The Fandom of the Opera: Opera & Media Technology Pre- and Post-Pandemic
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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 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
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. -
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
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
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: 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: 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. -
The Fandom of the Opera: How the Audience for a Centuries-Old Art Form Helped Create the Modern Media World
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. -
Use of Parody Techniques in Jacques Offenbach's Opérettes and Germaine Tailleferre's Du Style Galant Au Style Méchant
Use of Parody Techniques in Jacques Offenbach’s Opérettes and Germaine Tailleferre’s Du Style Galant au Style Méchant By Melissa Cummins, ©2017 PhD University of Kansas, 2017 MM University of South Dakota, 2013 ME Southeast Missouri State University, 1994 BSE Northwest Missouri State University, 1989 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Colin Roust Paul Laird Scott Murphy Joyce Castle Jeanne Klein Date Defended: March 15, 2017 The dissertation committee for Melissa Cummins certifies that this is the approved version of the following dissertation: Use of Parody Techniques in Jacques Offenbach’s Opérettes and Germaine Tailleferre’s Du Style Galant au Style Méchant Chair: Colin Roust Date Approved: April 26, 2017 ii Abstract In past scholarship, Germaine Tailleferre has been briefly written about as the only female member of Les Six and as a composer of instrumental music. Her body of piano music and a few of her other compositions have been analyzed, but her operatic output and style have to this point not been examined. This dissertation begins to fill that gap by studying the radio operas that were commissioned in 1955 by Radio France. Using parodic techniques developed early in her career, Tailleferre and her librettist, Denice Centore, created a cycle of five short operas that reflected the historical scope of French opera in miniature: Du Style Galant au Style Méchant. The fourth opera in the cycle, Monsieur Petitpois achéte un château, is a parody of the opérettes of Jacques Offenbach. -
Mark Schubin's Media-Technology and Opera Chronology - National Opera Center - 2013 October 29
Mark Schubin's Media-Technology and Opera Chronology - National Opera Center - 2013 October 29 Origin of modern opera, modern science, and modern communications satellites: - 1520-1591: Vincenzo Galilei: father of modern acoustics, sung drama, and Galileo (whom he taught experimentation); after reading Galilei’s 1581 music-theory book, Johannes Kepler formulates 3 rd law of planetary motion, leading to modern satellites Telephony: - 1821: After a demonstration of Charles Wheatstone's "enchanted lyre," Repository of Arts predicts wired opera broadcasts - 1848: “Telakouphanon” (acoustic telephone) service delivering opera to homes for a fee predicted in Punch - 1849: Antonio Meucci, technical director of Havana Opera's Teatro Tacón (and former stagehand and effects technician at Florence's Teatro della Pergola) begins experiments on sound transmission by electricity via wire; continues them in NYC - 1876: The New York Times predicts box-office drop at Academy of Music if opera available to homes via telephone - 1877: Aria transmitted Providence to Boston; Punch's Almanack for 1878 predicts telephone delivery of opera to homes - 1878: Don Pasquale carried by telephone lines in Bellinzona, Switzerland from opera-house auditorium to nearby room - 1880: Microphone developed specifically for opera at David Moseley & Sons, Manchester, England; Edward P. Fry probably 1st person to listen to opera at home via telephone (applauds what he likes); opera carried 80 km from Zürich to Bâle - 1882: Scotland’s National Telephone Company allows home/office -
Download Booklet
Ode_1055_booklet_Cover 3.3.2005 10:25 Page 1 C M Y CM MY CY CMY K TAUNO PYLKKÄNEN (1918–1980) MARE and her SON Opera in Three Acts Libretto by Aino Kallas Kirsi Tiihonen Raimo Sirkiä Esa Ruuttunen Mare Kirsi Tiihonen Juha Uusitalo Imant Raimo Sirkiä Goswin von Herike Juha Uusitalo Estonian National Opera Mango Esa Ruuttunen Chorus and Orchestra Minstrel Juha Riihimäki Hannu Lintu, conductor Man-at-arms Kai Valtonen TAUNO PYLKKÄNEN Estonian National Opera Chorus Estonian National Opera Orchestra and her Hannu Lintu, conductor MARE SON ODE 1055-2D Opera in Three Acts Composite Ode_1055_booklet_Cover 3.3.2005 10:25 Page 1 C M Y CM MY CY CMY K TAUNO PYLKKÄNEN (1918–1980) MARE and her SON Opera in Three Acts Libretto by Aino Kallas Kirsi Tiihonen Raimo Sirkiä Esa Ruuttunen Mare Kirsi Tiihonen Juha Uusitalo Imant Raimo Sirkiä Goswin von Herike Juha Uusitalo Estonian National Opera Mango Esa Ruuttunen Chorus and Orchestra Minstrel Juha Riihimäki Hannu Lintu, conductor Man-at-arms Kai Valtonen TAUNO PYLKKÄNEN Estonian National Opera Chorus Estonian National Opera Orchestra and her Hannu Lintu, conductor MARE SON ODE 1055-2D Opera in Three Acts Composite 1055 booklet 2.3.05 14:58 Sivu 2 2 1055 booklet 2.3.05 14:58 Sivu 3 TAUNO PYLKKÄNEN (1918–1980) MARE and her SON OPERA IN THREE ACTS COMPOSED IN 1942–43 LIBRETTO BY AINO KALLAS 1055 booklet 2.3.05 14:58 Sivu 4 Cast • Personen • Personnages • Henkilöt MARE soprano KIRSI TIIHONEN Widow of Valdeko, elder of Sakala Witwe von Valdeko, des Oberhaupts von Sakala veuve du doyen de village de Sakala Sakalan