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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. -
103 the Music Library of the Warsaw Theatre in The
A. ŻÓRAWSKA-WITKOWSKA, MUSIC LIBRARY OF THE WARSAW..., ARMUD6 47/1-2 (2016) 103-116 103 THE MUSIC LIBRARY OF THE WARSAW THEATRE IN THE YEARS 1788 AND 1797: AN EXPRESSION OF THE MIGRATION OF EUROPEAN REPERTOIRE ALINA ŻÓRAWSKA-WITKOWSKA UDK / UDC: 78.089.62”17”WARSAW University of Warsaw, Institute of Musicology, Izvorni znanstveni rad / Research Paper ul. Krakowskie Przedmieście 32, Primljeno / Received: 31. 8. 2016. 00-325 WARSAW, Poland Prihvaćeno / Accepted: 29. 9. 2016. Abstract In the Polish–Lithuanian Common- number of works is impressive: it included 245 wealth’s fi rst public theatre, operating in War- staged Italian, French, German, and Polish saw during the reign of Stanislaus Augustus operas and a further 61 operas listed in the cata- Poniatowski, numerous stage works were logues, as well as 106 documented ballets and perform ed in the years 1765-1767 and 1774-1794: another 47 catalogued ones. Amongst operas, Italian, French, German, and Polish operas as Italian ones were most popular with 102 docu- well ballets, while public concerts, organised at mented and 20 archived titles (totalling 122 the Warsaw theatre from the mid-1770s, featured works), followed by Polish (including transla- dozens of instrumental works including sym- tions of foreign works) with 58 and 1 titles phonies, overtures, concertos, variations as well respectively; French with 44 and 34 (totalling 78 as vocal-instrumental works - oratorios, opera compositions), and German operas with 41 and arias and ensembles, cantatas, and so forth. The 6 works, respectively. author analyses the manuscript catalogues of those scores (sheet music did not survive) held Keywords: music library, Warsaw, 18th at the Archiwum Główne Akt Dawnych in War- century, Stanislaus Augustus Poniatowski, saw (Pl-Wagad), in the Archive of Prince Joseph musical repertoire, musical theatre, music mi- Poniatowski and Maria Teresa Tyszkiewicz- gration Poniatowska. -
Join the National Philharmonic in a Triumphant
West End Off-Broadway United States International Entertainment Log In Re Washington, DC Sections Shows Chat Boards Jobs Students Video Industry Insider Join the National Philharmonic In a Hot Stories BroadwayWorld TV Triumphant Celebration of Poland's 100th Anniversary of Independence Complete Casting Announced for HOW TO by BWW News Desk May. 23, 2018 Tweet Share SUCCEED at the Kennedy Center TV Exclusive: Florida State Universi The National Philharmonic ends its 2017-2018 Southern Heat to Broadway S season at The Music Center at Strathmore with a musical celebration, "100th Anniversary of Poland's Independence," on Saturday, June 2 at 8 p.m. at the Concert Hall at the Music Center at Parris, Breckenridge, & More Strathmore. Conducted by world-renowned Join Drew Gehling in DAVE at Arena Stage Polish Maestro Miroslaw Jacek Baszczyk, the 10 DAYS TO GO CLICK HERE TO V concert will feature music composed by LIVE UPDATE: Poland's greatest musicians, performed by SPONGEBOB SQUAREPANTS or ME some of today's leading vocalists and musicians. for Best Musical... The performance will commence with an introduction by the Ambassador of Poland, Mosaic's Third Season Concludes With Epic World Piotr Wilczek. The 100th anniversary of Poland has signicant meaning for The National Premiere Starring Hadi Philharmonic, which is led by Polish-born Music Director and Conductor Piotr Gajewski. Tabbal One of The National Philharmonic's veteran artists, Brian Ganz-who will perform at the Polish celebration concert-is also a frequent performer of Frédéric Chopin, beginning a quest in 2011 to perform all of the great Polish composer's works. -
State Opera and Ballet 4 International
PRESS RELEASE JUNE 13, 2013 STATE OPERA AND BALLET 4TH INTERNATIONAL ISTANBUL OPERA FESTIVAL STARTS ON JUNE 25TH International Istanbul Opera Festival where selective Turkish and world class operas meet art lovers every year, is preparing to embrace opera lovers with a rich program and unforgettable performances in its fourth year. The festival organized by Directorate General of State Opera and Ballet with contributions of DenizBank will be held between June 25th and July 8th this year. In scope of the festival, besides the Gala Concert “Viva Verdi” to be held at Hagia Irene, it will be possible to watch five different works of art in five different venues ranging from works of famous composers such as W.A. Mozart to Antonio Vivaldi. 4th International Istanbul Opera Festival organized by Directorate General of State Opera and Ballet that continues activities with the mission of providing opera and arts to all ranges of society under the main sponsorship of DenizBank that wishes to support culture and arts in Turkey will meet opera lovers between June 25th and July 8th 2013. The festival to last two weeks will meet art lovers with a total of nine performances including five opera productions and a gala concert in July under the art directorship of chief stage director Yekta Kara. In scope of the festival, guests will be able to watch “Viva Verdi” Gala Concert in the magical atmosphere of Hagia Irene besides performances of Ankara, İstanbul, Antalya and Samsun State Opera and Ballet. In the concert led by Roberto Abbado, famous soloists of opera such as baritone Marco Vratogna, tenor Stefano Secco, tenor Marco Berti and soprano Aleksandra Kurzak will take to the stage. -
French Secular Music in Saint-Domingue (1750-1795) Viewed As a Factor in America's Musical Growth. John G
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth. John G. Cale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cale, John G., "French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth." (1971). LSU Historical Dissertations and Theses. 2112. https://digitalcommons.lsu.edu/gradschool_disstheses/2112 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 72-17,750 CALE, John G., 1922- FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH. The Louisiana State University and Agricultural and Mechanical College;, Ph.D., 1971 Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by John G. Cale B.M., Louisiana State University, 1943 M.A., University of Michigan, 1949 December, 1971 PLEASE NOTE: Some pages may have indistinct print. -
Carmen Di Georges Bizet
COMUNICATO STAMPA Venezia, 30 marzo 2012 Carmen di Georges Bizet Giovedì 21 giugno 2012 alle ore 19.00 (turno A) tornerà alla Fenice un capolavoro del repertorio francese assente dal 1997: Carmen di Georges Bizet, opéra-comique in quattro atti su libretto di Henri Meilhac e Ludovic Halévy tratto dalla novella omonima di Prosper Mérimée. L’opera, proposta in un nuovo allestimento coprodotto dalla Fondazione Teatro La Fenice con il Gran Teatre de Liceu di Barcellona, la Fondazione Teatro Massimo di Palermo e la Fondazione Teatro Regio di Torino (già presentato a Barcellona nel settembre 2010 e a Palermo nel novembre 2011), permetterà di apprezzare per la prima volta a Venezia il lavoro del regista spagnolo Calixto Bieito, con le scene di Alfons Flores e i costumi di Mercè Paloma. L’Orchestra e il Coro del Teatro La Fenice (maestro del coro Claudio Marino Moretti) e il coro di voci bianche dei Piccoli Cantori Veneziani (maestro del coro Diana D’Alessio) saranno diretti dal trentenne maestro israeliano Omer Meir Wellber. Interpreti principali saranno Béatrice Uria-Monzon in alternanza con Katarina Giotas nel ruolo di Carmen; Stefano Secco in alternanza con Luca Lombardo in quello di Don José; Alexander Vinogradov e Károly Szemerédy in quello di Escamillo; Ekaterina Bakanova e Virginia Wagner in quello di Micaëla; Chiara Fracasso nel ruolo di Mercédès e Sonia Ciani in quello di Frasquita. La prima del 21 giugno 2012, trasmessa in diretta su Radio3, sarà seguita da dodici repliche, venerdì 22 e sabato 23 alle 19.00 (fuori abbonamento), domenica 24 alle 17.00 (turno B), martedì 26 (fuori abbonamento), mercoledì 27 (fuori abbonamento), giovedì 28 (turno E), e venerdì 29 (fuori abbonamento) alle 19.00, sabato 30 giugno alle 17.00 (turno C), domenica 1 (fuori abbonamento), sabato 7 (fuori abbonamento), martedì 10 (turno D) e giovedì 12 luglio (fuori abbonamento) alle 19.00. -
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. -
LA TRAVIATA Al Liceu
1 LA TRAVIATA EN EL LICEU Estreno absoluto: 6 marzo 1853 en el teatro de La Fenice de Venecia. Estreno de la segunda versión, definitiva: 6 mayo 1854 en el teatro San Benedetto de Venecia. Estreno en el Gran Teatre del Liceu: 25 octubre 1855. Última representación en el Liceu: 18 julio 2015. Total de representaciones: 251 TEMPORADA 1855-1856 25-X-1855 LA TRAVIATA Número de representaciones: 10 Es estreno en el Liceu. Número en el Liceu: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. Fechas: 25, 26, 28, 31 octubre; 1, 14, 18 noviembre; 21, 26 diciembre 1855; 6 enero 1856. Violetta Valéry: Eugénie Julienne-Dejean Flora Bervoix: Caterina Mas-Porcell Annina: Balbina Alabau Alfredo Germont: Giovanni De Vecchi Giorgio Germont: Gaetano Fiori Gastone: Josep Santés Barone Douphol: Josep Obiols Marchese d'Obigny: Francesc Sánchez Dottore Grenvil: José Aznar Giuseppe: Josep Gómez Director: Marià Obiols TEMPORADA 1859-1860 12-IV-1860 LA TRAVIATA Número de representaciones: 8 Número histórico en el Liceu: 11, 12, 123, 14, 15, 16, 17, 18. Fechas: 12, 15 abril; 1, 2, 6, 15, 17, 30 mayo 1860. Nota: Se suprimela cabaletta del aria del tenor en el segundo acto. Número histórico en el Liceu: 11, 12, 123, 14, 15, 16, 17, 18. Última "Traviata" en el Liceu: 6 enero 1856. Violetta Valéry: Carlotta Carozzi-Zucchi Flora Bervoix: Caterina Mas-Porcell 2 Annina: Isolina Porcell Alfredo Germont: Emilio Pancani Giorgio Germont: Leone Giraldoni Gastone: Gaetano Aducci Barone Douphol: Josep Obiols Marchese d'Obigny: Josep Coll Dottore Grenvil: Leopoldo Jover Giuseppe: Ignasi Costa Domestico di Flora: Francisco Sánchez Director: Marià Obiols TEMPORADA 1860-1861 1-XII-1860 LA TRAVIATA Número de representaciones: 14 Número histórico en el Liceu: 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
Stanisław Moniuszko String Quartets 1 & 2 Juliusz Zarębski: Piano Quintet Op
Stanisław Moniuszko String Quartets 1 & 2 Juliusz Zarębski: Piano Quintet op. 34 Plawner Quintet Stanisław Moniuszko (1819–1872) String Quartet No. 1 in D minor 16'12 1 Allegro agitato 4'59 2 Andantino 3'57 3 Scherzo. Vivo 4'04 4 Finale. Un ballo campestre e sue consequenze. Allegro assai 3'12 String Quartet No. 2 in F major 15'12 5 Allegro moderato 5'50 6 Andante 4'43 7 Scherzo. Baccanale monacale. Allegretto – Trio 2'06 8 Finale. Allegro 2'33 Juliusz Zarębski (1854–1885) Piano Quintet op. 34 34'55 9 Allegro 9'46 10 Adagio 10'28 11 Scherzo. Presto 5'57 12 Finale. Presto 8'44 T.T.: 66'27 Plawner Quintet Piotr Plawner, violin Sibylla Leuenberger, violin Elżbieta Mrożek-Loska, viola Isabella Klim, violoncello Stanisław Moniuszko Piotr Sałajczyk, piano [9] All rights of the producer and of the owner of the work reserved. Unauthorized copying, hiring, renting, public performance and broadcasting of this record prohibited. cpo 555 124–2 Co-Production: cpo/Deutschlandfunk Kultur Recording: Andreaskirche Berlin/Wannsee, September 22–24, 2018 Recording Producer, Editing & Mastering: Michael Havenstein Executive Producers: Burkhard Schmilgun/Bettina C. Schmidt Cover Painting: Wladyslaw Podkowinski, »Un campo de Lupin«, 1891. Galería de Arte Polaco del siglo XIX (Lonja de los Paños, Sukiennice). Museo Nacional de Cracovia. Polonia. Ⓒ Photo: akg-images, 2019; Design: Lothar Bruweleit cpo, Lübecker Str. 9, D–49124 Georgsmarienhütte Juliusz Zarębski Ⓟ 2019 – Deutschlandradio – Made in Germany Anziehend in ihren Gegensätzen: sich der genius populi mitsamt seinem Temperament, jahrelang an der Schwindsucht dahin, Stanisław Moniu- Stanisław Moniuszko und Juliusz Zarębski seinem Melos und Rhythmus, seiner Geschichte und sei- szko wird ohne Vorwarnung aus seiner Tätigkeit heraus- nen Hoffnungen spontan wiedererkannte. -
Gli Esiliati in Siberia, Exile, and Gaetano Donizetti Alexander Weatherson
Gli esiliati in Siberia, exile, and Gaetano Donizetti Alexander Weatherson How many times did Donizetti write or rewrite Otto mesi in due ore. No one has ever been quite sure: at least five times, perhaps seven - it depends how the changes he made are viewed. Between 1827 and 1845 he set and reset the music of this strange but true tale of heroism - of the eighteen-year-old daughter who struggled through snow and ice for eight months to plead with the Tsar for the release of her father from exile in Siberia, making endless changes - giving it a handful of titles, six different poets supplying new verses (including the maestro himself), with- and-without spoken dialogue, with-and-without Neapolitan dialect, with-and-without any predictable casting (the prima donna could be a soprano, mezzo-soprano or contralto at will), and with-and-without any very enduring resolution at the end so that this extraordinary work has an even-more-fantastic choice of synopses than usual. It was this score that stayed with him throughout his years of international fame even when Lucia di Lammermoor and Don Pasquale were taking the world by storm. It is perfectly possible in fact that the music of his final revision of Otto mesi in due ore was the very last to which he turned his stumbling hand before mental collapse put an end to his hectic career. How did it come by its peculiar title? In 1806 Sophie Cottin published a memoir in London and Paris of a real-life Russian heroine which she called 'Elisabeth, ou Les Exilés de Sibérie'. -
Gustav Klimt's Lady in Gold2
Nr. 13/2013 HERMENEIA Journal of Hermeneutics, Art Theory and Criticism Topic: Critical Discourse in Philosophy and Art Editura Fundaţiei Academice AXIS IAŞI, 2013 Advisory board Ştefan AFLOROAEI, Prof. Dr., Al. I. Cuza University, Iasi, Romania Sorin ALEXANDRESCU, Prof. Dr., University of Bucarest, Romania Aurel CODOBAN, Prof. Dr., Babeş-Bolyai University, Cluj-Napoca, Romania Denis CUNNINGHAM, Secretary General, Fédération Internationale des Professeurs de Langues Vivantes (FIPLV) Ioanna KUÇURADI, Prof. Dr., Maltepe University, Turkey Roger POUIVET, Prof. Dr., Nancy 2 University, France Constantin SĂLĂVĂSTRU, Prof. Dr., Al. I. Cuza University, Iasi, Romania Jean-Jacques WUNENBURGER , Prof. Dr., Jean Moulin University, Lyon, France Editor Petru BEJAN, Prof. Dr., Al. I. Cuza University, Iasi, Romania Editorial board Cristian CIOCAN, Postdoctoral Researcher, Al. I. Cuza University, Iasi, Romania Antonela CORBAN, Postdoctoral Researcher, Al. I. Cuza University, Iasi, Romania Florin CRISMAREANU, Postdoctoral Researcher, Al. I. Cuza University, Iasi, Romania Ciprian JELER, Postdoctoral Researcher, Al. I. Cuza University, Iasi, Romania Horia-Vincenţiu PATRASCU, Postdoctoral Researcher, Al. I. Cuza University, Iasi, Romania Dana ŢABREA, Postdoctoral Researcher, Al. I. Cuza University, Iasi, Romania Address Alexandru Ioan Cuza University, Iasi, Romania The Department of Philosophy and Social-Political Sciences Hermeneia 11, Carol I, Blvd., 700506, Iasi, Romania email: [email protected] http://www.fssp.uaic.ro/hermeneia/ Edited by Axis Academic Foundation Tel./fax: 0232/201653 email: [email protected] ISSN: 1453-9047 TOPIC: CRITICAL DISCOURSE IN PHILOSOPHY AND ART Summary I. ARTISTICAL INTERPRETATION Petru BEJAN What is art criticism (any longer)? .......................................................................................... 7 Rolland QUILLIOT L’ambiguïté de l’échec artistique: réflexions sur Le chef d’œuvre inconnu de Balzac .....