Early Spring2021 Bel Canto
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Guangzhou Opera House Erin You Haifeng Pan Jing Zhao Tan Zheng Yuan Ma Overview (Introduction)
Guangzhou Opera House Erin You Haifeng Pan Jing Zhao Tan Zheng Yuan Ma Overview (Introduction) Zaha Hadid’s design won the first prize and was confirmed as the practical one which will become an icon for the Guangzhou City and even accelerate the urbanization of new developing downtown. • Background Information • Design Review • Principle Structure System • Structure Area Division • Interior Space • Auditorium • The Envelope System • Underground Structure and Foundation • Detail • Conclusion Guangzhou Opera House (Background) • The third biggest opera architecture in China • One opera hall (includes main stage, side stage, and back stage) 1,800 seats • One multiple-purpose hall with 400 seats • Foyer, art gallery, restaurant, garage • 70,000 square meters (30,000 square meters underground) • Total construction investment of 200 million dollars The Architect —— Zaha Hadid (Background) • The first woman to win the Pritzker Prize for Architecture • ZAHA HADID has defined a radically new approach to architecture by creating buildings • Multiple perspective points and fragmented geometry to evoke the chaos of modern life. Design Review • Create a new focal point in Guangzhou city • Located downstream of Peal River • Its unique twin boulder design enhances urban function with open access to the riverside and dock areas • Create a new dialogue with the emerging new town • The sheltered area formed in its intersection has been designed to accommodate outdoor activities to complement its primary role as a world stage for the performing arts 0.00 -
Dove L'uomo È Fascina E La Donna È L'alare
Dove l’uomo è fascina e la donna è l’alare: the Quiet Defiance of Puccini’s La Bohème Parkorn Wangpaiboonkit Oberlin College In stark contrast to the remainder of the standard operatic repertoire, instead of babies thrown into fires, sons in love with their mother-in-law, mystical rings of fire, head-cutting, suicide, self-sacrifice, or spontaneous expiration through excess of emotion, Puccini’s La Bohème presents us with an opera where a sick girl gets sicker and dies. “No one is evil; it is the opera of innocence… - as if there were no responsibility, as if nothing happened other than this great cold, freezing them all, which one of them, a woman, cannot withstand” (Clément 83). More simply put, Bohème ’s plot is “boy meets girl, girl dies” (Berger 109). While this lack of momentous action might make Bohème seem an unlikely candidate for an operatic innovation, I argue that the opera’s quiet insurrection against its genre and tradition becomes apparent when its heroine, Mimi, is closely examined. In constructing Mimi, Puccini has deviated from the expectations of genre, gender, and disease narrative typically found in nineteenth century Italian operas, creating an operatic heroine that escapes the typical dramatic formulations of her predecessors: “She does not do anything. She waters her flowers at the window, she embroiders silk and satin for other people, that is all” (Clément 84). By highlighting these subtle but radical uniqueness in the way Mimi as a heroine is treated by other characters in the opera and by us as an audience, I offer a new reading of Bohème that recognizes the work as an innovative text, “the first Italian opera in which the artificialities of the medium is so little felt” (Budden 180). -
Common Opera Terminology
Common Opera Terminology acoustics The science of sound; qualities which determine hearing facilities in an auditorium, concert hall, opera house, theater, etc. act A section of the opera, play, etc. usually followed by an intermission. arias and recitative Solos sung by one person only. Recitative, are sung words and phrases that are used to propel the action of the story and are meant to convey conversations. Melodies are often simple or fast to resemble speaking. The aria is like a normal song with more recognizable structure and melody. Arias, unlike recitative, are a stop in the action, where the character usually reflects upon what has happened. When two people are singing, it becomes a duet. When three people sing a trio, four people a quartet. backstage The area of the stage not visible to the audience, usually where the dressing rooms are located. bel canto Although Italian for “beautiful song,” the term is usually applied to the school of singing prevalent in the eighteenth and nineteenth centuries (Baroque and Romantic) with emphasis on vocal purity, control, and dexterity blocking Directions given to actors for on-stage movements and actions bravo, brava, bravi An acknowledgement of a good performance shouted during moments of applause (the ending is determined by the gender and the number of performers). cadenza An elaborate passage near the end of an aria, which shows off the singer’s vocal ability. chorus master Person who prepares the chorus musically (which includes rehearsing and directing them). coloratura A voice that can sing music with many rapid notes, or the music written for such a voice with elaborate ornamentation using fast notes and trills. -
STEPHEN COSTELLO in an EVENING of BEL CANTO ARIAS
MEDIA RELEASE: October 2, 2019 CONTACT: Katie Syroney, Interim Communications Director (513) 768-5526 or [email protected] Editors’ note: Images available upon request. CINCINNATI OPERA PRESENTS METROPOLITAN OPERA STAR STEPHEN COSTELLO in AN EVENING OF BEL CANTO ARIAS Considered to be “among the world’s best tenors” (Daily Express, UK), Costello performs opera favorites at Memorial Hall Oct. 29 CINCINNATI—Cincinnati Opera proudly presents world-renowned tenor Stephen Costello in a special concert event this fall. On Tuesday, October 29, Costello will perform an evening of opera favorites in the beloved bel canto (Italian for “beautiful singing”) style, including excerpts from The Elixir of Love, Rigoletto, Lucia di Lammermoor, and more. The concert reunites Costello with Cincinnati Opera after his acclaimed performances as Rodolfo in La Bohème (2010) and Alfredo in La Traviata (2012). The event also celebrates the recent release of Costello’s first solo album, A Te, O Cara, a collection of bel canto arias by Donizetti, Verdi, and Bellini on the Delos label. “A prodigiously gifted singer whose voice makes an immediate impact” (Associated Press), Stephen Costello stands “among the world’s best tenors” (Daily Express, UK). The Philadelphia-born artist came to national attention in 2007, when, aged 26, he made his Stephen Costello Metropolitan Opera debut on the company’s season-opening night. Photo: Merri Cyr Two years later, Costello won the opera industry’s prestigious Richard Tucker Award, and he has since appeared at many of the world’s most important opera houses and music festivals, including London’s Royal Opera House, Deutsche Oper Berlin, Vienna State Opera, Lyric Opera of Chicago, San Francisco Opera, Washington National Opera, and the Salzburg Festival. -
Accessible Opera: Overcoming Linguistic and Sensorial Barriers
This is a post-print version of the following article: Orero, Pilar; Matamala, Anna (2007) Accessible Opera: Overcoming Linguistic and Sensorial Barriers. Perspectives. Studies in Translatology, 15(4): 427-451. DOI: 10.1080/13670050802326766 http://www.tandfonline.com/doi/full/10.1080/13670050802326766#.U0afL-Z_sWU Accessible Opera: Overcoming Linguistic and Sensorial Barriers The desire to make media available for all has been rapidly accepted and implemented by most European countries. Opera, as one of the many audiovisual representations, also falls under the category of production which needs to be made accessible and this article aims to analyse how opera has gone through a complete transformation to become a cultural event for all, overcoming not only linguistic but also sensorial barriers. The first part of the article analyses the various forms of translation associated with opera and the main challenges they entail. The second presents different systems used to make opera accessible to the sensorially challenged, highlighting their main difficulties. Examples from research carried out at the Barcelona’s Liceu opera house are presented to illustrate various modalities, especially audio description. All in all, it is our aim to show how translated-related processes have made it possible to open opera to a wider audience despite some initial reluctance. 1. Overcoming linguistic barriers Performing opera in the source language or in the language of the audience has been a major discussion in the literature of Translation Studies —and references are found from as distant fields as Music Studies and as early as the beginning of the 20th century (Spaeth 1915), but it is Nisato (1999:26) who provides a comprehensive summary of the current three possibilities in opera performance, which in our opinion can perfectly coexist: “performing the opera in its original language and provide the listener with either a synopsis or translated libretto, to perform in the original language and make use of surtitles, or to perform a sung translation of the work”. -
ATINER's Conference Paper Proceedings Series HUM2020
ATINER CONFERENCE PRESENTATION SERIES No: HUM2020-0172 ATINER’s Conference Paper Proceedings Series HUM2020-0172 Athens, 14 January 2020 Georg Friedrich Handel’s Music: From the Baroque Era to the Present Mingjie Fang and Tatiana Samsonova Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10683 Athens, Greece ATINER‟s conference paper proceedings series are circulated to promote dialogue among academic scholars. All papers of this series have been blind reviewed and accepted for presentation at one of ATINER‟s annual conferences according to its acceptance policies (http://www.atiner.gr/acceptance). © All rights reserved by authors. 1 ATINER CONFERENCE PRESENTATION SERIES No: HUM2020-0172 ATINER’s Conference Paper Proceedings Series HUM2020-0172 Athens, 14 January 2020 ISSN: 2529-167X Mingjie Fang, Postgraduate Student, Herzen State Pedagogical University of Russia, Russia Tatiana Samsonova, Head of Musical Disciplines Department, Faculty of Philosophy, Culture Studies and Fine Art, Professor, Pushkin Leningrad State University, Russia Georg Friedrich Handel’s Music: From the Baroque Era to the Present ABSTRACT Georg Friedrich Handel (1685-1759) is a German and English composer of the Baroque era, known for his operas, oratorios and concerts. Handel was born in Germany in the same year as Johann Sebastian Bach. After receiving a musical education in Germany and the experience of opera productions in, he moved to London, where he later became an English citizen. Handel„s first opera was the production of ―Rinaldo‖ in 1711 in the theater of His Majesty. The opera Rinaldo was a resounding success. From 1720 to 1728, Handel was director of the Royal Academy of Music. -
"Mixed Taste," Cosmopolitanism, and Intertextuality in Georg Philipp
“MIXED TASTE,” COSMOPOLITANISM, AND INTERTEXTUALITY IN GEORG PHILIPP TELEMANN’S OPERA ORPHEUS Robert A. Rue A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2017 Committee: Arne Spohr, Advisor Mary Natvig Gregory Decker © 2017 Robert A. Rue All Rights Reserved iii ABSTRACT Arne Spohr, Advisor Musicologists have been debating the concept of European national music styles in the Baroque period for nearly 300 years. But what precisely constitutes these so-called French, Italian, and German “tastes”? Furthermore, how do contemporary sources confront this issue and how do they delineate these musical constructs? In his Music for a Mixed Taste (2008), Steven Zohn achieves success in identifying musical tastes in some of Georg Phillip Telemann’s instrumental music. However, instrumental music comprises only a portion of Telemann’s musical output. My thesis follows Zohn’s work by identifying these same national styles in opera: namely, Telemann’s Orpheus (Hamburg, 1726), in which the composer sets French, Italian, and German texts to music. I argue that though identifying the interrelation between elements of musical style and the use of specific languages, we will have a better understanding of what Telemann and his contemporaries thought of as national tastes. I will begin my examination by identifying some of the issues surrounding a selection of contemporary treatises, in order explicate the problems and benefits of their use. These sources include Johann Joachim Quantz’s Versuch einer Anweisung die Flöte zu spielen (1752), two of Telemann’s autobiographies (1718 and 1740), and Johann Adolf Scheibe’s Critischer Musikus (1737). -
Short Operas for Educational Settings: a Production Guide
SHORT OPERAS FOR EDUCATIONAL SETTINGS A PRODUCTION GUIDE by Jacquelyn Mouritsen Abbott Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee Patricia Stiles, Research Director and Chair Gary Arvin Jane Dutton Dale McFadden 10 April 2020 ii Copyright ⃝c 2020 Jacquelyn Mouritsen Abbott iii To my dearest love, Marc – my duet partner in life and in song iv Acknowledgements I am deeply grateful to my research director Patricia Stiles, for her devoted teaching, help, care, and guidance. I have learned so much from you throughout the years and am profoundly grateful for your kindness and your mentorship. I am deeply indebted to Dale McFadden, Gary Arvin, and Jane Dutton—it was a great honor to have you on my committee. I offer sincerest thanks to all of the composers and librettists who sent me scores, librettos, or recordings and who answered my questions and allowed me to use musical examples from their works. These exceptional artists include Dan Shore, Michael Ching, Leanna Kirchoff, Harry Dunstan, Kay Krekow, Milton Granger, Thomas Albert, Bruce Trinkley, John Morrison, Evan Mack, Errollyn Wallen, and Paul Salerni. I also owe a special thank you to ECS publishing for allowing me to use musical examples from Robert Ward’s Roman Fever. Thanks to Pauline Viardot, Jacques Offenbach, and Umberto Giordano for inspiring the musical world for the past 150-plus years. -
July 1946) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1946 Volume 64, Number 07 (July 1946) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 64, Number 07 (July 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/193 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. PHOTO BY PHILIP ^ENDREAU, N. Y. mm . ! i-AYVRENCE TIBBETT, recently appeared for the first time on STUDY? Metropolitan Opera any operatic stage when she sang the TO Bass, and Robert Law- title role in “Carmen” with the New York SHALL I GO WHERE rence, former music City Opera Company. According to news- critic turned, conductor, paper accounts, she “made an instant and making joint con- are pronounced success . giving an im- York City) operatic^ ap- Private Teachers (New cert and personation of uncommon interest and pearances in Italy, fea- appeal.” (^JniroJucing a post war marvel of concerts HELEN ANDERSON turing in their DAVIS American com- Walt music world, completely revolutionizing HAROLD FREDERICK Concert Pianist Lawrence music by whitman’s elegy, “When Lilacs the piano, harmony Tibbett Tibbett is Last in the VOICE Interesting course— posers. -
La Bohème Cast 2020 Biography
La Bohème Cast 2020 Biography (Vallo della Lucania, Italy) Italian Soprano Maria Agresta began her vocal studies at the Salerno Conservatory as a mezzo-soprano, later switching to soprano and studying with Raina Kabaivanska. After winning several international competitions she made her professional operatic debut in 2007. Engagements include Mimì and Micaëla (Carmen) for the Metropolitan Opera, New York, Suor Angelica for Liceu, Barcelona, Marguerite (Faust) for Salzburg Festival, Leonora (Il trovatore), Liù (Turandot), Donna Elvira (Don Giovanni) and Leonora (Oberto) for La Scala, Milan, Norma for Théâtre des Champs- Élysées and in Madrid, Turin and Tel Aviv, Mimì for Arena di Verona, Paris Opéra, Bavarian State Opera, Teatro Regio, Teatro di San Carlo, Naples, and Torre del Lago Festival, Elvira (I puritani) for Paris Opéra, Violetta (La traviata) for Berlin State Opera and Bavarian State Opera, Elena (I vespri siciliani) in Turin, Leonora (Il trovatore) for Palau de les Arts Reina Sofía, Valencia, Amelia (Simon Boccanegra) for Rome Opera, La Fenice, Venice, Dresden Semperoper and Berlin State Opera with Daniel Barenboim, Amalia (I masnadieri) for La Fenice and Julia (La Vestale) for Dresden Semperoper. Agresta performs widely in concert with such conductors as Barenboim, Nicola Luisotti, Michele Mariotti, Zubin Mehta, Carlo Montanaro, Riccardo Muti, Noseda and Christian Thielemann. Source: Royal Opera House (Brașov, Romania) Aurelia Florian was born in Romania where she has completed her musical studies (singing and piano), she studied at the Music faculty of the university of Transylvania in Brasov and specialized herself in belcanto singing in master classes with the Romanian soprano Mariana Nicolesco. At the Romanian Atheneum Bucharest (with the George Enescu Philharmonic Orchestra) she was highly acclaimed for singing the soprano part in Mahler’s IV symphony (under M° David Gimenez Carreras), and in 2009 she had a big success with the contemporary opera “Celan” written and conducted by Peter Ruzicka. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Prima La Musica o Prima La Parola? Textual and Musical Intermedialities in Italian Literature and Film Permalink https://escholarship.org/uc/item/9385t0bs Author Nadir, Erika Marina Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Prima La Musica o Prima La Parola? Textual and Musical Intermedialities in Italian Literature and Film A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Italian by Erika Marina Nadir 2017 © Copyright by Erika Marina Nadir 2017 ABSTRACT OF THE DISSERTATION Prima La Musica o Prima La Parola? Textual and Musical Intermedialities in Italian Literature and Film by Erika Marina Nadir Doctor of Philosophy in Italian University of California, Los Angeles, 2017 Professor Luigi Ballerini, Chair This dissertation is a comparative study of Italian opera, literature, and film, and traces the textual and musical intermedialities among the art forms. Using the analytical prisms of Elio Vittorini’s linguaggio unitario del musicista and Giuseppe Verdi’s notion of verità, I examine the myriad ways that literature, film, and music interact and the effects on the respective arts. Chapter 1 focuses on literature that is written in such a way as to evoke music. I analyze three texts and their musical components: Vittorini’s Italian Resistance novel, Uomini e no; the postmodern novel Passavamo sulla terra leggeri by Sergio Atzeni—a soundscape of text that mimics contemporary opera structure; and Manzoni’s I promessi sposi, which was the inspiration for Giuseppe Verdi’s notion of verità in art. -
Guide to Your Career
Guide to Your Career Your Career Development Is In Your Hands _________________________________________________________________________________ NEUE STIMMEN Bertelsmann Stiftung Carl-Bertelsmann-Straße 256 | 33311 Gütersloh Phone: +49 (0) 52 41-81 – 81171 E-Mail: [email protected] NEUE STIMMEN | How to manage your own career! 1 1. How to manage your career Introduction Welcome! You are an up-and-coming performer looking for ways to manage the next steps of your career? This brochure has been put together to give you some tips and resource lists as well as aspects to think about as you move forward. As you have probably already found out, the days of singing well, doing a few auditions, getting a job and then an engagement without much more effort, are over. Competition on all levels has increased, the number of traditional engagements at opera houses and concert halls has gone down. On the other hand, there are more opportunities in other areas and we want to show you where to look. Artistic profile Let’s start, however, with a look at your very own artistic profile – what makes you unique. It helps to think of yourself in the third person in order to be objective. You may want to take a good photo of yourself and simply describe what you see and then add your vocal and individual qualities. Mind mapping is a very useful tool for doing this. Are you tall or short, how do you describe your own voice – quite apart from your Fach – husky, clear, sexy. What do you feel most comfortable doing – singing, acting, dancing, playing a dramatic role, being a clown, or maybe a combination of all these? The combination of all these factors is YOU – your very own unique selling point (USP) and brand.