An Introduction to an Operetta: Pauline Viardot's
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UC Irvine UC Irvine Previously Published Works Title A Critical Inferno? Hoplit, Hanslick and Liszt's Dante Symphony Permalink https://escholarship.org/uc/item/7q1594xs Author Grimes, Nicole Publication Date 2021-06-28 Peer reviewed eScholarship.org Powered by the California Digital Library University of California A Critical Inferno? Hoplit, Hanslick and Liszt’s Dante Symphony NICOLE GRIMES ‘Wie ist in der Musik beseelte Form von leerer Form wissenschaftlich zu unterscheiden?’1 Introduction In 1881, Eduard Hanslick, one of the most influential music critics of the nineteenth century, published a review of a performance of Liszt’s Dante Symphony (Eine Sym- phonie zu Dantes Divina commedia) played at Vienna’s Gesellschaft der Musikfreunde on 14 April, the eve of Good Friday.2 Although he professed to be an ‘admirer of Liszt’, Hanslick admitted at the outset that he was ‘not a fan of his compositions, least of all his symphonic poems’. Having often given his opinion in detail on those works in the Neue Freie Presse, Hanslick promised brevity on this occasion, asserting that ‘Liszt wishes to compose with poetic elements rather than musical ones’. There is a deep genesis to Hanslick’s criticism of Liszt’s compositions, one that goes back some thirty years to the controversy surrounding progress in music and musical aesthetics that took place in the Austro-German musical press between the so-called ‘New Germans’ and the ‘formalists’ in the 1850s. This controversy was bound up not only with music, but with the philosophical positions the various parties held. The debate was concerned with issues addressed in Hanslick’s monograph Vom Musika- lisch-Schönen, first published in 1854,3 and with opinions expressed by Liszt in a series of three review articles on programme music published contemporaneously in the 1 ‘How is form imbued with meaning to be differentiated philosophically from empty form?’ Eduard Hanslick, Aus meinem Leben, ed. -
As Transformações Nos Contos De Fadas No Século Xx
DE REINOS MUITO, MUITO DISTANTES PARA AS TELAS DO CINEMA: AS TRANSFORMAÇÕES NOS CONTOS DE FADAS NO SÉCULO XX ● FROM A LAND FAR, FAR AWAY TO THE BIG SCREEN: THE CHANGES IN FAIRY TALES IN THE TWENTIETH CENTURY Paulo Ailton Ferreira da Rosa Junior Instituto Federal Sul-rio-grandense, Brasil RESUMO | INDEXAÇÃO | TEXTO | REFERÊNCIAS | CITAR ESTE ARTIGO | O AUTOR RECEBIDO EM 24/05/2016 ● APROVADO EM 28/09/2016 Abstract This work it is, fundamentally, a comparison between works of literature with their adaptations to Cinema. Besides this, it is a critical and analytical study of the changes in three literary fairy tales when translated to Walt Disney's films. The analysis corpus, therefore, consists of the recorded texts of Perrault, Grimm and Andersen in their bibliographies and animated films "Cinderella" (1950), "Snow White and the Seven Dwarfs" (1937) and "The little Mermaid "(1989) that they were respectively inspired. The purpose of this analysis is to identify what changes happened in these adapted stories from literature to film and discuss about them. Resumo Este trabalho trata-se, fundamentalmente, de uma comparação entre obras da Literatura com suas respectivas adaptações para o Cinema. Para além disto, é um estudo crítico e analítico das transformações em três contos de fadas literários quando transpostos para narrativas fílmicas de Walt Disney. O corpus de análise, para tanto, é composto pelos textos registrados de Perrault, Grimm e Andersen em suas respectivas bibliografias e os filmes de animação “Cinderella” (1950), “Branca de Neve e os Sete Anões” (1937) e “A Pequena Sereia” (1989) que eles respectivamente inspiraram. -
Pauline Viardot-Garcia Europäische
Beatrix Borchard PAULINE VIARDOT-GARCIA EUROPÄISCHE KOMPONISTINNEN Herausgegeben von Annette Kreutziger-Herr und Melanie Unseld Band 9 Beatrix Borchard PAULINE VIARDOT-GARCIA Fülle des Lebens 2016 BÖHLAU VERLAG KÖLN WEIMAR WIEN Die Reihe »Europäische Komponistinnen« wird ermöglicht durch die Mariann Steegmann Foundation Weiterführende Quellen und Materialien finden Sie auf der Buchdetailseite http://www.boehlau-verlag.com/978-3-412-50143-3.html unter Downloads Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://portal.dnb.de abrufbar. Umschlagabbildung: Pauline Viardot, Porträt von Ary Scheffer, 1840 (© Stéphane Piera / Musée de la Vie Romantique / Roger-Viollet) © 2016 by Böhlau Verlag GmbH & Cie, Köln Weimar Wien Ursulaplatz 1, D-50668 Köln, www.boehlau.de Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. Korrektorat: Katharina Krones, Wien Satz: Peter Kniesche Mediendesign, Weeze Druck und Bindung: Strauss, Mörlenbach Gedruckt auf chlor- und säurefreiem Papier Printed in the EU ISBN 978-3-412-50143-3 Inhalt Vorwort der Herausgeberinnen ............................................................. 9 Vorbemerkung ....................................................................................... 11 Freiheit und Bindung – Pauline Viardot-Garcia .......................... -
Connection/Separation
Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director MSM Opera Theatre productions are made possible by the Fan Fox and Leslie R. Samuels Foundation and the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director Myra Huang, Vocal Coach & Pianist Kristen Kemp, Vocal Coach & Pianist Megan P. G. Kolpin, Props Coordinator DIRECTOR’S NOTE In each of our lives—during this last year especially—we may have discovered ourselves in moments of wanting, even needing some sort of human connection, but instead finding separation by any number of barriers. In the arias and scenes that follow, we witness characters in just this kind of moment; searching for meaningful contact yet being somehow barred from achieving it. Through circumstance, distance, convention, misunderstanding, pride, fear, ego, or what have you, we may find ourselves in situations similar to the characters in this program, while looking forward to the days when connection can be more easily achieved and separation the exception to the rule. -
La Couleur Du Temps – the Colour of Time Salzburg Whitsun Festival 29 May – 1 June 2020
SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli La couleur du temps – The Colour of Time Pauline Viardot-Garcia (1821 – 1910) Photo: Uli Weber - Decca Salzburg Whitsun Festival 29 May – 1 June 2020 (SF, 30 December 2019) The life of Pauline Viardot-Garcia – singer, musical ambassador of Europe, outstanding pianist and composer – is the focus of the 2020 programme of the Salzburg Whitsun Festival. “The uncanny instinct Cecilia Bartoli has for the themes of our times is proven once again by her programme for the 2020 Salzburg Whitsun Festival, which focuses on Pauline Viardot. Orlando Figes has just written a bestseller about this woman. Using Viardot as an example, he describes the importance of art within the idea of Europe,” says Festival President Helga Rabl-Stadler. 1 SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli Pauline Viardot not only made a name for herself as a singer, composer and pianist, but her happy marriage with the French theatre manager, author and art critic Louis Viardot furthered her career and enabled her to act as a great patron of the arts. Thus, she made unique efforts to save the autograph of Mozart’s Don Giovanni for posterity. Don Giovanni was among the manuscripts Constanze Mozart had sold to Johann Anton André in Offenbach in 1799. After his death in 1842, his daughter inherited the autograph and offered it to libraries in Vienna, Berlin and London – without success. In 1855 her cousin, the pianist Ernst Pauer, took out an advertisement in the London-based journal Musical World. Thereupon, Pauline Viardot-García bought the manuscript for 180 pounds. -
9 LAS, 1930, À Georges Sauclières ; 17 Pages Formats Divers. Belle
Belle correspondance du peintre au sujet du Salon de la Société des Artistes Rouennais. 21 et 23 mars. Il lui envoie « le catalogue des tableaux et des dessins que je destine à l’exposition prochaine de Rouen », et va lui envoyer « une épreuve de mon tableau du salon dernier, Neige que vous m’avez demandée pour votre catalogue ». Il s’enquiert de l’assurance pour le transport Jules ADLER des œuvres et lui envoie une photo de son Café Victor, (1865-1952). 9 etc. 4 avril. Il lui envoie le plan des panneaux qu’il L.A.S., 1930, à travaillé vue d’une « organisation harmonieuse de la 1 Georges salle »... 16 avril. Il annonce son arrivée pour 400/500 Sauclières ; 17 l’ouverture de l’exposition... 8 mai. Remerciements pour pages formats l’envoi de journaux de Rouen avec le compte-rendu de divers. la conférence et des « échos amicaux de votre exposition »... 26 mai. Il lui demande de lui envoyer quelques toiles dont il a besoin pour le Salon des Tuileries, etc. 12 juin. Il le remercie pour l’envoi d’un mandat, et l’attend à Paris : « J’aurais aimé vous faire choisir dans ces petits dessins ce qui vous aurait été agréable »... 2 octobre. Envoi d’un chèque, « pourcentage convenu de mon tableau du musée »... Armand Pierre Fernandez dit ARMAN Catalogue de l’exposition Arman, sculptures récentes, (1928-2005). 8 août-29 septembre 1984 à la galerie Le Point de Dédicace avec Monte-Carlo (broché, 31 pages). Sur la page de titre, 2 dessin dédicace à l’artiste-peintre et romancière Poucette : 500/600 autographe « pour Poucette avec un baiser Arman », pour laquelle signée sur un Arman a dessiné huit tubes de gouache d’où s’écoule catalogue chaque lettre formant le nom Poucette. -
Defining the Late Style of Johannes Brahms: a Study of the Late Songs
Graduate Theses, Dissertations, and Problem Reports 2019 Defining the Late Style of Johannes Brahms: A Study of the Late Songs Natilan Casey-Ann Crutcher [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Musicology Commons Recommended Citation Crutcher, Natilan Casey-Ann, "Defining the Late Style of Johannes Brahms: A Study of the Late Songs" (2019). Graduate Theses, Dissertations, and Problem Reports. 3886. https://researchrepository.wvu.edu/etd/3886 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Defining the Late Style of Johannes Brahms: A Study of the Late Songs Natilan Crutcher Dissertation submitted to the College of Creative Arts at West Virginia University In partial fulfillment of the requirements for the degree of Doctor of Musical Arts In Voice Performance Hope Koehler, DMA, Chair Evan MacCarthy, Ph.D. William Koehler, DMA David Taddie, Ph.D. General Hambrick, BFA School of Music Morgantown, West Virginia 2019 Keywords: Johannes Brahms, Lieder, Late Style Copyright 2019 Natilan Crutcher Abstract Defining the Late Style of Johannes Brahms: A Study of the Late Songs Natilan Crutcher Johannes Brahms has long been viewed as a central figure in the Classical tradition during a period when the standards of this tradition were being altered and abandoned. -
O ALTO E O BAIXO NA ARQUITETURA.Pdf
UNIVERSIDADE DE BRASÍLIA FACULDADE DE ARQUITETURA E URBANISMO O ALTO E O BAIXO NA ARQUITETURA Aline Stefânia Zim Brasília - DF 2018 1 ALINE STEFÂNIA ZIM O ALTO E O BAIXO NA ARQUITETURA Tese apresentada ao Programa de Pós-Graduação em Arquitetura e Urbanismo da Faculdade de Arquitetura da Universidade de Brasília como requisito parcial à obtenção do grau de Doutora em Arquitetura. Área de Pesquisa: Teoria, História e Crítica da Arte Orientador: Prof. Dr. Flávio Rene Kothe Brasília – DF 2018 2 TERMO DE APROVAÇÃO ALINE STEFÂNIA ZIM O ALTO E O BAIXO DA ARQUITETURA Tese aprovada como requisito parcial à obtenção do grau de Doutora pelo Programa de Pesquisa e Pós-Graduação da Faculdade de Arquitetura e Urbanismo da Universidade de Brasília. Comissão Examinadora: ___________________________________________________________ Prof. Dr. Flávio René Kothe (Orientador) Departamento de Teoria e História em Arquitetura e Urbanismo – FAU-UnB ___________________________________________________________ Prof. Dr. Fernando Freitas Fuão Departamento de Teoria, História e Crítica da Arquitetura – FAU-UFRGS ___________________________________________________________ Prof. Dra. Lúcia Helena Marques Ribeiro Departamento de Teoria Literária e Literatura – TEL-UnB ___________________________________________________________ Prof. Dra. Ana Elisabete de Almeida Medeiros Departamento de Teoria e História em Arquitetura e Urbanismo – FAU-UnB ___________________________________________________________ Prof. Dr. Benny Schvarsberg Departamento de Projeto e Planejamento – FAU-UnB Brasília – DF 2018 3 AGRADECIMENTOS Agradeço a todos que compartilharam de alguma forma esse manifesto. Aos familiares que não puderam estar presentes, agradeço a confiança e o respeito. Aos amigos, colegas e alunos que dividiram as inquietações e os dias difíceis, agradeço a presença. Aos que não puderam estar presentes, agradeço a confiança. Aos professores, colegas e amigos do Núcleo de Estética, Hermenêutica e Semiótica. -
Le Nucléaire Est Toujours En Course
BCN: record POLITIQUE en 2006 DAVID MARCHON Les libéraux s’associent au référendum UDC contre l’éligibilité des étrangers au plan communal. >>> PAGE 5 KEYSTONE JA 2002 NEUCHÂTEL La Banque cantonale neu- châteloise versera 20 des 30 millions de francs de bénéfice net qu’elle a réa- lisés à l’Etat de Neuchâtel. 0 Jeudi 22 février 2007 ● www.lexpress.ch ● N 44 ● CHF 2.– / € 1.30 >>> PAGE 7 HOCKEY SUR GLACE Neuchâtel YS: Le nucléaire est au tour de Verbier toujours en course ARCHIVES DAVID MARCHON Les hommes d’Alain Pivron s’attaquent dès ce soir aux demi-finales des play-off. Verbier, qui se dresse sur leur route, ne paraît pas en mesure d’empêcher les Neuchâtelois de parvenir en finale. Toutefois, le mentor des «orange et noir» ne fanfaronne pas. Pour l’instant, il ne veut pas parler de promotion. >>> PAGE 20 NEUCHÂTEL Haïr les spots, ça coûte KEYSTONE ÉNERGIE Face à la pénurie qui se dessine vers 2020, le Conseil fédéral propose une quadruple stratégie: utilisation économe, énergies renouvelables, centrales à gaz et maintien de l’option nucléaire – ici la centrale de Leibstadt. >>> PAGE 25 CAISSE-MALADIE Des priorités au moins apparentes Une exclue DAVID MARCHON Economies d’énergie, davantage pénurie est bien attendue pour 2020, il Mauvaise surprise pour les 140 opposants aux d’énergies renouvelables, option reste huit ans pour relever le défi. témoigne de projecteurs de la Maladière: ils ont appris mardi que nucléaire maintenue, recours Malheureusement, les économies leurs démarches pouvaient leur coûter jusqu’à 600 temporaire à des centrales à gaz. -
Cinderella's Metamorphoses: a Comparative Study of Two English Translations of Perrault's Tales
Przekładaniec. A Journal of Literary Translation 22–23 (2009/2010): 249–266 doi:10.4467/16891864ePC.13.044.1461 MARTINE HENNARD DUTHEIL DE LA ROCHÈRE CINDERELLA’S METAMORPHOSES: A COMPARATIVE STUDY OF TWO ENGLISH TRANSLATIONS OF PERRAULT’S TALES Abstract: This comparative analysis of two translations of Charles Perrault’s “Cendrillon ou la petite pantoufle de verre” shows how the French conte was adapted for children in England at different moments and reflects different projects. Robert Samber’s “Cinderilla: or, The Little Glass Slipper,” published in Histories, or Tales of Past Times. With Morals (1729), is known as the first English translation of the tale. More recently, Angela Carter’s retranslation “Cinderella: or, The Little Glass Slipper,” published in The Fairy Tales of Charles Perrault (1977), pays homage to Samber but also modernises the tale to carry a more emancipatory message. While Samber’s translation reflects the working conditions of Grub Street writers and acculturation of Perrault’s fairy tale in Protestant England, Carter gives it a feminist twist as she turns it into a “fable of the politics of experience.” She would later rewrite it as “Ashputtle or The Mother’s Ghost” (1987), this time using Manheim’s English translation of the Grimms’ “Aschenputtel” as a starting point. Keywords: Charles Perrault, Cinderella, translation, Robert Samber, Angela Carter Ainsi une traduction n’est-elle qu’un moment d’un texte en mouvement. Elle est même l’image qu’il n’est jamais fini. Elle ne saurait l’immobiliser. 1 (Meschonnic 1999: 342) This comparative study of two translations of “Cendrillon ou La Petite Pantoufle de Verre,” from Charles Perrault’s famous collection, Histoires ou Contes du Temps Passé (1697), shows how the tale has been redirected 1 “Thus, a translation is an instant of a text in movement, even an image that it is never over. -
BAMPTON CLASSICAL OPERA 2018 – 25Th ANNIVERSARY SEASON NICOLÒ ISOUARD’S CINDERELLA (CENDRILLON)
BAMPTON CLASSICAL OPERA 2018 – 25th ANNIVERSARY SEASON NICOLÒ ISOUARD’s CINDERELLA (CENDRILLON) Performances: The Deanery Garden, Bampton, Oxfordshire: Friday, Saturday 20, 21 July The Orangery Theatre, Westonbirt School, Gloucestershire: Monday 27 August St John’s Smith Square, London: Tuesday 18 September Libretto: Charles Guillaume Etienne after the fairy-tale by Charles Perrault Sung in a new English translation by Gilly French, dialogues by Jeremy Gray Director: Jeremy Gray Conductor: Harry Sever Orchestra of Bampton Classical Opera (Bampton, Westonbirt) CHROMA (St John’s Smith Square) Bampton Classical Opera celebrates its 25th anniversary with the UK modern-times première of Nicolò Isouard’s Cinderella (1810), a charming and lyrical telling of Perrault’s much-loved fairy-tale, continuing the Company’s remarkable exploration of rarities from the classical period. The Bampton production will be sung in a new English translation by Gilly French with dialogues by Jeremy Gray. This new production also marks the bicentenary of the composer’s death in Paris in 1818. Cinderella (Cendrillon) is designated as an Opéra Féerie, and is in three acts, to a libretto by Charles Guillaume Etienne. Cinderella and her Prince share music of folktune-like simplicity, contrasting with the vain step-sisters, who battle it out with torrents of spectacular coloratura. With his gifts for unaffected melody, several appealing ensembles and always beguiling orchestration, Isouard’s Cinderella is ripe for rediscovery. Performances will be conducted by Harry Sever and directed by Jeremy Gray. Born in Malta in 1775, Isouard was renowned across Europe, composing 41 operas, many of which were published and widely performed. -
Who Is Cinderella,...Or Cinderfella?
1 Who is Cinderella, … or Cinderfella? Donna Rohanna Patterson Elementary School Overview Rationale Objectives Strategies Classroom Activities Annotated Bibliography/Resources Appendices/Standards Overview Folk and fairy tale stories comprise most of the stories children hear from birth to 2nd grade. They are used not only to entertain, but often as teaching stories about the dangers and values of life. These very same stories are shared in many cultures around the world. Although they vary in characters, setting, and texture from one continent to the next, they remain some of the most powerful stories for teaching and learning during the early years. Folk and fairy tales have initiated children into the ways of the world probably from time immemorial. Many have changed over time to homogenize into the variety that we often see and hear today to meet a more generic audience, often leaving behind the tales geographic and social origins. By exposing students to a variety of multicultural renditions of a classic Fairy Tale they can begin to relate to these stories in new ways, leading to a richer literary experience. Fairy Tales written through ethnic eyes also give a great deal of cultural information, which can result in a richer experience for the students and students. We can then appreciate the origins and adaptations as they have migrated through time and space. These stories help to make sense of the world for young children. Folk and fairy tales were not meant only for entertainment, they provide a social identity, and instill values as well as teaching lessons. In my own experience I have found that classrooms are often filled with students that either come from other countries or have families that do.