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Books on the topic 'Contemporary opera'

Author: Grafiati

Published: 4 June 2021

Last updated: 24 January 2023

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1

Matthews, Stephen Ralph. Contemporary opera & music. [Wellington, N.Z: The Winston Churchill Memorial Trust, 1998.

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2

Torgāns, Jānis. Opera libretu spogulī 1960 - 2010 [In Latvian - Opera: in a Mirror of Libretto 1960 - 2010]. Riga, Latvia: SIA Drukātava, 2012.

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3

Warner, Marina. Donkey Business, donkey work: Magic and metamorphosis in contemporary opera. Swansea: University of Wales Swansea, 1996.

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4

Marx, Robert. Contemporary American musical theater, opera, and experimental music theater: An overview of current conditions and future trends. [Washington, D.C.]: Policy and Planning Division, National Endowment for the Arts, 1985.

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5

Seidel, Kathleen Gilles. Again. London: Coronet, 1995.

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6

Burke, Betsy. Performance anxiety. Don Mills, Ont: Red Dress Ink., 2004.

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7

Hand, Elizabeth. Black light. New York: HarperCollins, 1999.

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8

Pour une approche systémique de l'opéra contemporain. Paris: Observatoire musical français, 2001.

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9

Ann Patchett. Bel canto: A novel. Waterville, Me: Thorndike Press, 2002.

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10

Ann Patchett. Bel canto: A novel. New York: Perennial, 2002.

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11

Ann Patchett. Bel canto: A novel. New York: HarperCollins, 2001.

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12

Ann Patchett. Bel Canto. Glasgow: HarperCollins, 2001.

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13

Jue jing meng ya: Wu Xingguo de dang dai chuang qi = Contemporary legend of Wu Hsing-kuo. Taibei Shi: Tian xia yuan jian chu ban gu fen you xian gong si, 2006.

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14

Le personnage de Puck: Du modèle shakespearien à l'opéra contemporain : (Britten, Vreuls, Delannoy, Gerber). Paris: Publibook, 2012.

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15

Pancani, Eleonora, ed. Ruggero Jacobbi alla radio. Florence: Firenze University Press, 2008. http://dx.doi.org/10.36253/978-88-8453-664-8.

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Recent years have seen the publication of a great deal of the work of Ruggero Jacobbi, a legendary figure of Italian twentieth-century culture, thanks to a praiseworthy retrieval of unpublished material conserved in the «A. Bonsanti» contemporary archive of the Gabinetto «G.P. Vieusseux». However, despite so many new pages of poetry and translation, what was still lacking was the writer's voice. The voice which, thanks to the painstaking work of Eleonora Pancani, we can now read (if not hear), as with characteristic dexterity it intermingles verses and music, literature and theatre, politics and entertainment. Ruggero Jacobbi alla radio presents the transcription of several radio programmes of the 70s featuring the genial culture of this multi-faceted intellectual. Jacobbi entertains his audience, discorsing on literary history, the figurative arts and opera, quoting poetry, discussing plays, mingling observations on Goldoni, Pirandello, Bontempelli, Savinio, Pessoa and García Lorca in an engaging anecdotal style that involves the cinema, the theatre and literature, while the great figures of tradition and recent history are interwoven with reminiscences of private life.

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16

Emma, Zanella, and Museo arte Gallarate, eds. Cosa fa la mia anima mentre sto lavorando?: Opere d'arte contemporanea dalla Collezione Consolandi = contemporary art works from the Consolandi Collection / [catalogo a cura di = catalogue by Francesca Pasini, Emma Zanella]. Milano: Electa, 2010.

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17

Cesare, Pippi, and Museo archeologico nazionale dell'Umbria, eds. George Lilanga: Colori d'Africa : opere scelte, 1971-2005 / a cura di Cesare Pippi = George Lilanga : colours of Africa : selected works, 1971-2005 / curated by Cesare Pippi. San Sisto (Perugia): Effe, 2007.

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18

Frentz, Suzanne. Staying Tuned: Contemporary Soap Opera Criticism. Bowling Green University Popular Press, 1992.

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19

Suzanne, Frentz, ed. Staying tuned: Contemporary soap opera criticism. Bowling Green, Ohio: Bowling Green State University Popular Press, 1992.

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20

Frentz, Suzanne. Staying Tuned: Contemporary Soap Opera Criticism. Bowling Green University Popular Press, 1992.

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21

Italian Opera Since 1945 (Contemporary Music Studies). Routledge, 1998.

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22

Italian Opera Since 1945 (Contemporary Music Studies). Routledge, 1998.

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23

Kennedy, Jeffe. Master of the Opera, ACT 6: Crescendo. Kensington Publishing Corporation, 2014.

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24

Kennedy, Jeffe. Master of the Opera, ACT 1: Passionate Overture. Kensington Publishing Corporation, 2014.

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25

Kennedy, Jeffe. Master of the Opera, ACT 2: Ghost Aria. Kensington Publishing Corporation, 2014.

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26

Myths of National Identity in Contemporary Australian Opera. Taylor & Francis Group, 2017.

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27

Straub, Matthias. Opera: Magazine for Classic and Contemporary Nude Photography. Kerber Verlag, 2015.

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28

Halliwell, Michael. National Identity in Contemporary Australian Opera: Myths Reconsidered. Taylor & Francis Group, 2019.

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29

Butler, Martin. The Sirens' Song: A Short Opera (Oxford Contemporary Music). Oxford University Press, 1988.

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30

Havelková, Tereza. Opera as Hypermedium. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190091262.001.0001.

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This book deals with contemporary relationships between opera and the media. It is concerned with both the use of media on stage and opera on screen. Drawing on the concept of hypermediacy from media studies, it situates opera within the larger context of contemporary media practices, and particularly those that play up the multiplicity, awareness, and enjoyment of media. The discussion is driven by the underlying question of what politics of representation and perception opera performs within this context. This entails approaching operas as audiovisual events (rather than works or texts) and paying attention to what they do by visual means, along with the operatic music and singing. The book concentrates on events that foreground their use of media and technology, drawing attention to opera’s inherently hypermedial aspects. It works with the recognition that such events nevertheless engender powerful effects of immediacy, which are not contingent on illusionism or the seeming transparency of the medium. It analyzes how effects like presence, liveness, and immersion are produced, contesting some critical claims attached to them. It also sheds light on how these effects, often perceived as visceral or material in nature, are related to the production of meaning in opera. The discussion pertains to contemporary pieces such as Louis Andriessen and Peter Greenaway’s Rosa and Writing to Vermeer, as well as productions of the canonical repertory such as Wagner’s Ring Cycle by Robert Lepage at the Met and La Fura dels Baus in Valencia.

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31

Christiansen, Rupert. Prima Donna: A History (Contemporary American Fiction). Penguin (Non-Classics), 1987.

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32

Christiansen, Rupert. Prima Donna: A History (Contemporary American Fiction). Penguin (Non-Classics), 1987.

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33

Kennedy, Jeffe. Master of the Opera, ACT 5: A Haunting Duet. Kensington Publishing Corporation, 2014.

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34

The Opéra : Volume VI: Magazine for Classic & Contemporary Nude Photography. Kerber, 2018.

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35

Webster, James, Julian Rushton, Darla Crispin, Sergio Durante, and Stefan Rohringer. Dramma Giocoso: Four Contemporary Perspectives on the Mozart/Da Ponte Operas. Leuven University Press, 2012.

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36

Ltd, Bus, Eastern Touring Agency, and Eastern Arts Board, eds. Research into audience expectations and reactions to a contemporary opera (Thérèse Raquin). BUS Ltd, 1993.

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37

Again. Onyx, 1994.

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38

Seidel, Kathleen Gilles. Again. Ulverscroft Large Print, 1995.

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39

Moro, Santyago. Asci-III. Lulu Press, Inc., 2008.

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40

Again. Hodder &Stoughton, 1995.

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41

Wilson, Alexandra. Opera in the Jazz Age. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190912666.001.0001.

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Opera in the Jazz Age examines the place of opera in the contemporary ‘battle of the brows’: a debate, prompted by the growth of the mass entertainment industry, about the extent to which art forms ought to be labelled ‘highbrow’, ‘middlebrow’, or ‘lowbrow’. The book considers this question from a number of viewpoints, examining topics including: the audience for opera during the period; opera’s interactions with forms of popular culture including jazz, film, and middlebrow novels; and the ways in which different types and nationalities of opera were categorised differently. A number of significant figures in the highbrow–lowbrow debate are scrutinised, among them highbrow and middlebrow critics, the mythical figure of the ‘man in the street’, and the much reviled celebrity singer. The book explains how modern technological dissemination methods such as gramophone recordings and broadcasting came to bear upon questions of cultural categorisation, as did contemporary anxieties about national identity. The book concludes that opera was very difficult to categorise according to the new terms: for some commentators it was too highbrow; for others not highbrow enough. Examining the battle of the brows through an operatic lens challenges received wisdom by revealing the fault lines in this supposedly definitive system of cultural categorisation, undermining any simplistic binary between the high and the low. More broadly, the book also gives a detailed account of British operatic culture of the 1920s from the perspectives of performance, staging, opera-going, and criticism.

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42

Everett, Yayoi Uno. Reconfiguring Myth and Narrative in Contemporary Opera: Osvaldo Golijov, Kaija Saariaho, John Adams, and Tan Dun. Indiana University Press, 2015.

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43

Reconfiguring Myth and Narrative in Contemporary Opera: Osvaldo Golijov, Kaija Saariaho, John Adams, and Tan Dun. Indiana University Press, 2015.

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44

McCarren, Felicia. One Dead at the Paris Opera Ballet. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190061814.001.0001.

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At its debut in 1866, La Source already had it all: dagger-wielding Muslims dominating veiled women, a magic flower in a green ecology, and a full-blown environmental crisis at the end. When the Paris Opera ballet restaged this Orientalist and colonial drama in 2011, and again in 2014, the contemporary context of homegrown jihad, climate politics, and a law banning the dissimulation of the face in public spaces, kept it relevant. At four historic performances, over 150 years, this book explores the resonance of La Source’s double narrative in its contemporary contexts: the biopolitics of bodily hybridity and regeneration and the cosmopolitics of the exploitation of human and natural resources.

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45

Regina, Chłopicka, and Leśniak Teresa, eds. Krzysztof Penderecki, Czarna maska: Współczesny taniec śmierci : od idei do realizacji = Krzysztof Penderecki, The black mask : contemporary dance of death : from idea to performance. Kraków: Galeria Międzynarodowego Centrum Kultury, 1998.

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46

Carter, James Gary. Teletwins. AuthorHouse, 2007.

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47

Carter, James Gary. TeleTwins. AuthorHouse, 2007.

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48

Preston, Katherine K. English-Language Opera at the End of the Century. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371655.003.0008.

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This chapter addresses operatic activity in the 1890s—in particular, an insatiable public appetite for comic opera and operetta that eventually eclipsed interest in the translated continental repertory. After close inspection of representative English grand opera and light opera companies, the author concludes with a discussion of two ensembles that enjoyed extraordinary success in the late 1890s: the Bostonians (formerly the Boston Ideals) and the Castle Square Opera Company. In the face of changing American tastes at the turn of the century, the old-fashioned Bostonians eventually failed while the more up-to-date Castle Square troupe succeeded. The latter company’s director Henry Savage had a foot firmly planted in each century. His willingness to adopt modern techniques and respond to contemporary audience demands illustrates the continued appeal of both English-language opera (in the late-nineteenth century) and the more flexible, colloquial, and indelibly American style of musical comedy that emerged (in the early twentieth).

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49

1933-, Penderecki Krzysztof, Festiwal Krzysztofa Pendereckiego, and Kraków 2000 Festiwal, eds. Krzysztof Penderecki, Czarna maska: Współczesny taniec śmierci : od idei do realizacji : wrzesień-październik, 1998 = Krzysztof Penderecki, The black mask : contemporary dance of death : from idea to performance : September-October 1998. Kraków: Międzynarodowe Centrum Kultury, 1998.

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50

Shirley, George. Il Rodolfo Nero, or The Masque of Blackness. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036781.003.0013.

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In this chapter, the author reflects on the issue of race in opera and its impact on black singers. He first recounts his European operatic debut in Milan in 1960, singing the role of Rodolfo in Giacomo Puccini's La Bohème, and how his performance prompted numerous references to “il Rodolfo nero”(“The black Rodolfo”) in many Italian newspapers. The author reveals how blackness has figured in his theater performances since he entered the singing profession, including those with the Scottish Opera and the Metropolitan Opera. He notes that black singers of opera remain minorities in the profession numerically and racially; they are rarely, if ever, selected to interpret white roles in operas that focus on life in contemporary white society. He concludes by saying that he will not discourage young black singers from following their dreams of singing the great roles, and that the profession must respect what the artist brings vocally, musically, and dramatically as well as the opera-loving public's voracious appetite for great singing.

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