2009-2010 Opera Season Recommended Listening and Reading List
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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). -
The Bard of the Black Chair: Ellis Evans and Memorializing the Great War in Wales
Volume 3 │ Issue 1 │ 2018 The Bard of the Black Chair: Ellis Evans and Memorializing the Great War in Wales McKinley Terry Abilene Christian University Texas Psi Chapter Vol. 3(1), 2018 Article Title: The Bard of the Black Chair: Ellis Evans and Memorializing the Great War in Wales DOI: 10.21081/AX0173 ISSN: 2381-800X Key Words: Wales, poets, 20th Century, World War I, memorials, bards This work is licensed under a Creative Commons Attribution 4.0 International License. Author contact information is available from the Editor at [email protected]. Aletheia—The Alpha Chi Journal of Undergraduate Scholarship • This publication is an online, peer-reviewed, interdisciplinary undergraduate journal, whose mission is to promote high quality research and scholarship among undergraduates by showcasing exemplary work. • Submissions can be in any basic or applied field of study, including the physical and life sciences, the social sciences, the humanities, education, engineering, and the arts. • Publication in Aletheia will recognize students who excel academically and foster mentor/mentee relationships between faculty and students. • In keeping with the strong tradition of student involvement in all levels of Alpha Chi, the journal will also provide a forum for students to become actively involved in the writing, peer review, and publication process. • More information and instructions for authors is available under the publications tab at www.AlphaChiHonor.org. Questions to the editor may be directed to [email protected]. Alpha Chi is a national college honor society that admits students from all academic disciplines, with membership limited to the top 10 percent of an institution’s juniors, seniors, and graduate students. -
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. -
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. -
Effects of the Met: Live in HD on the Democratization of Opera in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 12-2020 Effects of The Met: Live in HD on the Democratization of Opera in America Anna Wigtil Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. EFFECTS OF THE MET: LIVE IN HD ON THE DEMOCRATIZATION OF OPERA IN AMERICA by Anna K. Wigtil A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Music Major: Music Under the Supervision of Professor Pamela Starr Lincoln, Nebraska December, 2020 EFFECTS OF THE MET: LIVE IN HD ON THE DEMOCRATIZATION OF OPERA IN AMERICA Anna K. Wigtil, M.M. University of Nebraska, 2020 Advisor: Pamela Starr The Met: Live in HD satellite broadcasts of live opera performances began in 2006 and have since become popular with audiences around the world. While this could be an excellent avenue to democratize opera and make it available to new audiences, the available data indicates that most Live in HD viewers are already opera enthusiasts and have previously attended live opera performances. This thesis examines the history of the Metropolitan Opera’s broadcasting efforts, the demographics of American opera audiences, trends in Live in HD’s repertoire, and strategies to increase Live in HD’s appeal to a broader, more diverse audience that can revitalize opera’s popularity in the United States. -
The Cry of the Cymry: the Linguistic, Literary, and Legendary Foundations of Welsh Nationalism As It Developed Throughout the 19Th Century
Abilene Christian University Digital Commons @ ACU ACU Student Research, Theses, Projects, and Honors College Dissertations 4-2018 The rC y of the Cymry: The Linguistic, Literary, and Legendary Foundations of Welsh Nationalism as it Developed Throughout the 19th Century McKinley Terry Follow this and additional works at: https://digitalcommons.acu.edu/honors The Cry of the Cymry: The Linguistic, Literary, and Legendary Foundations of Welsh Nationalism as it Developed Throughout the 19th Century An Honors College Project Thesis Presented to The Department of History and Global Studies Abilene Christian University In Partial Fulfillment of the Requirements for Honors Scholar by McKinley Terry April 2018 Copyright 2018 McKinley Terry ALL RIGHTS RESERVED This Project Thesis, directed and approved by the candidate’s committee, has been accepted by the Honors College of Abilene Christian University in partial fulfillment of the requirements for the distinction HONORS SCHOLAR Dr. Jason Morris, Dean of the Honors College _______________________ Date Advisory Committee Dr. Kelly Elliott, Committee Chair Dr. William Carroll, Committee Member Dr. Ron Morgan, Department Head Abstract This paper examines the development of a national identity in Wales throughout the nineteenth and early twentieth centuries, beginning with the effects of the French Revolution and ending with the aftermath of the First World War. Using cultural theories such as Anderson’s “Imagined Communities” and Hobsawm and Ranger’s “Imagined Traditions,” this paper pays special attention to the Celtic traditions and myths that Welsh leaders utilized to cultivate a sense of nationalism and foster a political identity that gained prominence in the nineteenth century. This nationalism will also be presented in the context of cultural changes that Wales faced during this time, especially industrialization and Romanticism. -
Analyzing Gender Inequality in Contemporary Opera
ANALYZING GENDER INEQUALITY IN CONTEMPORARY OPERA Hillary LaBonte A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: Jane Schoonmaker Rodgers, Advisor Kristen Rudisill Graduate Faculty Representative Kevin Bylsma Ryan Ebright Emily Pence Brown © 2019 Hillary LaBonte All Rights Reserved iii ABSTRACT Jane Schoonmaker Rodgers, Advisor Gender inequality is pervasive in the world of performing arts. There are far more female dancers, actresses, and singers than there are male performers. This inequality is amplified by fewer numbers of roles for women. This document examines gender inequality in contemporary North American operas, including the various factors that can influence the gender balance of a cast, with focused studies on commissioning organizations and ten works that feature predominantly female casts. Chapter 1 presents the analysis of all operas in OPERA America’s North American Works database written and premiered from 1995 to the present. Of the 4,216 roles in this data, 1,842 (43.6%) are for female singers. Operas written by a female composer or librettist have 48% roles for female singers, operas with a female lead character have 51%, and intentionally feminist or female-focused operas have 53% roles for female singers. Chapter 2 considers ten companies devoted to the creation and production of contemporary opera in North America. Works premiered by these companies have an average of 47% roles for women, and companies with a female executive or founder are more likely to have a higher average. Companies that use language like “innovative” or “adventurous” in their mission statement are more likely to have greater female representation in the casts of their commissioned works. -
Translating, Adapting, and Performing Opera in Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte at the King's Theatre" (2017)
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Translating, Adapting, And Performing Opera In Eighteenth- Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre Lily Tamara Kass University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Comparative Literature Commons, Music Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Kass, Lily Tamara, "Translating, Adapting, And Performing Opera In Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre" (2017). Publicly Accessible Penn Dissertations. 2379. https://repository.upenn.edu/edissertations/2379 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2379 For more information, please contact [email protected]. Translating, Adapting, And Performing Opera In Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre Abstract This dissertation examines music and text circulation in cosmopolitan Europe during the last decades of the eighteenth century through the lens of translation. London in the late eighteenth and early nineteenth centuries was the largest center of Italian operatic performance outside of Italy. All performances sung at the King’s Theatre, London, were sung in Italian, the presumed language of opera, even when the works had been originated in other languages. This created the need for a culture of translation and adaptation of works from abroad, making them suitable for a London audience partially through the retention of foreignness and partially through domesticating practices. In the 1790s, a period of political tension between Britain and post-Revolution France, four French operas were presented at the King's Theatre in Italian translations attributed to the poet Lorenzo Da Ponte (1749-1838): Gluck's Iphig�nie en Tauride, Gr�try's Z�mire et Azor, Monsigny's La belle Ars�ne, and Sacchini's Arvire et �v�lina. -
Ii the Interpretation of Opera Excerpts for Bassoon
The Interpretation of Opera Excerpts for Bassoon: A Pedagogical Analysis of Selected Excerpts D.M.A Document Presented in Partial Fulfillment of the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Erik Soren Malmer, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee Professor Karen Pierson, Advisor Doctor Arved Ashby Professor Katherine Borst Jones Professor Robert Sorton ii Copyrighted by Erik Soren Malmer 2019 iii Abstract Although opera presents a sizeable portion of classical music, many bassoonists are oblivious of opera literature. Besides the Marriage of Figaro many bassoonists are blithely unaware of the excerpts on opera bassoon audition lists. This document attempts to introduce and analyze the most popular opera excerpts for principal and second bassoon. Thirty-four opera companies were contacted in an effort to obtain the most accurate listing of opera bassoon excerpts. This document intends to enlighten the reader on a pedagogical approach to opera bassoon excerpts through the history of the composition, a synopsis of the opera, and a pedagogical approach to each excerpt. ii Acknowledgments I wish to express my sincere gratitude and appreciation to my advisor, Professor Karen Pierson. She has helped me grow immensely as a bassoonist and a human over the course of my studies and no amount of thanks can repay her for all of the support. I would like to thank the members of my doctoral committee, Dr. Arved Ashby, Professor Katherine Borst Jones, and Professor Robert Sorton for time and support of my studies at The Ohio State University. -
Health Club Management August 19
AUGUST 2019 HCMmag.com @HCMmag UNITING THE WORLD OF FITNESS CT MILLENNIALS AND GEN Z LESMILLS.COM/UK/GETGRIT ©Cybertrek 2019 healthclubmanagement.co.uk August 2019 77 GLOBAL MEDIA PARTNER AUGUST 2019 HCMmag.com @HCMmag UNITING THE WORLD OF FITNESS VERSA NI RY N Y A E A h t R 5 2 O O 2 Sophie Lawler 5 R t A h E A The CEO of Total Fitness is Y N Y N R I V A S E tackling the mid market p34 R Jay Wright On running the world’s largest hotel gym p68 EUROPE What’s the potential for growth? p42 PLUS David Lloyd India Fitness Foresight Sign-up to IHRSA Global stats HCMmag Martin Seibold The industry veteran is building a new fitness company p16 Did you know Myzone increases member club Myzone is a leading wearable and visits by technology solution designed and built for WKHȴWQHVVLQGXVWU\0\]RQHDPSOLȴHVWKH Source: Mid-Town Athletic Club, N.America JURXSH[HUFLVHH[SHULHQFHDQGSURYLGHV valuable data for clubs with built-in FKDOOHQJHVSHUVRQDOJRDOVJDPLȴFDWLRQ 33% and an online social community. Gamify your club. Your customers will love you for it! myzone.org @myzonemoves | #myzonemoves | #myzonecommunity [email protected] (',725ȷ6/(77(5 Work and work out $QHZDUHDIRULQYHVWPHQWLQKHDOWKFOXEVLVQȷWWKHVWXGLRWKH J\PWKHSRRORUWKHVSDLWȷVWKHFRZRUNLQJVSDFHDVFRQVXPHUV LQFUHDVLQJO\GHPDQGWKHLUKHDOWKFOXEVEHFRPHWKHLUZRUNSODFH KHQSUHPLXPʛWQHVVRSHUDWRU(TXLQR[VWUXFNDGHDO ZLWK,QGXVWULRXVȲRSHUDWRURIIXQN\FRZRUNLQJ VSDFHVȲWRSXWIXUQLVKHGZRUNVSDFHVDORQJVLGHLWV W KHDOWKFOXEVZHEURNHWKHQHZVRQ+&0PDJFRP DQGWKHVWRU\ZDVRXUPRVWUHDGRIWKHZHHN $VWKHERXQGDULHVEHWZHHQZRUNOHLVXUHDQGʛWQHVV FRQWLQXHWREOXUSHRSOHDUHLQFUHDVLQJO\XVLQJWKHLUKHDOWKFOXE -
Gold Medal 2019
Friday 10 May, 7pm Barbican Hall Gold Medal 2019 Finalists Ema Nikolovska William Thomas Samantha Clarke James Newby Guildhall Symphony Orchestra Richard Farnes conductor Guildhall School of Music & Drama Barbican Founded in 1880 by the City of London Please try to restrain from coughing until Corporation normal breaks in the performance. Chairman of the Board of Governors If you have a mobile phone or digital watch, Vivienne Littlechild please ensure that it is turned off during the Principal performance. Lynne Williams AM In accordance with the requirements of the Vice Principal and Director of Music licensing authority, sitting or standing in Jonathan Vaughan any gangway is not permitted. Please visit our website at gsmd.ac.uk No cameras, tape recorders, other types of recording apparatus may be brought into the auditorium. It is illegal to record any performance unless prior arrangements have been made with the Managing Director and the concert promoter concerned. No eating or drinking is allowed in the auditorium. Smoking is not permitted anywhere on the Barbican premises. Barbican Centre Silk St, London EC2Y 8DS Administration: 020 7638 4141 Box Office Telephone Bookings: 020 7638 8891 (9am–8pm daily: booking fee) barbican.org.uk The Guildhall School is part of Culture Mile: culturemile.london The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation Gold Medal 2019 Friday 10 May 2019, 7pm Barbican Hall The Gold Medal, Guildhall School’s premier award for musicians, was founded and endowed in 1915 by Sir H. -
Bridging the Gap Between Opera and Musical Theatre
The Crossover Opera Singer: Bridging the Gap Between Opera and Musical Theatre D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Keyona Willis-Lynam, M.M Graduate Program in Music The Ohio State University 2015 D.M.A. Document Committee: J. Robin Rice, Advisor Joe Duchi Kristine Kearney Copyright by Keyona Willis-Lynam 2015 Abstract For decades, a divide has existed between opera and musical theatre, with the lesser value being placed upon the latter. Singers, from the start of their training, are told to choose a genre if one wants to achieve any type of singing success. This type of division creates a chasm of isolation and misunderstanding between the musical styles. From academia, to the stage, to the concert goer, one’s allegiance to opera versus musical theatre has been built upon a firm foundation of contrast, without acknowledging that both genres have ties to one another. As a result, most teaching of singing is done from the perspective of the classical singing style, with little to no mention of how to efficiently and healthily sing in a musical theatre style. In today’s social and economic climate, opera houses across the United States and abroad are seeing a decline in ticket sales; some have been able to restructure to survive, while others are shutting down. Companies are seeking a variety of ways to stay connected to the community; one avenue that has produced an area of contention is the addition of musical theatre productions to the season’s billing.