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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. -
The Hell Scene and Theatricality in Man and Superman
233 The Amphitheatre and Ann’s Theatre: The Hell Scene and Theatricality in Man and Superman Yumiko Isobe Synopsis: Although George Bernard Shaw’s Man and Superman (1903) is one of his most important dramatic works, it has seldom been staged. This is because, in terms of content and direction, there are technical issues that make it difficult to stage. In particular, Act Three features a dream in Hell, where four dead characters hold a lengthy philosophical symposium, has been considered independent of the main plot of John Tanner and Ann Whitefield. Tanner’s dream emphatically asserts its theatricality by the scenery, the amphitheatre in the Spanish desert where Tanner dozes off. The scene’s geography, which has not received adequate attention, indicates the significance of the dream as a theatre for the protagonist’s destiny with Ann. At the same time, it suggests that the whole plot stands out as a play by Ann, to which Tanner is a “subject.” The comedy thus succeeds in expressing the playwright’s philosophy of the Superman through the play-within-a- play and metatheatre. Introduction Hell in the third act of Man and Superman: A Comedy and a Philosophy (1903) by George Bernard Shaw turns into a philosophical symposium, as the subtitle of the play suggests, and this intermediate part is responsible for the difficulties associated with the staging of the play. The scene, called “the Hell scene” or “Don Juan in Hell,” has been cut out of performances of the whole play, and even performed separately; however, the interlude by itself has attracted considerable attention, not only from stage managers and actors, but also from critics, provoking a range of multi-layered examinations. -
~'7/P64~J Adviser Department of S Vie Languages and Literatures @ Copyright By
FREEDOM AND THE DON JUAN TRADITION IN SELECTED NARRATIVE POETIC WORKS AND THE STONE GUEST OF ALEXANDER PUSHKIN DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By James Goodman Connell, Jr., B.S., M.A., M.A. The Ohio State University 1973 Approved by ,r-~ ~'7/P64~j Adviser Department of S vie Languages and Literatures @ Copyright by James Goodman Connell, Jr. 1973 To my wife~ Julia Twomey Connell, in loving appreciation ii VITA September 21, 1939 Born - Adel, Georgia 1961 .•..••. B.S., United States Naval Academy, Annapolis, Maryland 1961-1965 Commissioned service, U.S. Navy 1965-1967 NDEA Title IV Fellow in Comparative Literature, The University of Georgia, Athens, Georgia 1967 ••••.•. M.A. (Comparative Literature), The University of Georgia, Athens, Georgia 1967-1970 NDFL Title VI Fellow in Russian, The Ohio State University, Columbus, Ohio 1969 •.•••.• M.A. (Slavic Languages and Literatures), The Ohio State University, Columbus, Ohio 1970 .•...•. Assistant Tour Leader, The Ohio State University Russian Language Study Tour to the Soviet Union 1970-1971 Teaching Associate, The Ohio State University, Columbus, Ohio 1971-1973 Assistant Professor of Modern Foreign Languages, Valdosta State College, Valdosta, Georgia FIELDS OF STUDY Major field: Russian Literature Studies in Old Russian Literature. Professor Mateja Matejic Studies in Eighteenth Century Russian Literature. Professor Frank R. Silbajoris Studies in Nineteenth Century Russian Literature. Professors Frank R. Silbajoris and Jerzy R. Krzyzanowski Studies in Twentieth Century Russian Literature and Soviet Literature. Professor Hongor Oulanoff Minor field: Polish Literature Studies in Polish Language and Literature. -
The Cleveland Opera: Don Giovanni at First Baptist Church (April 8)
The Cleveland Opera: Don Giovanni at First Baptist Church (April 8) by Robert Rollin On Saturday night, April 8, The Cleveland Opera gave an outstanding performance of Mozart’s Don Giovanni at First Baptist Church in Shaker Heights. Despite the venue’s awkward acoustics and lack of a pit for the sizeable orchestra, conductor Grzegorz Nowak led a well-balanced performance that allowed the singers to be heard clearly. The opera flowed beautifully through its many intricate arias, recitatives, and ensembles, and all eight leads were in fine voice. Baritone Lawson Alexander was terrific as Don Giovanni. His powerful, darkly-hued voice brought the character’s callous licentiousness to life. Pacing was excellent during the famous duet “Là ci darem la mano,” when Don Giovanni attempts to seduce the peasant girl Zerlina. Bass Nathan Baer was outstanding as the servant Leporello, especially during the “Catalogue Aria,” when he lists the womanizing title character’s many “conquests” by country. Baer possesses a magnificent voice, although at times it was difficult to hear him over the thick accompaniment. Soprano Dorota Sobieska sparkled as Donna Anna. Her light soprano floated beautifully in the highest range. She and her love interest Don Ottavio (sung by tenor Kyle Kelvington) skillfully negotiated their virtuosic coloratura passages. Rachel Morrison, as Donna Elvira, sang with a gorgeous full tone, as did fellow soprano Susan Fletcher, as Zerlina, while bass Christopher Aldrich depicted Masetto’s peasant background with fine vocal color and strong delivery. Bass Adam E. Shimko, as the Commendatore, was vocally solid but lacked the dark timbre needed for the character. -
Frances Stark's the Magic Flute
FRANCES STARK’S THE MAGIC FLUTE (ORCHESTRATED BY DANKO DRUSKO) A PEDAGOGICAL OPERA - CONDUCTOR AS COLLABORATOR by Danko Drusko Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Arthur Fagen, Research Director & Chair ______________________________________ Gary Arvin ______________________________________ Betsy Burleigh ______________________________________ Walter Huff November 30, 2018 ii Copyright © 2018 Danko Drusko iii To my mother, who has always been my greatest role model, supporter, and inspiration in mastering life. To my father, who died 22 years ago, and with whom I wish I had just spent a little more time. I will always remember you. To Ameena, who supported me throughout this process. iv Acknowledgements I would like to express the deepest appreciation to my committee research director, Professor and Maestro Arthur Fagen, who has given me the opportunity to study under him and learn his craft. He continually supported my endeavors and spirit of adventure in regard to repertoire and future projects, as well as inspired in me an excitement for teaching. Without his guidance throughout the years this dissertation would not have been possible. I would like to thank my committee members, Professor Betsy Burleigh and Professor Walter Huff, whose professional and human approach to music-making demonstrated to me that working in this field is more than merely fixing notes and also involves our spirit. -
Don Giovanni
NATIONAL CAPITAL OPERA SOCIETY • SOCIÉTÉ D'OPÉRA DE LA CAPITALE NATIONALE Newsletter • Bulletin Spring 2012 www.ncos.ca Printemps 2012 P.O. Box 8347, Main Terminal, Ottawa, Ontario K1G 3H8 • C.P. 8347, Succursale principale, Ottawa (Ontario) K1G 3H8 Unlucky Valentines by Shelagh Williams The February offerings of Toronto’s Canadian Opera concept allowed events to unfold naturally, although the Company (COC) featured stories of thwarted love com- second act could have been more tense and scary: this posed a century apart: Puccini’s Tosca (1900) and Kaija Scarpia did not seem as evil and lecherous as some I’ve Saariaho’s Love From Afar (2000)! seen, nor were Cavaradossi’s screams under torture as It is a pleasure to report that the Tosca was an loud and spine-chilling as they could have been. Veteran opulent production, setting forth the story in a clear, straight Canadian bass-baritone Peter Strummer knew just how forward manner, and featuring an excellent cast - a rare to evoke the humour of the Sacristan, although at times he set of claims for many operas these days! It was a re- seemed a bit too broad and irreligious in his actions. We mount of the COC’s own lovely 2008 production (which have seen American baritone Mark Delavan, here debut- I did not see) by the creative team of Scottish director ing at the COC as Scarpia, in his early days at Paul Curran, set and costume de- Glimmerglass Opera, and it is pleas- signer Kevin Knight and lighting de- Tosca ing to find that he has developed so signer David Martin Jacques. -
Don Giovanni at the Crossroads of Pleasure and Virtue
Don Giovanni at the Crossroads of Pleasure and Virtue Lydia Goehr and Daniel Herwitz, eds. 2006. The Don Giovanni Moment: Essays on the Legacy of an Opera. Columbia Themes in Philosophy, Social Criticism, and the Arts. New York: Columbia University Press. Reviewed by Edmund J. Goehring In a project, like The Don Giovanni Moment, that deals with the reception history of a canonical work, several kinds of questions can vie for attention. The volume's subtitle highlights a general interest in a historical question: the "legacy" it chooses to explore is largely one presented in nineteenth century imaginative and, to a lesser extent, philosophical works. (The main exception is Ingrid Rowland's discussion of religious ritual and the Don Juan legend before Mozart, "Don Giovanni: 'And what communion hath light with darkness?"') For some essays, the topic of history yields to one of criticism. Despite the introduction's contention that it attends less to Don Giovanni itself than to "the works written in the opera's shadow" (xvii), many contributors keep at least one eye fixed on the object casting that shadow. Finally, parts of the volume pose more abstract questions, where the issue becomes "how far this opera as a work of embodied myth redefines the relationship between art and morality" (xvii). This kind of question, not quite historiographical or analytical, seeks out "main themes;' which in this case comprise "power, seduction, [and] judgment" (xvii). An inclination to philosophize (or to interpret philosophy as that discipline involved with abstract themes) informs the collection at various levels. The first half of its title, for example, pays homage to Kierkegaard's famous interpretation, advanced in Either/Or ([ 1843] 1987), that describes Mozart's libertine not as an ethical being but as the musical embodiment of the sensuous; Don Giovanni's choice (or impulse) to follow the path of pleasure instead of virtue is reflected in an existence made up of a series of discrete moments. -
Don Giovanni Opera Box Lesson Plan Title Page with Related Academic Standards
Opera Box 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. See the Unit Overview for a detailed explanation. Before returning the box, please fill out the Evaluation Form at the end of the Teacher’s Guide. As this project is new, your feedback is imperative. Comments and ideas from you – the educators who actually use it – will help shape the content for future boxes. In addition, you are encouraged to include any original lesson plans. The Teacher’s Guide is intended to be a living reference book that will provide inspiration for other teachers. If you feel comfortable, include a name and number for future contact from teachers who might have questions regarding your lessons and to give credit for your original ideas. You may leave lesson plans in the Opera Box or mail them in separately. Before returning, please double check that everything has been assembled. The deposit money will be held until I personally check that everything has been returned (i.e. CDs having been put back in the cases). -
Mozart Evening in Vienna
--BBBBB NAXOS 11111 A Mozart Evening in Vienna Vienna Mozart Orchestra Konrad Leitner Wolfgang Amadeus Mozart (1756 - 1791) Aus der Oper "Die Entfuhrung aus dem Serail", KV 384 From the opera The Abduction from the Seraglio, K. 384 OuvertureIOverture Arie des Blondchens/Blondchen's Aria "Durch Zartlichkeit . " Aus der Oper "Don Giovanni", KV 527 From the opera Don Giovanni, K. 527 Canzonetta des Don GiovannilDon Giovanni's Canzonetta "Deh, vieni alla finestra" Duett Don Giovanni-Zerlina:/Duet of Don Giovanni and Zerlina "La ci darem la mano" Eine kleine Nachtmusik, KV 525 Serenade in G, K. 525 1. Allegro Konzert fur Klavier Nr. 21, C-Dur, KV 467 Piano Concerto No. 21 in C major, K. 467 2. Andante 3. Allegro vivace assai Symphonie Nr. 41, "Jupiter", KV 551 Sym hony No. 41, Jupiter, K. 551 1. AIL~~Ovivace Konzert fur Violine, A-Dur, KV 219 Violin Concerto in A major, K. 219 3. Rondo: Tempo di Menuetto Aus der Oper "Don Giovanni", KV 527 From the opera Don Giovanni, K. 527 Arie des Leporello - Registerarie/LeporelloFsCatalogue Song: "Madamina ! " Aus der Oper "Don Giovanni", KV 527 From the opera Don Giovanni, K. 527 Arie der ZerlinaIZerlina's Aria "Vedrai, carino" Aus der Oper "Die Zauberflote", KV 620 From the opera The Magic Flute, K. 620 Arie des PapagenoIPapageno's Aria "Ein Madchen oder Weibchen" Alla turca (Orchesterbearbeitung) Rondo alla turca (orchestral arrangement) Wolfgang Amadeus Mozart was born in Salzburg in 1756, the son of a court musician who, in the year of his youngest child's birth, published an influential book on violin-playing. -
THE THEATRE of DON JUAN by Oscar Mandel University Of
The myth created and established, Professor Mandel traces its various Books manifestations, its accretions of symbol or new significant meaning, down to our own day, using a collection of THE THEATRE OF DON JUAN plays, as I have said before, as illus- by Oscar Mandel trative material interwoven in the University of Nebraska Press ..........$1 0 test. "For the purpose of this collec- tion, a Don Juan play is one which High Efficiency LASERS without cryogenic coolinq Reviewed by Harvey Ea leson, uses, adapts or alludes to the original professor of ~nglish legend . In eighteenth-century Like the Oedipus, Electra-Orestes, puppet plays Don Juan is not amor- and Faust legends, the Don Juan leg- ous; in nineteenth-century musical end has been one of the great sourc- comedy he is an oaf; in the twentieth- es of inspiration for artists in every century conceptions of Shaw and genre from literature and painting to Frisch he distrusts and even dislikes LASER Controls and Power Supplies music and ballet. In his new book women. " LASER System Engineering Oscar Mandel, associate professor of As Don Juan changed - he can Write for information and specifications English at Caltech, has done a great scarcely be said to have developed - service for both the scholar and the he represented first the "triumph of general reader in bringing together sensuality ." Then, naturally, as he the major theatrical works based on flouted some of the conventions of the legend, some of them hitherto not society, he easily became a symbol easily available. The book contains of revolt, politically, religiously. -
Sincerity and Seduction in Don Giovanni
[Expositions 1.2 (2007) 173–190] Expositions (print) ISSN 1747-5368 doi:10.1558/expo.v1i2.173 Expositions (online) ISSN 1747-5376 Sincerity and Seduction in Don Giovanni JAMes H. JOhnsON Boston University This article considers the nature of seduction in Mozart’s ‘Don Giovanni’ in light of recent musicological scholarship on the title character. Using Casanova’s memoirs as a point of reference, Johnson argues that Mozart and da Ponte deliberately employ a tone of sincerity that keeps to the sur- face in conveying Giovanni’s words but reveals little about his motivations and withholds ultimate judgment about his character. Johnson contends that this tone of sincerity produces a powerfully seductive effect upon listen- ers as well and is a major factor in the polarized critical reception of the opera that continues to this day. The article combines musical, literary, and dramatic analysis and contains musical examples from ‘Don Giovanni’ and ‘Così fan tutte.’ One point of entry to Mozart’s Don Giovanni is to consider Beethoven’s sentiment, expressed late in life, that the sacred art of music “ought never to permit itself to be degraded to the position of being a foil for so scandalous a subject.”1 Beethoven’s indignation grew from his own religious view of art. He wrote to the Archduke Rudolf in 1823: “There can be no loftier mission than to come nearer than other men to the Divinity and to disseminate the divine rays among mankind.” Despite the opera’s divinely punitive ending—with Don Giovanni sent to hell for his crimes and the other characters pledging to keep to the straight and narrow—there is much to offend along the way. -
Sept. 26 Through Oct. 4 © Patrick Pfister for Kentucky Opera
MOZART'S In-depth Guide written by Stu Lewis Sept. 26 through Oct. 4 © Patrick Pfister for Kentucky Opera THE 2015-2016 SEASON AT THE KAUFFMAN CENTER FOR THE PERFORMING ARTS KCOPERA.ORG OR CALL 816.471.7344 A JOLLY DRAMA The history of opera has been marked by a number of landmark works which almost immediately changed the operatic landscape. After Wagner, everyone wanted to write “music dramas” with the emphasis on drama instead of vocal display. After the premiere of Leoncavaallo’s Pagliacci (1892), everyone wanted to write verismo (realistic) operas, with their passionate musical description of life among the lower economic classes. After Richard Rodgers and Oscar Hammerstein unveiled Oklahoma! in 1943, the musical comedy was transformed into the Broadway musical. On the other hand, there have been works that are so far ahead of their time that thought they may have enjoyed some success, they produced no immediate heirs. In 1875, the world was not ready for Bizet’s Carmen, a tragedy about a gypsy factory worker. In 1935, American audiences were not ready for the truly indigenous American opera that the Gershwins had created in Porgy and Bess, which had to be pared down into a musical before it could be accepted; nearly two decades were to pass before the first golden age of American opera. Mozart and Da Ponte’s second collaboration, Don Giovanni (1787) falls into this second category. In their time operas were generally divided into opera seria (serious operas) and opera buffa (comic operas). Yet Don Giovanni has elements of both, leading them to label it a drama giocoso (jolly drama), a term which had been used before but was still somewhat unusual.