHNENWERKE BALLETTE 267 268 Bergh d’Albert, Eugen (1864–1932) Amram, David (b. 1930) Mister Wu The Final Ingredient Oper in drei Akten. Text von M. Karlev nach dem gleichnamigen Drama Opera in One Act, adapted from the play by Reginald Rose. Libretto by von Harry M. Vernon und Harald Owen. (Deutsch) Arnold Weinstein. (English) Opera in Three Acts. Text by M. Karlev based on the play of the same 12 Solo Voices—SATB Chorus—2.2.2.2—4.2.3.0—Timp—2Perc—Str / name by Harry M. Vernon and Harald Owen. (German) 57' Voices—3.3(III=Ca).2(II=ClEb).B-cl(Cl).3—4.3.3.1—Timp—Perc— C F Peters Corporation Hp/Cel—Str—Off-stage: 1.0.Ca.0.1—0.0.0.0—Perc(Tamb)—2Gtr—Vc / 150' Twelfth Night Heinrichshofen Opera. Text adapted from Shakespeare’s play by Joseph Papp. (English) _________________________________________________________ 13 Solo Voices—SATB Chorus—1.1.1.1—2.1.1.0—Timp—2Perc—Str C F Peters Corporation [Vocal Score/Klavierauszug EP 6691] Alberga, Eleanor (b. 1949) _________________________________________________________ Roald Dahl’s Snow White and the Seven Dwarfs Text by Roald Dahl (English) Becker, John (1886–1961) Narrator(s)—2(II=Picc).2.2(II=B-cl).1.Cbsn—4.2.2.B-tbn.1—5Perc— A Marriage with Space (Stagework No. 3) Hp—Pf—Str / 37' A Drama in colour, light and sound for solo and mass dramatisation, Peters Edition/Hinrichsen [Score/Partitur EP 7566] solo and dance group and orchestra.
  • 128 Muzička Izvođenja I Partiture

    128 Muzička Izvođenja I Partiture

    COMARC/B 128 128 MUZIČKA IZVOĐENJA I PARTITURE Polje opisuje oblik muzičkog dela i podrobnosti o instrumentima i/ili glasovima. Potpolja & ponovljivost POLJE/POTPOLJE PONOVLJIVOST 128 Muzička izvođenja i partiture r a Oblik muzičkog dela r b Instrumenti ili glasovi ansambla r c Instrumenti ili glasovi solista r d Tonalitet ili modus muzičkog dela nr Indikatori Vrednosti indikatora nisu definisane. OPIS POTPOLJA 128a Oblik muzičkog dela Dvomesni (tromesni) kod, unet u potpolje, označava oblik muzičkog dela. Potpolje ponavljamo, ako je reč o više oblika. abs apsolucija Takođe absolutio. acc akademija Takođe accademia. acl aklamacija Koristimo i za laudes regiae, acclamatio i sl. acm actus musicus agn agnus dei ai napev Koristimo i za air, ayre; za instrumentalne napeve koristimo kod "ain" – instrumentalni napev. ain instrumentalni napev aka akatist Takođe akatistos i akafist. ala alba alb list u albumu Takođe albumblat. © IZUM, jun 2016, prevod: septembar 2016. 128 - 1 128 COMARC/B all aleluja alm alemanda ame amener Koristimo i za paseđatu. an anglikanska himna A cappella ili vokalno-instrumentalni oblik muzičkog dela u anglikanskoj crkvi. ana anagramma ane ante evangelium ant antifon Takođe antifona. app applauso Koristimo i za singgedicht. ar arija Koristimo za vokalni oblik muzičkog dela, za instrumentalni oblik koristimo kod "arn" – instrumentalna arija. ara arabeska ari arijeta ark auresku Koristimo i za bajle real, desafio, eskudansa i sl. arn instrumentalna arija ars ariozo aub obada Koristimo i za instrumentalnu albu, obu i alboradu. azm azione musicale Koristimo za dela iz 20. veka sa tom oznakom; takođe za azione lirica i sl. azs liturgijska drama Uglavnom bečka dela iz 17.
  • WILLIAM TELL Armando Noguera (William Tell) VICTORIAN OPERA PRESENTS WILLIAM TELL

    WILLIAM TELL Armando Noguera (William Tell) VICTORIAN OPERA PRESENTS WILLIAM TELL

    GIOACHINO ROSSINI WILLIAM TELL Armando Noguera (William Tell) VICTORIAN OPERA PRESENTS WILLIAM TELL Composer Gioachino Rossini Librettists V.J Etienne de Jouy and H.L.F. Bis Conductor Richard Mills AM Director Rodula Gaitanou Set and Lighting Designer Simon Corder Costume Designer Esther Marie Hayes Assistant Director Meg Deyell CAST Guillaume Tell Armando Noguera Rodolphe Paul Biencourt Arnold Melcthal Carlos E. Bárcenas Ruodi Timothy Reynolds Walter Furst Jeremy Kleeman Leuthold Jerzy Kozlowski Melcthal Teddy Tahu Rhodes Mathilde Gisela Stille Jemmy Alexandra Flood Hedwige Liane Keegan Gesler Paolo Pecchioli* Orchestra Victoria 14, 17 and 19 JULY 2018 Palais Theatre, St Kilda Original premiere 3 August 1829, Paris Opera Running Time is 3 hours and 15 minutes, including interval Sung in French with English surtitles *Paolo Pecchioli appears with the support of the Faculty of Fine Arts and Music, University of Melbourne. 3 PRODUCTION PRODUCTION TEAM Production Manager Eduard Inglés Stage Manager Marina Milankovic Deputy Stage Manager Meg Deyell Assistant Stage Manager Jessica Frost Assistant Stage Manager Luke Hales Wardrobe Supervisor Kate Glenn-Smith MUSIC STAFF Principal Repetiteur Phoebe Briggs Chorus Preparation Richard Mills, Phoebe Briggs Repetiteur Phillipa Safey CHORUS Soprano Jordan Auld*, Kirilie Blythman, Jesika Clark*, Rosie Cocklin*, Alexandra Ioan, Millie Leaver*, Rebecca Rashleigh, Diana Simpson, Emily Uhlrich, Nicole Wallace Mezzo Soprano Kerrie Bolton, Shakira Dugan, Jessie Eastwood*, Kristina Fekonja*, Hannah Kostros*,
  • Music for the Microphone: Network Broadcasts and the Creation of American Compositions in the Golden Age of Radio Akihiro Taniguchi

    Music for the Microphone: Network Broadcasts and the Creation of American Compositions in the Golden Age of Radio Akihiro Taniguchi

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Music for the Microphone: Network Broadcasts and the Creation of American Compositions in the Golden Age of Radio Akihiro Taniguchi Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC Music for the Microphone: Network Broadcasts and the Creation of American Compositions in the Golden Age of Radio By AKIHIRO TANIGUCHI A Dissertation submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2003 Copyright ©2003 Akihiro Taniguchi All Rights Reserved The members of the Committee approve the dissertation of Akihiro Taniguchi defended on 15 May 2003. ______________________________ Charles E. Brewer Professor Directing Dissertation ______________________________ Jane Piper Clendinning Outside Committee Member ______________________________ Denise Von Glahn Committee Member ______________________________ Michael B. Bakan Committee Member Approved: ________________________________________________________ Jon Piersol, Dean, School of Music The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables ........................................................................................................................ v List of Music Examples........................................................................................................
  • Opera & Ballet 2017

    Opera & Ballet 2017

    12mm spine THE MUSIC SALES GROUP A CATALOGUE OF WORKS FOR THE STAGE ALPHONSE LEDUC ASSOCIATED MUSIC PUBLISHERS BOSWORTH CHESTER MUSIC OPERA / MUSICSALES BALLET OPERA/BALLET EDITION WILHELM HANSEN NOVELLO & COMPANY G.SCHIRMER UNIÓN MUSICAL EDICIONES NEW CAT08195 PUBLISHED BY THE MUSIC SALES GROUP EDITION CAT08195 Opera/Ballet Cover.indd All Pages 13/04/2017 11:01 MUSICSALES CAT08195 Chester Opera-Ballet Brochure 2017.indd 1 1 12/04/2017 13:09 Hans Abrahamsen Mark Adamo John Adams John Luther Adams Louise Alenius Boserup George Antheil Craig Armstrong Malcolm Arnold Matthew Aucoin Samuel Barber Jeff Beal Iain Bell Richard Rodney Bennett Lennox Berkeley Arthur Bliss Ernest Bloch Anders Brødsgaard Peter Bruun Geoffrey Burgon Britta Byström Benet Casablancas Elliott Carter Daniel Catán Carlos Chávez Stewart Copeland John Corigliano Henry Cowell MUSICSALES Richard Danielpour Donnacha Dennehy Bryce Dessner Avner Dorman Søren Nils Eichberg Ludovico Einaudi Brian Elias Duke Ellington Manuel de Falla Gabriela Lena Frank Philip Glass Michael Gordon Henryk Mikolaj Górecki Morton Gould José Luis Greco Jorge Grundman Pelle Gudmundsen-Holmgreen Albert Guinovart Haflidi Hallgrímsson John Harbison Henrik Hellstenius Hans Werner Henze Juliana Hodkinson Bo Holten Arthur Honegger Karel Husa Jacques Ibert Angel Illarramendi Aaron Jay Kernis CAT08195 Chester Opera-Ballet Brochure 2017.indd 2 12/04/2017 13:09 2 Leon Kirchner Anders Koppel Ezra Laderman David Lang Rued Langgaard Peter Lieberson Bent Lorentzen Witold Lutosławski Missy Mazzoli Niels Marthinsen Peter Maxwell Davies John McCabe Gian Carlo Menotti Olivier Messiaen Darius Milhaud Nico Muhly Thea Musgrave Carl Nielsen Arne Nordheim Per Nørgård Michael Nyman Tarik O’Regan Andy Pape Ramon Paus Anthony Payne Jocelyn Pook Francis Poulenc OPERA/BALLET André Previn Karl Aage Rasmussen Sunleif Rasmussen Robin Rimbaud (Scanner) Robert X.
  • Effects of the Met: Live in HD on the Democratization of Opera in America

    Effects of the Met: Live in HD on the Democratization of Opera in America

    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 12-2020 Effects of The Met: Live in HD on the Democratization of Opera in America Anna Wigtil Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. EFFECTS OF THE MET: LIVE IN HD ON THE DEMOCRATIZATION OF OPERA IN AMERICA by Anna K. Wigtil A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Music Major: Music Under the Supervision of Professor Pamela Starr Lincoln, Nebraska December, 2020 EFFECTS OF THE MET: LIVE IN HD ON THE DEMOCRATIZATION OF OPERA IN AMERICA Anna K. Wigtil, M.M. University of Nebraska, 2020 Advisor: Pamela Starr The Met: Live in HD satellite broadcasts of live opera performances began in 2006 and have since become popular with audiences around the world. While this could be an excellent avenue to democratize opera and make it available to new audiences, the available data indicates that most Live in HD viewers are already opera enthusiasts and have previously attended live opera performances. This thesis examines the history of the Metropolitan Opera’s broadcasting efforts, the demographics of American opera audiences, trends in Live in HD’s repertoire, and strategies to increase Live in HD’s appeal to a broader, more diverse audience that can revitalize opera’s popularity in the United States.
  • From Prop to Producer

    From Prop to Producer

    From Prop to Producer: The Appropriation of Radio Technology in Opera during the Weimar Republic Katy Vaughan Thesis submitted in partial fulfilment of the requirements of Bournemouth University for the degree of Doctor of Philosophy January 2020 2 Copyright Statement This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and due acknowledgement must always be made of the use of any material contained in, or derived from, this thesis. 3 Katy Vaughan From Prop to Producer: The Appropriation of Radio Technology in Opera during the Weimar Republic Abstract This thesis explores the appropriation of radio technology in opera composed during the Weimar Republic. It identifies a gap in current research where opera and radio have often been examined separately in the fields of musicology and media history. This research adopts a case study approach and combines the disciplines of musicology and media history, in order to create a narrative of the use of radio as a compositional tool in Weimar opera. The journey begins with radio as a prop on stage in Ernst Krenek’s Jonny speilt auf (1927) and ends with the radio as a producer in Walter Goehr’s radio opera Malpopita (1931). Max Brand's Maschinist Hopkins (1929) provides an interlude between these two works, where its analysis serves to pinpoint compositional techniques used in radio opera. The opera case studies reflect the changing attitudes towards technology and media in Weimar musicology, as shown in the journal, Musikblätter des Anbruch (1919-1937).
  • The Adaptability of Opera

    The Adaptability of Opera

    The Adaptability of Opera: When Different Social Agents Come to Common Ground Author(s): Vlado Kotnik Source: International Review of the Aesthetics and Sociology of Music, Vol. 44, No. 2 (DECEMBER 2013), pp. 303-342 Published by: Croatian Musicological Society Stable URL: http://www.jstor.org/stable/23594802 Accessed: 06-07-2017 19:53 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Croatian Musicological Society is collaborating with JSTOR to digitize, preserve and extend access to International Review of the Aesthetics and Sociology of Music This content downloaded from 198.199.32.254 on Thu, 06 Jul 2017 19:53:06 UTC All use subject to http://about.jstor.org/terms V. Kotnik: The Adaptability of Opera: IRASM 44 (2013) 2: 303-342 When Different Social Agents Come to Common Ground Vlado Kotnik ra^uuy ui nuiiicn nuca, University of Primorska Science and Research Centre, Garibaldijeva 1 The Adaptability of Opera: 6000 KOPER, Slovenia When Different Social UDC: 782.1:78.067 Original Scholarly Paper Agents Come to Common Izvorni znanstveni Clanak Received: October 12, 2012 Ground Primljeno: 12. listopada 2012. Accepted: January 15, 2013 Prihvaceno: 15. sijeinja 2013. Abstract - Résumé Adaptability is the key word when referring to the social history of opera, its institu tions, its protagonists, its Introduction sponsors, its audiences and publics.
  • WILLIAM TELL Armando Noguera (William Tell) VICTORIAN OPERA PRESENTS WILLIAM TELL

    WILLIAM TELL Armando Noguera (William Tell) VICTORIAN OPERA PRESENTS WILLIAM TELL

    GIOACHINO ROSSINI WILLIAM TELL Armando Noguera (William Tell) VICTORIAN OPERA PRESENTS WILLIAM TELL Composer Gioachino Rossini Librettists V.J Etienne de Jouy and H.L.F. Bis Conductor Richard Mills AM Director Rodula Gaitanou Set and Lighting Designer Simon Corder Costume Designer Esther Marie Hayes Assistant Director Meg Deyell CAST Guillaume Tell Armando Noguera Rodolphe Paul Biencourt Arnold Melcthal Carlos E. Bárcenas Ruodi Timothy Reynolds Walter Furst Jeremy Kleeman Leuthold Jerzy Kozlowski Melcthal Teddy Tahu Rhodes Mathilde Gisela Stille Jemmy Alexandra Flood Hedwige Liane Keegan Gesler Paolo Pecchioli* Orchestra Victoria 14, 17 and 19 JULY 2018 Palais Theatre, St Kilda Original premiere 3 August 1829, Paris Opera Running Time is 3 hours and 15 minutes, including interval Sung in French with English surtitles *Paolo Pecchioli appears with the support of the Faculty of Fine Arts and Music, University of Melbourne. 3 PRODUCTION PRODUCTION TEAM Production Manager Eduard Inglés Stage Manager Marina Milankovic Deputy Stage Manager Meg Deyell Assistant Stage Manager Jessica Frost Assistant Stage Manager Luke Hales Wardrobe Supervisor Kate Glenn-Smith MUSIC STAFF Principal Repetiteur Phoebe Briggs Chorus Preparation Richard Mills, Phoebe Briggs Repetiteur Phillipa Safey CHORUS Soprano Jordan Auld*, Kirilie Blythman, Jesika Clark*, Rosie Cocklin*, Alexandra Ioan, Millie Leaver*, Rebecca Rashleigh, Diana Simpson, Emily Uhlrich, Nicole Wallace Mezzo Soprano Kerrie Bolton, Shakira Dugan, Jessie Eastwood*, Kristina Fekonja*, Hannah Kostros*,