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Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2004 Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera Joy A. Mills Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the French and Francophone Literature Commons, Other Theatre and Performance Studies Commons, and the Translation Studies Commons Recommended Citation Mills, Joy A., "Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera" (2004). Honors Theses. 83. https://scholarlycommons.obu.edu/honors_theses/83 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Gaston Leroux's 1911 novel, The Phantom of the Opera, has a considerable number of allusions, some of which are accessible to modern American audiences, like references to Romeo and Juilet. Many of the references, however, are very specific to the operatic world or to other somewhat obscure fields. Knowledge of these allusions would greatly enhance the experience of readers of the novel, and would also contribute to their ability to interpret it. Thus my thesis aims to be helpful to those who read The Phantom of the Opera by providing a set of notes, as it were, to explain the allusions, with an emphasis on the extended allusion of the Palais Garnier and the historical models for the heroine, Christine Daae. Notes on Translations At the time of this writing, three English translations are commercially available of The Phantom of the Opera. -
The Reception of Herculanum in the Contemporary Press
The reception of Herculanum in the contemporary press Gunther Braam How can the success of an opera in its own time be examined and studied? Quite simply, by working out the number of performances and the total amount of receipts generated, then by creating – and assess - ing – the most extensive dossier possible of the reviews which appeared in the contemporary press. herculanum : from playbill to box office With regard to the number of performances, the Journal de l’Opéra , today held in the Bibliothèque Nationale de France, is fortunately at our dis - posal. Nevertheless, this needs to be analysed carefully, not overlooking the fact that the presence of an opera in the repertory might well result from reasons other than artistic ones, such as the departure of a direct- or, those connected with the singers entrusted with the leading roles, the destruction of scenery (often as a result of fires), for political reasons or for all kinds of other possibilities. Examples which could be mentioned include Tannhäuser by Wagner (1861), or – why not also – the less well- known La Nonne sanglante by Gounod (1854): far from being unsuccess - ful in terms of audience levels, these two operas were withdrawn after three performances for Tannhäuser , and eleven for La Nonne sanglant e; the average receipts for the two operas were respectively 8,890 and 6,140 francs (in comparison, the receipts for a performance of Les Huguenots 77 félicien david: herculanum in 1859, typically ranged between 6,000 and 7,000 francs). How does Herculanum compare to other -
Roger Parker: Curriculum Vitae
1 Roger Parker Publications I Books 1. Giacomo Puccini: La bohème (Cambridge, 1986). With Arthur Groos 2. Studies in Early Verdi (1832-1844) (New York, 1989) 3. Leonora’s Last Act: Essays in Verdian Discourse (Princeton, 1997) 4. “Arpa d’or”: The Verdian Patriotic Chorus (Parma, 1997) 5. Remaking the Song: Operatic Visions and Revisions from Handel to Berio (Berkeley, 2006) 6. New Grove Guide to Verdi and his Operas (Oxford, 2007); revised entries from The New Grove Dictionaries (see VIII/2 and VIII/5 below) 7. Opera’s Last Four Hundred Years (in preparation, to be published by Penguin Books/Norton). With Carolyn Abbate II Books (edited/translated) 1. Gabriele Baldini, The Story of Giuseppe Verdi (Cambridge, 1980); trans. and ed. 2. Reading Opera (Princeton, 1988); ed. with Arthur Groos 3. Analyzing Opera: Verdi and Wagner (Berkeley, 1989); ed. with Carolyn Abbate 4. Pierluigi Petrobelli, Music in the Theater: Essays on Verdi and Other Composers (Princeton, 1994); trans. 5. The Oxford Illustrated History of Opera (Oxford, 1994); translated into German (Stuttgart. 1998), Italian (Milan, 1998), Spanish (Barcelona, 1998), Japanese (Tokyo, 1999); repr. (slightly revised) as The Oxford History of Opera (1996); repr. paperback (2001); ed. 6. Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848 (Oxford, 2001); ed. with Mary Ann Smart 7. Verdi in Performance (Oxford, 2001); ed. with Alison Latham 8. Pensieri per un maestro: Studi in onore di Pierluigi Petrobelli (Turin, 2002); ed. with Stefano La Via 9. Puccini: Manon Lescaut, special issue of The Opera Quarterly, 24/1-2 (2008); ed. -
La Fille Du Régiment
LELELELE BUGUE BUGUEBUGUEBUGUE Salle Eugène Le Roy Réservation : Maison de la Presse Le Bugue 05 53 07 22 83 Gaetano Donizetti LA FILLE DU RÉGIMENT Orpheline, Marie was taken in by Sergeant Sulpice, who employs him as a cantinière in his regiment. Crazy in love with Marie, the young peasant Tonio engages in the battalion to see her every day. When the Marquise of Berkenfield reveals the true identity of Mary, who is her daughter, the young woman could be separated forever from Tonio. Acclaimed by the lyric press, South African soprano Pretty Yende returns to the stage of the Met opposite the tenor Javier Camarena for an opera of great vocal virtuosity under the baton of Enrique Mazzola. The alchemist Donizetti's expertise once again acts with this unique blend of melancholy and joy. Tenor Javier Camarena and soprano Pretty Yende team up for a feast of bel canto vocal fireworks—including the show-stopping tenor aria “Ah! Mes amis … Pour mon âme,” with its nine high Cs. Alessandro Corbelli and Maurizio Muraro trade off as the comic Sergeant Sulpice, with mezzo-soprano Stephanie Blythe as the outlandish Marquise of Berkenfield. And in an exciting piece of casting, stage and screen icon Kathleen Turner makes her Met debut in the speaking role of the Duchess of Krakenthorp. Enrique Mazzola conducts. Conductor Marie Marquise Enrique Pretty Stéphanie Mazzola Yende Blythe soprano Mezzo soprano Duchess Tonio Sulpice Kathleen Javier Maurizio Turner Camarena Muraro actress tenor Bass Production : Laurent Pelly DATE : 2nd March 2019 Time : 6.25pm Opera en 2 acts by Giacomo Puccini LA FILLE DU RÉGIMENT World Premiere : Opéra Comique, Paris, 1840. -
JOS-075-1-2018-007 Child Prodigy
From the Bel Canto Stage to Reality TV: A Musicological View of Opera’s Child Prodigy Problem Peter Mondelli very few months, a young singer, usually a young woman, takes the stage in front of network TV cameras and sings. Sometimes she sings Puccini, sometimes Rossini, rarely Verdi or Wagner. She receives praise from some well meaning but uninformed adult Ejudge, and then the social media frenzy begins. Aunts and uncles start sharing videos, leaving comments about how talented this young woman is. A torrent of blog posts and articles follow shortly thereafter. The most optimistic say that we in the opera world should use this publicity as a means to an end, to show the world at large what real opera is—without ever explaining how. Peter Mondelli The sentiment that seems to prevail, though, is that this performance does not count. This is not real opera. Opera was never meant to be sung by such a voice, at such an age, and under such conditions. Two years ago, Laura Bretan’s performance of Puccini’s “Nessun dorma” on America’s Got Talent evoked the usual responses.1 Claudia Friedlander responded admirably, explaining that there are basic physiological facts that keep operatic child prodigies at a distance from vocally mature singers.2 More common, however, are poorly researched posts like the one on the “Prosporo” blog run by The Economist.3 Dubious claims abound—Jenny Lind, for exam- ple, hardly retired from singing as the post claims at age twenty-nine, the year before P. T. Barnum invited her to tour North America. -
Lucia Di Lammermoor GAETANO DONIZETTI MARCH 3 – 11, 2012
O p e r a B o x Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .9 Reference/Tracking Guide . .10 Lesson Plans . .12 Synopsis and Musical Excerpts . .44 Flow Charts . .49 Gaetano Donizetti – a biography .............................56 Catalogue of Donizetti’s Operas . .58 Background Notes . .64 Salvadore Cammarano and the Romantic Libretto . .67 World Events in 1835 ....................................73 2011–2012 SEASON History of Opera ........................................76 History of Minnesota Opera, Repertoire . .87 così fan tutte WOLFGANG AMADEUS MOZART The Standard Repertory ...................................91 SEPTEMBER 25 –OCTOBER 2, 2011 Elements of Opera .......................................92 Glossary of Opera Terms ..................................96 silent night KEVIN PUTS Glossary of Musical Terms . .101 NOVEMBER 12 – 20, 2011 Bibliography, Discography, Videography . .105 werther Evaluation . .108 JULES MASSENET JANUARY 28 –FEBRUARY 5, 2012 Acknowledgements . .109 lucia di lammermoor GAETANO DONIZETTI MARCH 3 – 11, 2012 madame butterfly mnopera.org GIACOMO PUCCINI APRIL 14 – 22, 2012 FOR SEASON TICKETS, CALL 612.333.6669 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. -
Fiche AC Gounod.Qxd
Les fiches pédagogiques - Compositeur CHARLES GOUNOD(1818 - 1893)hhhhhhhhhhhhhhhhhhh Il naît à Paris le 17 juin 1818. Issu d’une famille d’artistes (père peintre et mère pro- fesseur de piano) il est attiré assez jeune vers ces matières. Après avoir obtenu son baccalauréat en 1835 , il décide de devenir musicien malgré les réticences de sa mère. A partir de 1838, il poursuit des études au conservatoire et obtient le premier Grand prix de Rome l’année suivante. Accompagné d’Hector le Fuel (architecte), il arrive à Rome le 27 janvier 1840 où la Villa Médicis est dirigée par Jean-Auguste- Dominique Ingres. Il se lie avec la sœur de Félix Mendelssohn qui lui fait découvrir les romantiques allemands. Il écrit ses premières mélodies en 1842, notamment sa Messe de Rome et un Requiem. En 1843, après un détour par Vienne, Berlin ou en- core Leipzig, il est de retour à Paris et dirige la musique à l’église des Missions étrangères jusqu’en 1848, date à laquelle cesse sa vocation religieuse. Soutenu par l’influente Pauline Viardot, il obtient une commande de l’Opéra de Paris : Sapho. La création de l’opéra le 16 avril 1851 ne fait pas grand bruit et sa reprise à Londres le 8 août est catastrophique. En revanche ses mélodies et sa musique chorale ren- contre un certain succès. Le 20 avril 1852, Gounod épouse Anna Zimmerman et à la mort de son beau-père, s'installe dans une magnifique demeure à St Cloud. En 1858, sa mère disparait alors que le succès à l'opéra arrive avec Le Médecin malgré lui (1858) et Faust (1859) où il se montre d'une sensualité délicate et émouvante et où il révèle un sens théatral évident. -
Read Book \\ Polyeucte: Opera En Quatre Actes (Classic Reprint
3XHIZ4JT0C # Polyeucte: Opera En Quatre Actes (Classic Reprint) (Paperback) eBook Polyeucte: Opera En Quatre A ctes (Classic Reprint) (Paperback) By Jules Barbier To get Polyeucte: Opera En Quatre Actes (Classic Reprint) (Paperback) eBook, remember to refer to the web link beneath and save the file or have access to additional information that are highly relevant to POLYEUCTE: OPERA EN QUATRE ACTES (CLASSIC REPRINT) (PAPERBACK) book. Our web service was introduced with a want to serve as a total on the internet digital catalogue that provides usage of large number of PDF book assortment. You will probably find many kinds of e-guide and other literatures from the paperwork data base. Specific well-liked subjects that distribute on our catalog are trending books, solution key, test test question and solution, guideline sample, exercise manual, test sample, user manual, owners guidance, support instruction, restoration manual, and many others. READ ONLINE [ 3.23 MB ] Reviews The ebook is straightforward in study better to fully grasp. It is actually loaded with knowledge and wisdom I am just delighted to tell you that here is the best pdf i have read through during my very own lifestyle and may be he greatest ebook for at any time. -- Dr. Karelle Glover Totally one of the better publication I have actually read through. It really is rally fascinating throgh studying time period. Its been printed in an extremely simple way and is particularly just following i finished reading through this ebook in which basically modified me, modify the way i think. -- Mrs. Maudie Weimann 0PUAYYAMFX > Polyeucte: Opera En Quatre Actes (Classic Reprint) (Paperback) PDF Related PDFs Games with Books : 28 of the Best Childrens Books and How to Use Them to Help Your Child Learn - From Preschool to Third Grade [PDF] Follow the web link listed below to download "Games with Books : 28 of the Best Childrens Books and How to Use Them to Help Your Child Learn - From Preschool to Third Grade" PDF file. -
Belisario Tragedia Lirica in Tre Parti Di Salvadore Cammarano Musica Di Gaetano Donizetti Nuova Edizione Riveduta Sull’Autografo Di Ottavio Sbragia
Belisario Tragedia lirica in tre parti di Salvadore Cammarano Musica di Gaetano Donizetti Nuova edizione riveduta sull’autografo di Ottavio Sbragia COMUNICATO Quarantadue anni separano l’ultima rappresentazione di Belisario, sulle tavole del palcoscenico del Teatro Donizetti nel 1970, in occasione del Festival autunnale dell’opera lirica “Teatro delle novità”, dall’attuale riproposizione nell’ambito della settima edizione del Bergamo Musica Festival Gaetano Donizetti, a cura della Fondazione Donizetti. Precedenti quello del 1970, soltanto due allestimenti dello stesso titolo, risalenti rispettivamente al 1837 e al 1844. La “prima” al Donizetti, allora Teatro Riccardi, di Belisario assume toni particolarmente significativi per la Città e per lo stesso compositore. Innanzitutto perché l’opera calca le scene del maggior Teatro cittadino nell’agosto del 1837, in occasione dell’annuale Stagione di Fiera, quindi durante la stagione successiva a quella della “primissima” dell’opera stessa, avvenuta al Teatro La Fenice di Venezia il 4 febbraio del 1836; secondariamente perché Belisario è la prima opera donizettiana ad essere rappresentata al Riccardi, mentre la musica del compositore è regolarmente presente nei cartelloni del Teatro Sociale di Città Alta fin dal 1830. Dopo un “anno di magra”, quel 1836 segnato in tutto il Nord Italia da una terribile epidemia di peste, nel 1837 la Stagione di Fiera del Riccardi, affidata alle cure dell’Impresa di Giovanni Battista Bonola, promette esiti d’alto livello. «Il languore della Fiera del passato anno, cagionato dall’inallora dominante morbo, e dalla conseguente chiusura del Teatro – relaziona il 2 aprile la Congregazione Municipale al Governo milanese – ha fatto sentire un maggior bisogno di dare un impulso al prosperamento di essa nell’anno corrente procurando un maggior concorso di Forastieri, allettandoli con uno spettacolo Teatrale di Opera e Ballo conveniente alla circostanza […]». -
Famous Composers and Their Music
iiii! J^ / Digitized by the Internet Archive in 2011 with funding from Brigham Young University http://www.archive.org/details/famouscomposerst05thom HAROLD BLEBLffiR^^ PROVO. UTAH DANIEL FRANCOIS ESPRIT AUBER From an engraving by C. Deblois, 7867. 41 .'^4/ rii'iiMia-"- '^'', Itamous COMPOSERS AND THEIR MUSIC EXTRA ILLUSTPATED EDITION o/' 1901 Edited by Theodore Thomas John Knowlej Paine (^ Karl Klauser ^^ n .em^fssfi BOSTON M'^ J B MILLET COMPANY m V'f l'o w i-s -< & Copyright, 1891 — 1894— 1901, By J. B. Millet Company. DANIEL FRANCOIS ESPRIT AUBER LIFE aiore peaceful, happy and making for himself a reputation in the fashionable regular, nay, even monotonous, or world. He was looked upon as an agreeable pianist one more devoid of incident than and a graceful composer, with sparkling and original Auber's, has never fallen to the ideas. He pleased the ladies by his irreproachable lot of any musician. Uniformly gallantry and the sterner sex by his wit and vivacity. harmonious, with but an occasional musical dis- During this early period of his life Auber produced sonance, the symphony of his life led up to its a number of lietier, serenade duets, and pieces of dramatic climax when the dying composer lay sur- drawing-room music, including a trio for the piano, rounded by the turmoil and carnage of the Paris violin and violoncello, which was considered charm- Commune. Such is the picture we draw of the ing by the indulgent and easy-going audience who existence of this French composer, in whose garden heard it. Encouraged by this success, he wrote a of life there grew only roses without thorns ; whose more imp^i/rtant work, a concerto for violins with long and glorious career as a composer ended only orchestra, which was executed by the celebrated with his life ; who felt that he had not lived long Mazas at one of the Conservatoire concerts. -
An Inquiry Into Modes of Existence
An Inquiry into Modes of Existence An Inquiry into Modes of Existence An Anthropology of the Moderns · bruno latour · Translated by Catherine Porter Harvard University Press Cambridge, Massachusetts London, England 2013 Copyright © 2013 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America The book was originally published as Enquête sur les modes d'existence: Une anthropologie des Modernes, copyright © Éditions La Découverte, Paris, 2012. The research has received funding from the European Research Council under the European Union’s Seventh Framework Programme (fp7/2007-2013) erc Grant ‘ideas’ 2010 n° 269567 Typesetting and layout: Donato Ricci This book was set in: Novel Mono Pro; Novel Sans Pro; Novel Pro (christoph dunst | büro dunst) Library of Congress Cataloging-in-Publication Data Latour, Bruno. [Enquête sur les modes d'existence. English] An inquiry into modes of existence : an anthropology of the moderns / Bruno Latour ; translated by Catherine Porter. pages cm “The book was originally published as Enquête sur les modes d'existence : une anthropologie des Modernes.” isbn 978-0-674-72499-0 (alk. paper) 1. Civilization, Modern—Philosophy. 2. Philosophical anthropology. I. Title. cb358.l27813 2013 128—dc23 2012050894 “Si scires donum Dei.” ·Contents· • To the Reader: User’s Manual for the Ongoing Collective Inquiry . .xix Acknowledgments . xxiii Overview . xxv • ·Introduction· Trusting Institutions Again? . 1 A shocking question addressed to a climatologist (02) that obliges us to distinguish values from the ac- counts practitioners give of them (06). Between modernizing and ecologizing, we have to choose (08) by proposing a different system of coordinates (10). -
7655 Libretto Online Layout 1
DYNAMIC Charles Gounod POLYEUCTE Opera in four acts Libretto by Jules Barbier and Michel Carré LIBRETTO with parallel English translation CD 1 CD 1 1 PRELUDE 1 PRELUDE ACTE PREMIER FIRST ACT PREMIER TABLEAU FIRST TABLEAU La chambre de Pauline. Porte au fond. A droite, l’autel des dieux domestiques. Une The apartments of Paulina. A door in the back. On the right, the altar of the lampe placée sur l’autel éclaire la scène. household gods. A lamp on the altar illuminates the scene. Scène Première First scene Pauline, Stratonice, Suivantes. Paulina, Stratonice, Maids. Au lever du rideau, les Suivantes, groupées autour de Stratonice, sont occupées à As the curtain rises, the Maids, assembled around Stratonice, are busy carrying out divers travaux. Pauline est penchée sur l’autel des dieux domestiques. different tasks. Paulina is leaning over the altar of the household gods. 2 Le Chœur – Déjà dans l’azur des cieux 2 Chorus – In the blue skies Apparaît de Phœbé le char silencieux ; Phebus’s silent chariot already appears; C’est l’heure du travail nocturne ; It is time for our night tasks; Apprêtez vos fuseaux, puisez l’huile dans l’urne ; Prepare your spindles, draw oil from the urn; Le doux sommeil plus tard viendra fermer vos yeux. Later sweet slumber will close your eyes. Stratonice – A chacune de nous sa tâche accoutumée. Stratonice – Each of us to their own tasks. (S’approchant de Pauline) (Approaching Paulina) Mais vous, ô mon enfant, maîtresse bien-aimée, But you, my child, beloved mistress, Quel noir souci tient votre âme alarmée ? What dark worry troubles your heart? Pauline – J’implore tout bas les dieux familiers Paulina – I implore the household gods, Gardiens de nos amours, gardiens de nos foyers !..