DOCSLIB.ORG

Queer ) a Boy and His Diva ^ Adriana Lecouvreur 1 We He That

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Queer ) a Boy and His Diva ^ Adriana Lecouvreur 1 We He That queer ) a boy and his diva ^ adriana lecouvreur 1 we hE that... ! stiffelio I prends garde I the phantom of ` opera is queer f a boy and his diva ) adriana lecouvr we hear that... I stiff o I prends garde 1 + phantom of the opera is 1 a boy and his divz adriana lecouvreur ! we hea . ) stiffelio 1 prei garde t the phantom of the o queer ? a boy and " diva ! adriana lecouvreur hat ) stiffelio prends garde ) the phantom queer 1 a k and his diva ! adriana r that... stiffelio I prends he opera queer I a boy and `-,^ ! we he that ... ) stiff om of t opera is queer couvre ) we hear the 1 phantom of th Perhaps a bullet or two should be reserved for We ^uliil` > . Robert LaFosse and Lesley Koenig for his xeroxof- a-xeroxof-Bolonchine choreography and her ^.. thQ[...^ clueless staging. Should the Judgement of Pa's ballet really be camped that way? Would a dancer of the period really dare give the Princess of Bouillon such attitude (look what happened to Dolora Zajiek will take a one-year sabbati- La Lecouvreur, the biggest star of the time)? Did ,gs^ cal from her burgeoning opera career to actors at the Comedie Francoise really swish "She was like a schoolgirl around tour in Gertrude Stein, Gertrude Stein, around behind feather fans and throw laundry at him. One with a terrible crush," says V^ Gertrude Stein. Break a leg , Dolora! the' stage manager? And if a director Insists on Franco Zeffirelli. He's talking about altering the fradd'bnal business in an opera, Maria Callas , of course. That's who (to Zeffirelli, anyway. Peter Sellars will bring his production of shouldn' t the reason be an attempt to heighten "she" means the drama, rather than, as was apparently the To Michael Musto, "She " - meansi Haydn's 11 mondo dells tuna to BAM later Madonna. Chacun a son diva) But who, this year. The aging wunderkind has, as case here, an inability to read stage directions in Itaion? is this "him"? Aristotle Onassis? usual , revised the libretto, setting the opera Giovanni Battista Meneghini? Franco$ Adriano has a lot in common with Les Liaisons on the Earth. corelli? Rudolph Bing? No, no, no,= dangereuses- and a staging in that mode might and are you kidding? shut up once and for all those whiners who stir 'Tbe Melee in Mycenae" is how Don turn up thee noses at this show, lt only the Met King bills his pay-per-view showing of would lose the' "Mikey-he' i-eat-anything" attitude Elektra starring Gveyaeth Jones and toward the audience. Maurizio, we know, was a Leonie Rysanek . According to the gigolo who paid for his invasion of Poland by controversial boxing promoter, "Gwyn and turning tricks. The Princess and La Duclos, accord- Leni are the only real heavyweights left." in g to some sources, were much more than just close friends . And, as you can read elsewhere in Parterre Box , Michael. Michonne t is more Thelma Ritter an autobiographical "popera" than Gay Me". with music and lyrics by Michael s almof Jackson, will open the Metropolitan Opera's 1997-98 season. The title part is at yet uncast, but Kathleen Battle has SWefo (3/9) suffers from the "Crying Game been chosen to sing the cameo role of syndrome"- the reviews and word-of-mouth have rge Lc "LaToya." James Levine, currently the built up audience expectations to the point that Met's Artistic Director, says, "Michael's a disappointment is inevitable. Let's face it- the great piece. We're both really excited shows no Traviata, or as Dan O'Herihy says in l I Th( about doing it." Irritation of life, it's "d high ideals and low heels." But the Giancarlo Del Monaco production is Verwe.ndler du! handsome and moving-- would that the Met's cheezoid Trovatore looked one-quarter as goodl lJ C Ariadne out Naxos is about... yes" Sharon Sweet is a puzzlement- she wields a The dangers of producing an opera large, exciting sound with temperament but little with grant money? No, but thanks for musical imagination. Her face and hands are answer is "Ariadne playing. The right e beautifully expressive- why not her voice? is about transformation." (And for c Vladimir Chernov, on the other hand, creates flair the bonus points, Bobv Dick is about and rhythmic excitement through the aggresive this whale.) Yeah, so? Ariadne thinks use of a Figaro-sized instrument. I look forward to she's dying, see. But she's really AdIddno Lecouwm,r (3/7), 1 am shocked o say, hearing him in Balo (another show that could coming back to life, just did not sell out, the way, say, a mediocre profit from the Del Monaco touch). transformed, that's all: not a woman SohPme does. And the tragedy is that Mie#a any more, but a... goddess. Or "diva" Freni is still damned good. No, I don't care for her as they say in Milan. What a miracle pushing so hard at F and G at the top of the that is. It takes a "transformer" to staff, but in general the tone is still sweet and turn a woman into a diva. (Another almost as warm as thirty years ago. She looks an It's Luchino Visconti, that's who, function of a transformer is to attractive forty, and is still charming in that sightly tie man who taught Callas how to move convert AC to DC and vice versa. But goofy way we of love. She lacks only the whip- on stage, who directed her in her let's not go too far afield.) greatest triumphs: Sonnambula, crack temperament Adriona must have ( you feel Anna Traviata, Vestale, Iphi4enie, See, nobody in the prologue cares she'd leave the Princess's party quietly to avoid a create her, scene): that's where Scotto was superb. Act 4 ^olena ; He didn 't exactly about the Tenor or Harlekin. They're was Freni's long suit; "Poveri fiow was more thon NON-LUBRICkeED $ tut he did the last couple of revi- on their own. But walk into that sions. Visconti is a good catch, greenroom in a skirt and the "trans- the usual three minutes of self-Pity as despair distinguished, aristocratic, gave way to resignation. She is a precious artist; too... formers" are as thick as flies. And a charming. And the Zef is right. On bunch of queer ducks they are too. don't wait until she's gone to appreciate her. this kinescope of a French talk show, I haven't done the research, but it seems Ike (late 601s, to judge by La Divina's The relationship between the Music Freni and Sherrill Mines must have shared the Yairdo) Callas is relaxed, giggly, stage Master and the composer could best be of the Old Met their debut year. In edorable for once. She' s Maria. She described as "Socratic," even though Boheme, maybe, or Foust? Anyway, after almost interrupts his you-had-to-be-there neither one of them is a philoso_phe thirty seasons the big guy just keeps raging along; Story ("They were throwing vegetables I swear he sounds better now than ten yeas ago. et Maria..." "Radishes and celery!") And he's a mellower, more giving performer, too, exactly as if they were the Burtons. which means he has few rivals and no equals. whey're delightful together. A For the rest. Stefania Toczyska was generous of I , perfect match. A fun couple. And voice and feline of movement-- and baking Ike R Visconti is gayer than I am. the young Anouk Aimee doesn't hurt. Luis Lima is r ednly cute, but his voice and his acting are y about equally constricted. Of the supporting singers, let me single out Yvonne Gonzales and simply say she should be shot. www.parterre.com Y prends garde a toi -1 ^ tfi Casta Diva I was talking to a trbsgay chorister who performed under the baton (ae Then again , the kid is at lead e-ep they say) of a noted conductor who is ("She is the Symbol of Mankind in its married to one of the century's Isolation ", he offers the Prima Donna greatest sopranos . He told me the by way of direction . Yes, of course, maestro always travels with his boy- but would you mind giving me some- friend , even when the diva stays thing I can Play ?) The Music Master home . The chorister was pensive: "She has his hands full trying to contact wouldn't have become a star without: whatever planet his protegd's on, but his, of course , and I'm sure they, have great he too gets A chance to direct the affection for each other. But I feel Prima Donna . More wise in the ways sorry for her. He'll never: love h__ «.- ..--- - f the theater, he tratislates his Oman." criticism into her own charming native tongue, Divaspeak : "The con- trast between you and that tacky Zerbinetta will make you look even more wonderful than you do already." Well . She'd never looked at it that The Zerbinetta/Composer scene is usu- ally explicated as a sexual awakening and nothing else. Cho noia . " Onstage I mostly play comedy, but I'm much deeper than people realize. " That gets his dick hard ? More likely our little Amadeus clone is thinking, "The voice is tiny, but it carries. And she's been around the block. The contrast between that silvery sound and that know- ing face is so full of dramatic tension! And she can handle props, too.
Load more

Recommended publications
  • [Collection Title]
    1 New Orleans Opera Association Archives 99 boxes/68 linear ft Special Collections & Archives J. Edgar & Louise S. Monroe Library Loyola University New Orleans Collection 74 2 Contents Collection Summary ....................................................................................................................... 3 Series Description .......................................................................................................................... 7 Container List ................................................................................................................................. 8 Series I: Administrative Files ..................................................................................................... 8 Subseries I-A: Artist Fees ...................................................................................................... 8 Subseries I-B: Awards and Grants ......................................................................................... 8 Subseries I-C: Board of Directors 1943-1999 ........................................................................ 9 Subseries I-D: Budgets ........................................................................................................ 10 Subseries I-E: Clubs and Guilds .......................................................................................... 10 Subseries I-F: Correspondence ............................................................................................ 10 Subseries I-G: Facilities and Sets ........................................................................................
    [Show full text]
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
    [Show full text]
  • Comunicato Stampa
    COMUNICATO STAMPA Otello, omaggio a Giuseppe Verdi nel bicentenario della nascita, inaugura la Stagione lirica e di balletto 2013 Giovedì 2 maggio alle 20.30 si alza il sipario sulla Stagione lirica e di balletto 2013 del Teatro Lirico di Cagliari. Una stagione sempre molto attesa dal pubblico che, anche per quest’anno, segna la rinascita e la voglia di proseguire nella diffusione musicale del Teatro Lirico di Cagliari. Sei opere liriche ed un balletto, una produzione in più rispetto all’anno scorso, tutti titoli di grande interesse che, certamente, troveranno il gradimento del pubblico, sia per quelli noti che per quelli ricercati: Otello, Macbeth, L’amico Fritz, I Shardana, Così fan tutte, Pagliacci, Red Giselle. L’inaugurazione è affidata al doveroso omaggio, in occasione del bicentenario della nascita, a Giuseppe Verdi (Roncole di Busseto, Parma, 1813 - Milano, 1901), massimo operista italiano: Otello, dramma lirico in quattro atti, su libretto di Arrigo Boito, dalla tragedia omonima di William Shakespeare, e musica, appunto, di Verdi, va in scena per sei rappresentazioni, dal 2 al 10 maggio, per il XIII Festival di Sant’Efisio del Teatro Lirico di Cagliari. Lo spettacolo inaugurale, un stimolante allestimento dello scorso gennaio della Fondazione Lirico Sinfonica Petruzzelli e Teatri di Bari, conta dell’eccezionale regia di Eimuntas Nekrosius, geniale artista lituano, celebre in tutto il mondo dello spettacolo per aver curato importanti allestimenti teatrali e che ritorna a Cagliari dopo l’allestimento di La leggenda della città invisibile di Kitež e della fanciulla Fevronija di Nikolaj Rimskij-Korsakov che inaugurò la Stagione lirica e di balletto 2008, delle scene di Marius Nekrosius, dei costumi di Nadežda Gultiajeva e delle luci di Audrius Jankauskas che sfruttano tutte le potenzialità drammaturgiche dell’opera con pochi elementi scenici e colori assemblati con grande pulizia ed eleganza, oltre a movimenti essenziali, in un gioco di rimandi simbolici.
    [Show full text]
  • Diane Kalinowski, Soprano
    DIANE KALINOWSKI, SOPRANO Diane Kalinowski is an artist that “stands out, possessing an enormous voice of fine quality” (Patrick C. Byrne; Belgian Opera Guide). She recently performed the title role of Tosca with Opera Connecticut to enthusiastic acclaim including a review from Larry Kellum of Town Times applauding “…her voice is gorgeous, her high Bs and Cs (she has many) were gigantic bullseyes, her acting was sensitive, and her beautiful long pianissimo ending “Vissi d’arte” instantly showed this critic that she is a major talent in the making!” Ms. Kalinowski has performed the roles of Marguerite in an adaptation of Faust, Lady Billows in Albert Herring, the New Prioress in Dialogues of the Carmelites, the title role in Suor Angelica, Gretel in Hansel and Gretel, Frasquita in Carmen, and Yum Yum in The Mikado. In addition to Opera Connecticut, she has been seen on the stages of the Lyric Opera of Kansas City, Annapolis Opera, New Jersey State Opera, and Rochester Lyric Opera. No stranger to the concert stage, Ms. Kalinowski has performed numerous scenes and arias from Madama Butterfly, Norma, La Forza del Destino, Aida, Boito’s Mefistofele, Der Rosenkavalier, and Così fan tutte. She has been the soprano soloist in Handel’s Messiah, the Poulenc Gloria, the Mozart Requiem, and the Vivaldi Gloria and also sang Strauss’s Vier letzte Lieder with the University of Kansas Symphony Orchestra at the beautiful Lied Center. Ms. Kalinowski is the recipient of numerous awards including the Top 3 of 9 possible awards at the Annapolis Opera Voice Competition; Top Prize in the American Opera Idol Competition at Opera Connecticut; and Grand Prize in the LaDue Professional Recital Competition at Rochester Lyric Opera.
    [Show full text]
  • DANIEL GRICE Bass-Baritone Daniel Grice Trained and Worked As a Nurse and a Chef Before Studying Music at the Guildhall School O
    DANIEL GRICE bass-baritone Daniel Grice trained and worked as a nurse and a chef before studying music at the Guildhall School of Music and Drama and with bass Robert Lloyd. He made his operatic debut as Nick Shadow in The Rake’s Progress opening the 2006 Aldeburgh Festival with the Philharmonia Orchestra under Martyn Brabbins directed by Neil Bartlett. This season he has performed Idraote/Astarotte Armida and Haly L’Italiana in Algeri for Opéra Orchestre National Montpellier, Sam Un Ballo in Maschera and Wagner Faust for Dorset Opera and the previous season Papageno Die Zauberflöte and Zoroastro Orlando for Welsh National Opera also understudying Peter Hansel und Gretel, Dulcamara L’elisir D’amore, Sam, Leuthold Guillaume Tell for the Royal Opera House. Other performances include Schaunard La Boheme and Flemish Deputy Don Carlo for the Royal Opera House, Ein Mann/Ephramite Moses und Aron, Schaunard, Angelotti Tosca, Lord Rochfort Anna Bolena and Roderick Usher (cover) La Chute de la Maison Usher for Welsh National Opera. He also performed Pastore/Spirito Orfeo for Opera National de Lorraine and Les Talents Lyriques with Christophe Rousset also in concert at Salle Playel and Escamillo Carmen at the Royal Albert Hall. During 2010-2012 as a Jette Parker Young Artist at the Royal Opera House, Daniel sang Wolfram Tannhäuser, Fiorello in Il Barbiere di Siviglia, Commissario in Madama Butterfly as well as the role of Enrico in Haydn’s L’isola disabilitata with the Young Artists in the Lindbury Studio Theatre, Wagner in Gounod’s Faust, Pinellino Gianni Schicchi, Marquis d’Obigny La Traviata, Hunter Rusalka, Soldier and Mercure Les Troyens, Antonio Il Viaggio a Riems and covered the roles of Guglielmo Cosi Fan Tutte, il Principe de bouillion Adriana Lecouvreur, Papageno and Schaunard.
    [Show full text]
  • CV English - Noëmi Nadelmann —
    CV English - Noëmi Nadelmann — Noëmi Nadelmann is a swiss soprano and one of the leading opera and concert singer of her generation. She made her debut in 1987 at the Teatro La Fenice in Venice as Musetta in 'La Bohème' with Renata Scotto as Mimi. Since that time she has sung major roles in the great opera houses of the world, in the major concert halls and with the world's leading orchestras. Noëmi Nadelmann has sung Musetta at the Metropolitan Opera in New York, Opéra National Paris (Bastille) in Paris (conductor: Daniel Oren), Vienna State Opera, Komische Oper Berlin (conductor: Simone Young), Dutch National Opera Amsterdam (director: Pierre Audi) and the Lyric Opera of Chicago. She has sung Violetta in 'La Traviata' at the Komische Oper in Berlin (director: Harry Kupfer, conductor: Yakov Kreizberg), Hessisches Staatstheater Wiesbaden, Deutsche Oper Berlin (director: Götz Friedrich), Opernhaus Zürich (director: Jürgen Flimm, conductor: Franz Welser- Möst) and the State Opera House Hamburg. She has also sung the title role in 'Lucia di Lammermoor' at the Komische Oper Berlin (director: Harry Kupfer, conductor: Yakov Kreizberg, Vladimir Jurowski) and the State Opera House Hamburg. Noëmi Nadelmann has sung the tiltle role in 'Manon' at the Deutsche Oper Berlin and Marschallin in 'der Rosenkavalier' on their tour to Beijing (conductor: Uwe Schirmer) as well as at the Israeli Opera in Tel Aviv (conductor: Asher Fisch). Armida in 'Rinaldo' she was a tremendous success at the Bavarian State Opera in Munich (director: David Alden, conductor: Harry Bicket) and at the State Opera Berlin (director: Nigel Lowery, conductor: René Jacobs).
    [Show full text]
  • Stagione Lirica E Di Balletto 2010-2011 Verditrieste
    VerdiTeatro Trieste FONDAZIONE TEATRO LIRICO GIUSEPPE VERDI - TRIESTE Stagione lirica e di balletto 2010-2011 grazie. La Fondazione Teatro Lirico “Giuseppe Verdi” porge un grazie vivissimo alle imprese e alle istituzioni che ne sostengono l’attività Stato Italiano Comune PROVINCIA di di Trieste TRIESTE comune di trieste assessorato alla cultura area cultura Stagione Lirica e di Balletto 2010-2011 Fondazione Benefica Kathleen Foreman Casali VerdiTeatro FONDAZIONE TEATRO LIRICO GIUSEPPE VERDI-TRIESTE La Traviata Teatro VerdiTriesteFONDAZIONE TEATRO LIRICO GIUSEPPE VERDI-TRIESTE Teatro Melodramma in tre atti di Francesco VerdiTriesteFONDAZIONE TEATRO LIRICO GIUSEPPE VERDI-TRIESTE Maria Piave, dal dramma La Dame aux camélias di Alexandre Dumas figlio Consiglio DIRETTORE AMMINISTRATIVO Teatro Lirico Musica di d’Amministrazione Fulvio Lizzul “Giuseppe Verdi” TRIESTE Giuseppe Verdi PRESIDENTE DIRETTORE PRODUZIONE martedì 16 novembre Roberto Dipiazza Alessandro Gilleri SERATA DI GALA Personaggi e Interpreti ore 20.30 A VICEPRESIDENTE Violetta Valery ALLESTIMENTI SCENICI mercoledì 17 novembre Donata Irneri Pier Paolo Bisleri ore 20.30 B Mariella Devia CONSIGLIERI giovedì 18 novembre Csilla Boross RESPONSABILE ore 16 C Roberto Collini UFFICIO STAMPA Alfredo Germont venerdì 19 novembre Lucio Delcaro E RELAZIONI ESTERNE Stefan Pop Nicoletta Cavalieri ore 18 F Bogdan Kralj sabato 20 novembre Angelo Ferrari SEGRETERIA ARTISTICA Massimo Paparo Paolo Rodda ore 17 S Giorgio Germont Giorgio Zanfagnin (Sovrintendente) domenica 21 novembre Gianfranco Montresor
    [Show full text]
  • BRAD DALTON Stage Director [email protected] Cell 310-621-9575
    BRAD DALTON Stage Director [email protected] cell 310-621-9575 www.braddalton.com OPERA A STREETCAR NAMED DESIRE Lyric Opera of Chicago*, Los Angeles Opera*, Carnegie Hall*, (design: Brad Dalton) the Barbican in London*, Opera San Jose (*with Renee Fleming) A STREETCAR NAMED DESIRE Washington National Opera, San Diego Opera, (design: Michael Yeargan) Austin Lyric Opera A STREETCAR NAMED DESIRE Hawaii Opera Theatre, Grand Rapids Opera, Townsend Opera, (design: Steven Kemp) Fresno Opera CINDERELLA (American premiere) Packard Humanities Institute, California Theatre ALBERT HERRING Shepherd School of Music, Rice University LA BOHEME Opera Santa Barbara RIGOLETTO Opera San Jose, Opera Santa Barbara THE FLYING DUTCHMAN Opera San Jose TOSCA Opera San Jose THE MAGIC FLUTE Opera San Jose MADAMA BUTTERFLY Opera San Jose IL TROVATORE Opera San Jose FAUST Opera San Jose IDOMENEO Opera San Jose ANNA KARENINA Opera San Jose COSI FAN TUTTE Opera San Jose ROMEO AND JULIET Hawaii Opera Theatre CAVALLERIA/PAGLIACCI New Orleans Opera DON GIOVANNI New Orleans Opera CARMEN New Orleans Opera ALCESTE Opera Boston LA CLEMENZA DI TITO Opera Boston REVIVALS DEAD MAN WALKING State Opera of South Australia (Joe Mantello production) - Winner 2004 Helpmann Award “Best direction of an Opera” THE BARBER OF SEVILLE Metropolitan Opera (John Cox production) IL TROVATORE San Francisco Opera (Nicholas Muni production) RIGOLETTO San Francisco Opera (Mark Lamos production) THE MARRIAGE OF FIGARO San Francisco Opera (John Copley production) THE BARBER OF SEVILLE San Francisco
    [Show full text]
  • Homage to Two Glories of Italian Music: Arturo Toscanini and Magda Olivero
    HOMAGE TO TWO GLORIES OF ITALIAN MUSIC: ARTURO TOSCANINI AND MAGDA OLIVERO Emilio Spedicato University of Bergamo December 2007 [email protected] Dedicated to: Giuseppe Valdengo, baritone chosen by Toscanini, who returned to the Maestro October 2007 This paper produced for the magazine Liberal, here given with marginal changes. My thanks to Countess Emanuela Castelbarco, granddaughter of Toscanini, for checking the part about her grandfather and for suggestions, and to Signora della Lirica, Magda Olivero Busch, for checking the part relevant to her. 1 RECALLING TOSCANINI, ITALIAN GLORY IN THE TWENTIETH CENTURY As I have previously stated in my article on Andrea Luchesi and Mozart (the new book by Taboga on Mozart death is due soon, containing material discovered in the last ten years) I am no musicologist, just a person interested in classical music and, in more recent years, in opera and folk music. I have had the chance of meeting personally great people in music, such as the pianist Badura-Skoda, and opera stars such as Taddei, Valdengo, Di Stefano (or should I say his wife Monika, since Pippo has not yet recovered from a violent attack by robbers in Kenya; they hit him on the head when he tried to protect the medal Toscanini had given him; though no more in a coma, he is still paralyzed), Bergonzi, Prandelli, Anita Cerquetti and especially Magda Olivero. A I have read numerous books about these figures, eight about Toscanini alone, and I was also able to communicate with Harvey Sachs, widely considered the main biographer of Toscanini, telling him why Toscanini broke with Alberto Erede and informing him that, contrary to what he stated in his book on Toscanini’s letters, there exists one letter by one of his lovers, Rosina Storchio.
    [Show full text]
  • NEW YORK CRITICS REVIEW MARIA CALLAS and RENATA TEBALDI: a Study in Critical Approaches to the Inter-Relationship of Singing
    NEW YORK CRITICS REVIEW MARIA CALLAS AND RENATA TEBALDI: A Study in Critical Approaches to the Inter-relationship of Singing and Acting in Opera by MarikolVan Campen B. A., University orBritish Columbia, 1968 A Thesis Submitted in Partial Fulfillment of The Requirements for the Degree of Master of Arts in The Faculty of Graduate Studies Department of Theatre, Faculty of Arts, University of British Columbia We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1977 1977 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of THEATRE The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date Oct. 5, 1977 i ABSTRACT The following study is an analysis of New York reviews of performances of Maria Callas and Renata Tebaldi which attempts to discover what opera critics feel to be the most effective artistic balance between singing and acting in opera. Callas and Tebaldi have been chosen as the subjects of the reviews because of their renown as singers, the closely coinciding cir• cumstances of their careers and the polarities which they represented in the issue of acting versus singing in operatic performance.
    [Show full text]
  • Anna Netrebko Has Redefined What It Means to Be an Opera Star, Becoming Perhaps the Most Celebrated Soprano in the World
    mli^o=jrpf`=mofwb=i^rob^qb=OMOMW=^kk^=kbqob_hl= “A soprano with star power in the best sense, a charismatic expressivity that pervades every element of her performance.” – Anthony Tomassini, New York Times The reigning prima donna of the 21st century, Anna Netrebko has redefined what it means to be an opera star, becoming perhaps the most celebrated soprano in the world. In live performance and on award-winning recordings, her portrayals of opera’s most iconic heroines have already made an indelible mark. Now, as she ventures into bolder, more dramatic repertoire, she continues to reach new heights. From singing at the opening ceremony of the 2014 Winter Olympics to becoming the first classical artist named to TIME magazine’s list of the world’s 100most influential people, Anna serves as opera’s leading global ambassador and is widely recognized as one of today’s most compelling, committed performing artists in any genre. Offstage, on social media, she shares her infectious joie de vivre–along with her love of family, fashion, and food–inspiring people to live their most colorful lives and to celebrate what makes them unique. Now at the peak of her powers, Anna is drawing on the exceptional maturation of her voice to conquer the most demanding roles of her career. Her title role debut in Giovanna d’Arcoat the 2013 Salzburg Festival, and the concurrent release of her Verdi album on Deutsche Grammophon, marked the major turning point when she began to leave behind the lighter, more lyric roles for which she had first become known.
    [Show full text]
  • Tutor: José De Coca Leicher Coordinadora: Mercedes González Departamento De Ideación Gráfica Semestre De Otoño Curso 2019-2020
    REALISMO DEL ESPACIO ESCÉNICO EN La Bohème Ana Riau Warleta TRABAJO DE FIN DE GRADO AULA 1 Tutor: José de Coca Leicher Coordinadora: Mercedes González Departamento de Ideación Gráfica Semestre de otoño curso 2019-2020 ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID UNIVERSIDAD POLITÉCNICA DE MADRID Enero 2020 « Los diferentes ingredientes de la ópera son la poesía, la música y la escenografía. La poesía habla a nuestro espíritu, la música a nuestro oído, la pintura a nuestros ojos, y todo junto contribuye a conmover nuestro corazón. » Jean-Jacques Rousseau Ι Realismo del espacio escénico en La Bohème ABSTRACT El presente Trabajo de Fin de Grado pretende profundizar sobre los espacios creados en escena, cen- trándose en un caso de estudio concreto: la ópera La Bohème de Giacomo Puccini, en la producción del escenógrafo Giancarlo del Monaco representada en el Teatro Real de Madrid en 2006. El estudio buscará un punto de convergencia entre la arquitectura y la escenografía, con el objetivo de profundizar sobre la importancia del realismo en los espacios escénicos. Para ello, se realizará un primer acercamiento al contexto y arquitectura del París del siglo XIX, con el fin de establecer comparaciones entre la realidad existente de la época y el montaje de Del Mónaco. Se estudiarán igualmente los aspectos que envuelven a la obra, destacando aquellos que hacen única y especial a La Bohème, y la fusión que Puccini crea entre el Verismo y el Romanticismo. Partiendo de esta base, el trabajo estará basado en la reconstrucción del proceso de diseño en los distintos cuadros de La Bohème, abarcando el entendimiento de los espacios arquitectónicos concebidos en esce- na.
    [Show full text]