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Journal articles on the topic 'Contemporary opera'
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1
Shutko, Serhii. "Contemporary Music Directing — Innovation or Adventure?" Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 203–16. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251822.
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The author considered the problem of the artistic integrity of the opera in terms of finding ways to renew the musical theater of Ukraine, caused by socio-cultural challenges of today. The article clarifies the fragmentary nature of scientific research on the issue with the priority of musicological aspect and insufficient research of theatrical aspects, which requires a new comprehensive understanding of the director's concept in musical theater.The problem of artistic integrity of opera performance in the conditions of search ways to update the musical theater of Ukraine caused by sociocultural challenges of the present is considered. The article clarifies the fragmentary nature of scientific investigations of the problem with the priority of musicology and insufficient research of theatrical aspects, which requires a new comprehensive understanding of the director's concept in musical theater. The methodology of research key moments of the chosen subject is outlined: modern directorial approaches to creation of artistic integrity of opera performance — structural and functional; the concept of training musical theater directors in the realities of today — systems analysis; vectors of renewal of directorial approaches to the interpretation of works — semiotic. The purpose of the research is formulated — to determine the director's concept of creating the artistic integrity of opera performance in the context of updated synthesis of means of expression of different arts, based on harmonious artistic and research training. The main components of directorial content in solving art work in accordance with the modern possibilities proposed by the theater stage are analyzed. Director's approaches, techniques, means of expression aimed at an organic combination of different arts and achievements of science to find a new synthesis in the embodiment of opera performances are revealed. It is proved that in modern researches of the artistic integrity of the opera performance the mainly musicological aspect is revealed. The analysis of directorial incarnations of operas reflects the achievements of scientific thought at the end of the last century and needs to be reconsidered from the standpoint of the present. The study of directorial interpretations of opera performances in Ukraine makes it possible to state the existence of problems both at the stage of conception and during its implementation, which is due to aesthetic approaches of the end of the last century. The importance of universal training of a musical theater director, able to combine all the components of artistic synthesis into a complete performance with the help of a production team and creative staff, is revealed. Renewal of directorial approaches in the interpretation of operas involves the use of original techniques with the synthesis of traditional and innovative means of expression. The scientific novelty of the research is to establish causal links between integrative artistic and research, research training of the specialist and his ability to produce the latest original ideas in the context of staging. Prospects for further scientific explorations of key aspects of the typology of modern opera directing in the socio-cultural realities of today are predicted.
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Kuzmina, O. A. "Opera for children-performers in the work of contemporary choir conductors." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 281–98. http://dx.doi.org/10.34064/khnum1-56.18.
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Background. Operas for children-performers emerged almost two centuries ago. The first authors who began creative experiments in this field were amateur composers. In the second half of the 19th century opera for childrenperformers attracted the attention of music teachers who by education were often choir conductors. These authors created their works considering capabilities and needs of their students. The 20th century operas intended for children performance mainly were composed by professional composers, whose works have finally crystallized and sustained characteristic features of this genre. In the 21st century, professional composers are turning to the opera genre for children-performers as actively as their predecessors. At the same time, this area again attracts the attention of authors who are practitioners in choir conducting and are not composers by education but work closely with children groups and write operas based on practical experience with such choirs. The objective of this study is to introduce little-known operas by Ye. Karpenko and P. Stetsenko (both are choir conductors) for children-performers into the scientific discourse and to define their genre features. The methodological ground of the article is a complex approach that involves the following analytical methods: systemic, structural, comparative, historical. Research results. In 2006, Yevhen Karpenko created the opera “Sribna Divchynka” (“Silver Girl”; the libretto by Serhiy Diachenko after the fairy tale by Tamara Khvostenko). The work has the author’s genre designation “opera-fairy tale for children”, which specifies both, the target audience and the team of performers. There are four characters that have solo sayings. The opera features a personalized choir divided into groups, and the mimic character. The composition consists of two acts divided into completed separated numbers (8 in the first act and 7 in the second one). Between them are spoken scenes of varying length, which in this context perform a function similar to recitative in the traditional operatic model. The main form of solo, ensemble and choral expression in “Sribna Divchynka” is a song. The vocal parts do not fall outside of children voices diapason, except for the solo of Zirnytsa (the adult personage, the mother of Silver Girl) and completely correspond to their possibilities. The melody in the solo and in the ensemble-choral numbers is performed in unison allowing to absorb the material of the opera faster even for children without prior musical preparation. The piano part at “Silver Girl” is multi-functional; its level of complexity makes it possible to involve as accompanists even middle and high school students in music schools or studios. Yevhen Karpenko created the opera for children-performers, which organically combines established genre traits with modern genre and style techniques. “Sribna Divchynka” is the work of universal nature, because it can be performed by children without prior musical training, as well as by those who already have some musical and stage experience. “The Three Hermits” (2016; libretto by Tandy Martin based on the story by L. Tolstoy) by Paul Stetsenko reflects contemporary processes in the field of opera with moral and ethical coloring for children-performers. The author attributes the work to the genre of church opera. That affects both the nature of the drama collisions and the location of the action. The central part of the work retains all the main characters of the story. In Prologue, P. Stetsenko added the new personages: Teacher and the Children. The composer does not prescribe the timbre specialization of the protagonists giving freedom to choose within the available voices. The opera consists of six scenes, framed by Prologue and Finale (Stetsenko chooses a scene as a compositional and dramaturgical unit). The scenes are separated from each other in key and completed musically. Representing the heroes of the opera, the composer gravitates more to the dialogic scenes, where the plot develops, than to the solo statements. In “The Three Hermits”, the choir plays an important role. It is personified and participates in the action representing the Children in the Prologue, the Pilgrim in the main part and the Finale, and also functions as a commentator. The opera contains three leitmotifs: “motive of prayer”, “theme of the Bishop”, “motive of the waters”. The composition of the work has an arched construction that connects two spaces of action – the “real” one and the “parable” one. Stetsenko’s “The Three Hermits” proves that with the simplicity of the typological features of the opera genre for children-performers (relatively small length, piano accompaniment, the range of vocal parts that corresponds to the age of the performers) it is capable of embodying deep ideas, wisdom of a parable, stable characters, to involve children to the spiritual and religious experience of the past and eternal moral truths. Conclusions. Thanks to the practical experience of Ye. Karpenko and P. Stetsenko, their collaboration with real children’s groups (in particular, the Children Music Theater “Dzvinochok” in Sumy, Ukraine, and the choir of Westminster Presbyterian Church, Alexandria, Virginia, USA) operas created by them meet the capabilities and needs of young performers: parts have the appropriate for children’s voice range; the tunes are simple and easy to remember; the action develops dynamically, there are no stretched conversation scenes; there are a sufficient number of actors; the duration of the works is approximately 30–35 minutes. Thus, these two operas for children-performers are a clear result of the fruitful collaboration between children’s groups and choir conductors who have the composer vocation.
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Ciobanu, Liliana. "POSTMODERNIST PRACTICES IN CONTEMPORARY OPERA." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(42) (September 2022): 158–63. http://dx.doi.org/10.55383/amtap.2022.1.29.
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Opera, an important link of contemporary culture, has a considerable influence on the individual and society, directing and enriching the cognitive, affective and attitudinal universe of the audience. Postmodernist ideology projects opera into a crisis, stimulating the development of controversial artistic forms. But, at the same time, the information environment gives Opera the possibility of transiting the closed spaces of the halls, propagating and broadcasting the lyrical performances in front of an impressive audience. The social and cultural-artistic context of the last decades has favored the rise of postmodern directorial opera, which invented multiple methods of interpretation, becoming a real challenge for many reviewers, but especially for the conservative opera audience. Without having negative connotations at its beginnings, the New postmodernist concept Regietheater/Regieoper surmounted the stage interpretations with aesthetic character of classical works, reaching today a maximum level of speculative excesses, radically distanced from the original content.
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Bo, Fang. "Listen to ‘Mila’, Listen to the Hong Kong's Social Soundscape on the Contemporary Opera Stage (Review)." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 10 (December 7, 2022): 89–94. http://dx.doi.org/10.30819/aemr.10-11.
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The creation and performance of contemporary opera in the 21st century reflect the main ideas of contemporary humanistic trend of thought. Contemporary opera is increasingly deepening in international cooperation, cross- cultural artistic expression, global exploration of local social issues, and artists' social participation. Today is a new humanistic era for contemporary opera and other art forms. The artistic and humanistic languages of different nationalities and cultures communicate and dialogue on more diverse artistic platforms. Therefore, the creation of realistic opera which reflects the diversity of Chinese humanistic values and the real development of Chinese society is particularly important today. The creation and performance of contemporary opera in Hong Kong is also a representative of the development of Chinese opera with remarkable regional characteristics. Taking ‘Mila’’, an opera commissioned by the Asia Society Hong Kong Center, as an example, this article analyzes the realistic librettural themes, the music composition of contemporary scenes, and the dramatic presentation of life materials in the work, so as to discover Hong Kong's social sound landscape on the contemporary opera stage.
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Everist, Mark. "Meyerbeer'sIl crociato in Egitto: mélodrame, opera, orientalism." Cambridge Opera Journal 8, no. 3 (November 1996): 215–50. http://dx.doi.org/10.1017/s0954586700004730.
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Il crociato in Egittowas the last in a series of Italian operas written by Giacomo Meyerbeer between 1817 and 1824. Although hisEmma di ResburgoandMargherita d'Anjouhad been successful in Venice and Milan, it wasIl crociatothat put Meyerbeer in the first rank of internationally renowned composers of Italian opera. The work's contemporary popularity makes it an important element in the history of early nineteenth-century Italian opera, and the abundant source material that survives for the opera permits a reconstruction of its early history. Furthermore, the publication in facsimile of a copyist's score from the première at La Fenice and the recording of the work by Opera Rara have encouraged a modern revaluation.
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Adetu, Edith Georgiana. "Verdian lyric theatre. Hermeneutics of the performance and contemporary challenges." Artes. Journal of Musicology 23, no. 1 (April 1, 2021): 196–206. http://dx.doi.org/10.2478/ajm-2021-0011.
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Abstract Engaging the viewer in a dialogue with the opera of Giuseppe Verdi is an approach that involves him spiritually, culturally, morally. You can enter this universe of opera music through several gates. The wide path of science will walk through the portal of stylistics, aesthetics, philosophy or art history. On another road comes the profane, motivated by the love for the beautiful. The opera Nabucco was the first step in the evolution of Italian lyrical theatre – from melodrama to realistic drama – characterised by the unity and strength of artistic conception, the energy and simplicity of musical language. Verdi’s dramatic sense and affinity for realism propelled him over time into the role of composer- playwright, his name being closely linked to titles such as: Ernani, Luisa Miller, Macbeth, Othello, Falstaff. However, we can note in recent decades the lack or low presence of important titles among Verdian operas in the repertoire of lyrical theatres. Can the contemporary public still receive this composer’s authentic message? Can current performers wear the clothes of truthful characters and meet the composer’s requirements for the vocal approach? The mission of hermeneutics – this interdisciplinary science – is to discover, as far as possible, the mechanisms of the interpretation of a social phenomenon (as the opera of Giuseppe Verdi has been repeatedly perceived), and its reminiscences in contemporary society.
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Young, Toby. "Triptych, Opera Erratica; The Print Room, London." Tempo 68, no. 270 (September 4, 2014): 79–80. http://dx.doi.org/10.1017/s0040298214000412.
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There was a pleasantly informal atmosphere at The Print Room during the premiere run of Opera Erratica's new Triptych this May. Comprising three short operas for voices and electronics, Triptych presented a new interpretation of contemporary chamber opera, incorporating elements of multimedia – including live video and photographic projections – alongside elements of more traditional art forms, such as a strikingly cartoonish set by the Young British Artist Gavin Turk.
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WILSON, ALEXANDRA. "Killing time: Contemporary representations of opera in British culture." Cambridge Opera Journal 19, no. 3 (October 17, 2007): 249–70. http://dx.doi.org/10.1017/s0954586707002364.
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ABSTRACTRecent debates about ‘high’ and ‘low’ culture and the perceived repositioning of such categories have had potentially profound implications for opera. British artist Sam Taylor-Wood’s video installation Killing Time (1994) provides a useful starting point from which to explore these polemics. By juxtaposing images of mundane daily life with a soundtrack drawn from Strauss’s Elektra, Taylor-Wood seems to present opera and ‘the everyday’ as irreconcilable. Yet, the perception of opera as highbrow has by no means been a historical constant in Britain. This article considers the extent to which opera may be regaining the ‘entertainment status’ it enjoyed for a period during the late nineteenth century, or whether its perception as an ‘elite’ product is more deeply ingrained in British culture than ever before. Killing Time’s critique of opera and the commentary it offers on voice, art as redemption, and the politics of participatory art are analysed and contrasted with the representation of opera in a more ‘popular’ medium, a reality television series in which members of the public were trained as opera singers. The article concludes that, while popular culture seems able to embrace opera, the more uneasy relationship today is that between opera and other forms of ‘high art’.
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CROSS, JONATHAN. "Musical Spectra,l'espace sensibleand Contemporary Opera." Twentieth-Century Music 15, no. 1 (February 2018): 103–24. http://dx.doi.org/10.1017/s1478572218000087.
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AbstractThe appearance of thecorps sonoreat a key dramatic moment in Rameau'sPygmalion(1748) opens up anespace sensible(a term borrowed from Michel Leiris) where sounds derived from the harmonic series can articulate transformed temporal and spatial environments. Thecorps sonore– rediscovered and repurposed by the spectral movement of the 1970s – reappears in a number of twenty-first-century operas in order to animate a late-modern sense of theespace sensible. Instead of crossing a threshold towards the transcendent, the seemingly immobilecorps sonorecan now represent a modernist sense of loss, death, exile, ruin, and failure. Michaël Levinas's 2010 operatic reinterpretation of Kafka'sMetamorphosisstands as an exemplar of the ways in which the spectrum of sound (here the voice of the ‘becoming-animal’ Gregor Samsa metamorphosed by electronic means) can create a ‘deterritorialized’ space of alienation. Liminal, spectral spaces in works by Dufourt, Grisey, Haas, Harvey, Murail, and Saariaho are also discussed.
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KONSON, GRIGORIY R., and IRINA A. KONSON. "HANDEL’S OPERAS IN THE CONTEXT OF CONTEMPORARY DIRECTING: ON THE IMPLEMENTATION OF FILM COMPOSITION PRINCIPLES IN OPERA PERFORMANCES." ART AND SCIENCE OF TELEVISION 16, no. 2 (2020): 101–25. http://dx.doi.org/10.30628/1994-9529-2020-16.2-101-125.
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The article was inspired by the authors’ reviews of modern productions of Handel’s Baroque operas in 2019, presented in the three German cities: Halle, Bad Lauchstädt and Bernburg. Halle, where Georg Friedrich Handel (1685–1759) was born, is also a venue of the annual International Handel Festival, dedicated to the works of the great Saxon and his contemporaries. The concept of the festival in 2019, Sensitive, heroic, sublime: Handel’s women, was devoted to studying the female images embodied in his operas. In considering the scientific and artistic concept, the authors concluded that the directors’ understanding of these operas has expanded through the integration into musical drama of the compositional principles of film editing and the expressive means of modern, primarily screen arts. To study this phenomenon, we turned to the scientific tools developed in Russia by the two Soviet researchers who have become seminal in their field. One of them was the psychologist Lev Vygotsky, who, exploring the spiritual world of the protagonists in fine literature, revealed their psychological contradictions, expressed in the conflict of the narrative and the plot. Another The other, Sergei Eisenstein, was well-versed in Vygotsky’s manuscript of his study, Psychology of Art, and, influenced by some of these ideas, created his own “psychology of art”, which is set out in his works of various years. The core of this concept was “the transition from the Expressive Movement to the image of the art work… as a process of interaction of layers of consciousness” [1, p. 188], which allowed for multiple entries into the artistic image (one of the authors has applied this method of analysis in a work devoted to the integration of the principles of painting and cinema: [2, pp. 63–86]). Some features of the cinematograph also support such entries, and the first among equals here is the principle of intellectual editing developed by Eisenstein. In his montage theory, other types of editing—linear, parallel, associative—have been generalized and developed into a large-scale system for exploring the psychology of heroes in art. The essence of these processes, identified in the article, made it possible for the authors to discern the phenomenon of building the meaning in the Halle directors’ interpretations of Handel’s operas, which arises from the merger of the two seemingly irreconcilable and conflicting layers of consciousness: Baroque and eclectic modern, which emerged at the turn of the last century.
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Aydin, Pinar, Robert Ritch, and John O’Dwyer. "Blindness and visual impairment in opera." European Journal of Ophthalmology 28, no. 1 (January 2018): 6–12. http://dx.doi.org/10.5301/ejo.5001071.
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Purpose: The performing arts mirror the human condition. This study sought to analyze the reasons for inclusion of visually impaired characters in opera, the cause of the blindness or near blindness, and the dramatic purpose of the blindness in the storyline. Methods: We reviewed operas from the 18th century to 2010 and included all characters with ocular problems. We classified the cause of each character’s ocular problem (organic, nonorganic, and other) in relation to the thematic setting of the opera: biblical and mythical, blind beggars or blind musicians, historical (real or fictional characters), and contemporary or futuristic. Results: Cases of blindness in 55 characters (2 as a choir) from 38 operas were detected over 3 centuries of repertoire: 11 had trauma-related visual impairment, 5 had congenital blindness, 18 had visual impairment of unknown cause, 9 had psychogenic or malingering blindness, and 12 were symbolic or miracle-related. One opera featured an ophthalmologist curing a patient. Conclusions: The research illustrates that visual impairment was frequently used as an artistic device to enhance the intent and situate an opera in its time.
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Service, Tom. "London, Royal Opera House: ‘Sophie's Choice’." Tempo 57, no. 224 (April 2003): 41–42. http://dx.doi.org/10.1017/s0040298203210159.
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Few contemporary operas achieve the newsworthiness of Nicholas Maw's Sophie's Choice. Even before its 7 December première at the Royal Opera House, Covent Garden, the piece dented public consciousness thanks to a barrage of press coverage surrounding the production, the cast, and the subject matter. The irony is that it was the other names associated with the opera – conductor Simon Rattle, director Trevor Nunn, and William Styron, author of the 1979 novel – that made Sophie's Choice a news story, rather than the fame of its composer. Yet Maw's was the ultimate responsibility for the creation of this ambitious, large-scale work.
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Sheppard, W. Anthony. "Blurring the Boundaries: Tan Dun's Tinte and The First Emperor." Journal of Musicology 26, no. 3 (2009): 285–326. http://dx.doi.org/10.1525/jm.2009.26.3.285.
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Abstract Tan Dun's 2006 opera The First Emperor dramatically transgresses stylistic, cultural, genre, and aesthetic boundaries and prompts investigation of critical methods and categories. This opera's multiplicity and engagement with the operatic past brings into focus relationships between Chinese, European, and experimental American operatic traditions and Romantic, modernist, and postmodernist modes of Orientalist representation. Powers's study of Puccini's manipulation of multiple styles in Turandot is a model for tracing Tan's stylistic sources and exploring their interaction in The First Emperor. Tan's use of conventions from the Orientalist operatic tradition and treatment of thematic material indicates an attempt to accommodate audience expectations. Other recent operas influenced by Chinese operatic traditions and the recent reception of Chinese opera in the West likely shaped Tan's composition and offer useful contextual and comparative perspectives. The critical reception and revision of this high-profile opera raise issues central to the creation of contemporary opera.
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Paltanavičiūtė, Justina. "CREATIVITY AS SOCIAL CRITIQUE: A CASE STUDY OF THE OPERA HAVE A GOOD DAY!" Creativity Studies 15, no. 1 (March 10, 2022): 233–45. http://dx.doi.org/10.3846/cs.2022.15026.
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The article explores the communication of social critique in contemporary art. The article aims to reveal the connections between art and politics existing in the theory of art aesthetics and art practice. Empirical research: the content analysis of critical reviews allowed to determine that the pronouncements of the authors and the official agenda presentation of a work of art that potentially articulates a political message but is considered hermetic affect and indicate the direction of reception. An example of contemporary opera was deliberately chosen for the research. Contemporary opera is often considered as a hermetic domain of creativity, solving only aesthetic, but not sociopolitical challenges. However, from the very first examples, the opera genre has been treated as an improvised and aestheticized public sphere, enabling to communicate ideology principles of the dominant political power or, conversely, to demonstrate social criticism to those in power. Opera research that focuses on political aspects is usually based on the musicological paradigm conducted on the basis of analysis of aesthetic regime -opera as a work of art communicating a socio-political message is still rarely explored. However, contemporary artists often creatively rely on politically active narratives and themes. This enables the opera genre to be seen as a platform for political communication.
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Mitchell, Katie, and Mario Frendo. "A Conversation on Directing Opera." New Theatre Quarterly 37, no. 3 (July 19, 2021): 246–55. http://dx.doi.org/10.1017/s0266464x21000142.
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Katie Mitchell has been directing opera since 1996, when she debuted on the operatic stage with Mozart and Da Ponte’s Don Giovanni at the Welsh National Opera. Since then, she has directed more than twenty-nine operas in major opera houses around the world. Mitchell here speaks of her directorial approach when working with the genre, addressing various aspects of interest for those who want a better grasp of the dynamics of opera-making in the twenty-first century. Ranging from the director’s imprint, or signature on the work they put on the stage, to the relationships forged with people running opera institutions, Mitchell reflects on her experiences when staging opera productions. She sheds light on some fundamental differences between theatre-making and opera production, including the issue of text – the libretto, the dramatic text, and the musical score – and the very basic fact that in opera a director is working with singers, that is, with musicians whose attitude and behaviour on stage is necessarily different from that of actors in the theatre. Running throughout the conversation is Mitchell’s commitment to ensure that young and contemporary audiences do not see opera as a museum artefact but as a living performative experience that resonates with the aesthetics and political imperatives of our contemporary world. She speaks of the uncompromising political imperatives that remain central to her work ethic, even if this means deserting a project before it starts, and reflects on her long-term working relations with opera institutions that are open to new and alternative approaches to opera-making strategies. Mitchell underlines her respect for the specific rules of an art form that, because of its collaborative nature, must allow more space for theatre-makers to venture within its complex performative paths if it wants to secure a place in the future. Mario Frendo is Senior Lecturer of Theatre and Performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is the director of CaP, a research group focusing on the links between culture and performance.
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Pollock, Emily Richmond. "Opera by the Book." Journal of Musicology 35, no. 3 (2018): 295–335. http://dx.doi.org/10.1525/jm.2018.35.3.295.
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In 1944 with Nazi Germany just months from defeat, a curious and now little-known book was published in Regensburg: a collection of essays and biographies that strove to define the contemporary state of opera. Titled Die deutsche Oper der Gegenwart (German Opera of the Present Day), this substantial and lavishly produced volume documents the aesthetics of opera during the Third Reich through its profiles of sixty-two composers, more than 250 design drawings and photographs, prose essays on drama and staging, and an extensive works list. The National Socialist alignment of the book’s primary author (the theater historian Carl Niessen) and publishing company (Gustav Bosse Verlag) contextualizes the volume’s problematic scholarly priorities. Niessen interleaved explanations and endorsements of viable manifestations of contemporary German opera with anti-Semitic rhetoric and venomous critiques of rival aesthetic views. The book’s time-capsule version of the “state of the art” also includes evidence that contradicts postwar claims by composers, such as Winfried Zillig, who later recast themselves as persecuted modernists but whose statements within the volume demonstrate their complicity. Pamela Potter has recommended that musicologists address the longstanding historiographical problem of defining “Nazi Music” by paying detailed attention to particularities. Analyzing the form, contents, and rhetoric of a single printed object permits insights into the definition, valuation, and canonization of contemporary opera near the end of the Third Reich.
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Alamo, Enrico, Rosta Minawati, Sulaiman Sulaiman, and Sherli Novalinda. "Opera Batak Sisingamangaraja XII Episode Ugamo Malim Horja Bolon Na Parpudi: Usungan Tradisi dan Kontemporer." Dance and Theatre Review 3, no. 2 (October 20, 2020): 59. http://dx.doi.org/10.24821/dtr.v3i2.4418.
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Batak Opera of Sisingamangaraja XII the Episode of Ugamo Malim Horja Bolon Na Parpudi: Carriying out the Tradition and Contemporary. The purpose of research and creation of Batak opera is to revitalize Batak traditional arts. Sisingamangaraja Opera Batak XII, the episode of Ugamo Malim Horja Bolon Na Parpudi, results from the research and creation of the Sisingamangaraja XII Batak opera. The creation of Batak opera uses research methods, namely observation, interviews, literature study, and documentation. The working process begins with reading the script, making blocks according to the script, detailing blocking, playing the role/scenes, music, and tutoring, selecting and doing the artistic and lighting creation. Opera Batak was done in contemporary work, including story elements, jokes (amalopas), and even accompaniment (uning-uning). Sisingamangaraja Opera Batak XII, the episode of Ugamo Malim Horja Bolon Na Parpudi tells the story of Ugamo Malim in the Dutch colonial era and the family of King Sisingamangaraja XII. The story’s plot consists of; news of the death of King Sisingamangaraja XII, the captivity of the Sisingamangaraja XII family, Ompu Ni Onggung, and Ompu Portahan Batu, who had a grudge against King Sisingamangaraja XII and followers of Ugamo Malim’s teachings. Tortor dance and Cawan dance were created contemporary. Sisingamangaraja Batak Opera XII, the episode of Ugamo Malim Horja Bolon Na Parpudi wants to maintain the existence and preserve the traditional arts of the Batak community.Keywords: Batak opera; Sisingamaraja XII; ugamo malim; tortor
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HENSON, KAREN. "Black Opera, Operatic Racism and an ‘Engaged Opera Studies’." Journal of the Royal Musical Association 146, no. 1 (May 2021): 219–30. http://dx.doi.org/10.1017/rma.2020.27.
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Naomi André’s Black Opera: History, Power, Engagement is a call for recognition and inclusion. Over the course of nearly 300 pages, André covers a range of subjects, from long-forgotten concert performances, to opera, Broadway and opera film, to contemporary operatic composition and practice. As she does, she moves between the United States and South Africa – a striking way of approaching her material and a feature of the book that ought to prove highly influential. Some of the arguments she makes are new, some combine pre-existing thought and research in new ways. The most important moments, though, are when she pauses to describe her experiences or those of another black opera lover or group of black opera lovers.
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Bell, Gelsey. "Opera and the Folds of Time in the Prototype Festival." TDR/The Drama Review 60, no. 4 (December 2016): 149–57. http://dx.doi.org/10.1162/dram_a_00602.
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The Prototype Festival, which takes place every January in New York City, focuses on contemporary chamber opera and music. The works in Prototype 2016 paint a vision for contemporary opera that is politically motivated and story-centric. How do these qualities interact with opera’s unique relationship to time and its ability to stop, elongate, or rapidly flip our sense of temporality?
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Perunović-Ražnatović, Ana. "Opera Balkanska Carica - From Creation to Contemporary Performance." English version, no. 10 (October 22, 2018): 332–41. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.332.
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The following article is about the significance of the first Montenegro’s opera Balkanska carica (The Balkan Empress) composed by Dionisie de Sarno San Giorgio, based on the drama of the same name – the piece by Montenegrin prince Nikola I Petrović, its importance for the given time (the end of the 19th century) and the territory (Montenegro), namely for when and where it has been created. Also, it is about the role of music and its connection with dramatic text, the contemporary adaptation of the opera and its performance.
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Hautsalo, Liisamaija. "The “operatic of opera” in music history pedagogy – exploring the temporal narrativization of opera1." Nordic Research in Music Education 2, no. 1 (April 6, 2021): 71–88. http://dx.doi.org/10.23865/nrme.v2.3024.
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This study suggests that the pedagogy of music history for the professional training of musicians – including opera singers and future opera composers – could benefit from applying narratology to operatic analysis and acknowledging the “operatic of opera” in the organization of the artistic materials as one possible pedagogical approach. By breaking with the canonized forms of music history pedagogy, the subject content of opera history can be explored for instance through the architecture of temporal narrativization, as made possible by the multiple media types incorporated into opera. The study demonstrates this temporal narrativization through examples grouped into three main categories: “temporal sameness”, “temporal incongruence” and “non-linear temporality”. While most of the examples are drawn from the classical-romantic repertoire, the analysis also shows that new pluri-medial ways of dealing with temporality and narration have been emerged in contemporary opera. The study argues that by analyzing and illustrating the architecture of temporal narrativization as one form of the “operatic of opera” in Western operatic practice, students will gain a better understanding of the special nature of the pluri-medial nature of opera.
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Fuller, Michael. "Some Expressions of Spirituality in Contemporary British Opera." Modern Believing 35, no. 1 (January 1994): 6–11. http://dx.doi.org/10.3828/mb.35.1.6.
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Wichmann, Elizabeth. "Tradition and Innovation in Contemporary Beijing Opera Performance." TDR (1988-) 34, no. 1 (1990): 146. http://dx.doi.org/10.2307/1146013.
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Carmody, John. "National Identity in Contemporary Australian Opera: Myths Reconsidered." Musicology Australia 40, no. 1 (January 2, 2018): 73–78. http://dx.doi.org/10.1080/08145857.2018.1486163.
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Ahameda, Saiyada Jamila. "Tibetan Folk Opera: Lhamo in Contemporary Cultural Politics." Asian Theatre Journal 23, no. 1 (2006): 149–78. http://dx.doi.org/10.1353/atj.2006.0001.
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Kara, Ewa. "Baroque theatricality reinvented: contemporary design for baroque opera." Theatre and Performance Design 4, no. 3 (July 3, 2018): 222–41. http://dx.doi.org/10.1080/23322551.2018.1538633.
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Rothman, Howard B., Jose A. Diaz, and Kristen E. Vincent. "Comparing historical and contemporary opera singers with historical and contemporary Jewish cantors." Journal of Voice 14, no. 2 (June 2000): 205–14. http://dx.doi.org/10.1016/s0892-1997(00)80028-4.
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FROLOVA-WALKER, MARINA. "The Soviet opera project: Ivan Dzerzhinsky vs. Ivan Susanin." Cambridge Opera Journal 18, no. 2 (July 2006): 181–216. http://dx.doi.org/10.1017/s0954586706002163.
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The subject of this article is the failure of the Stalinist Soviet opera project. Although similar proposals had appeared years before, the project was inaugurated in 1936, and its realisation was placed in the hands of the State Committee for Artistic Affairs. The archival materials discussed in the article (including transcripts of the Committee's meetings) demonstrate that even publicly acclaimed productions were seen as failures by these senior bureaucrats. On the one hand, there were demands for realism and contemporary topics, and on the other, for monumentality and elevated musical language; these demands proved to be in deep conflict with each other. In addition to this crippling problem, it soon became apparent that any treatment of a contemporary topic was bound to become unacceptable before long, given the ever-shifting political landscape. While novels and films were certainly under close scrutiny, many operas were subjected to so many demands for revision that they never saw production at all. The article's central claim is that the 1939 Soviet reworking of Glinka's A Life for the Tsar as Ivan Susanin fulfilled the state's needs much better than any newly created Soviet opera could have, resulting in the effective curtailment of the project by 1946.
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Karwaszewska, Monika. "Krzysztof Knittel's chamber opera and Agnieszka Stulgińska's music theatre: Examples of a new syncretistic medium in contemporary Polish music." Zbornik Akademije umetnosti, no. 9 (2021): 136–54. http://dx.doi.org/10.5937/zbaku2109136k.
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This essay analyses and interprets the scores, recordings, and media used in Knittel and King's The Heart Piece - Double Opera (1999) and Stulgińska's Three Women for three women and ten instruments (2017), two semi-improvised Polish operas using performance art and interaction between sound, text, choreography, lighting, theatrical form and electronic medium. In Stuglińska's modern music theatre, the listener follows different sound sources and the setting: choreography, performers' and speakers' arrangement on stage, props and lighting, whose intensity dictates the form. The Heart Piece chamber opera is a two - Polish and American - composers' take on Müller's play Herzstück, with separate movements in their native languages. Music and text create an interactive setting, and their notation and semantics make music both seen and heard. These works use the concept of hybridization and, in Wolf's terminology, intracompositional intermediality, where different means of expression create an intermedial discourse, a complementary whole and a new syncretistic medium.
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Tallián, Tibor. "Oper spielen — Opern schaffen Entstehungs- und Aufführungsgeschichte der ersten ungarischen Operntragödie." Studia Musicologica 55, no. 3-4 (September 2014): 179–235. http://dx.doi.org/10.1556/6.2014.55.3-4.1.
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The paper investigates the genesis as well as the performance history of Ferenc Erkel’s first opera. Bátori Mária, the first Hungarian tragic national opera was premiered on 8 August 1840 at the Hungarian Theatre in Pest. In it, Erkel adapted the model of Italo-French romantic opera. Further representations of Bátori Mária spanned over the following two decades. Based on contemporary critical reviews, the author offers a reconstruction of the performances, traces the soloists’ artistic carreer, and highlights the difficult process of professionalization of Hungarian opera playing.
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Sohn, Sooyeoun. "The Meaning of Opera Sontag Hotel from the Perspective of Diversity in Korean Contemporary Opera." Journal of Humanities and Social sciences 21 12, no. 2 (April 30, 2021): 2025–36. http://dx.doi.org/10.22143/hss21.12.2.143.
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Izzo, Francesco. "Comedy between Two Revolutions: Opera Buffa and the Risorgimento, 1831-1848." Journal of Musicology 21, no. 1 (January 1, 2004): 127–74. http://dx.doi.org/10.1525/jm.2004.21.1.127.
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For more than a century discussions of the relationship between the operatic stage and the socio-political scene of the Risorgimento have relied almost exclusively on serious operas (particularly those of Giuseppe Verdi) and especially on the period after 1848. Roger Parker's recent revision of Verdi's ostensibly exclusive role as "Bard of the Risorgimento" provides an opportunity to reassess the politics of Italian opera during this period, considering also other composers and works. The purpose of this study is to discuss the interaction between opera and the Risorgimento in a group of comic works composed between the revolutions of 1831 and 1848, focusing in particular on the representation and implications of national identity in Luigi Ricci's Il nuovo Figaro(1832) and in two Italian versions of Donizetti's La Fille du rgiment (1840), as well as on the significance of military themes. Furthermore, relevant cases of censorship in these and other comic works are examined. These operas uncover numerous affinities with the political discourse in contemporary serious melodrama, showing that warlike themes, choruses, and other statements of patriotism were not a prerogative of Verdi's operas, nor an exclusive feature of the serious genre. Their authors used conventional buffa procedures, such as modern European settings and encoded allegories of national character, in ways that reveal connections with the tensions and aspirations of the Risorgimento. A better knowledge of this repertory can only improve our understanding of the politics of opera during this crucial period of Italian history.
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Borkowska-Rychlewska, Alina. "Zamek na Czorsztynie Karola Kurpińskiego – romantyczność in statu nascendi?" Roczniki Humanistyczne 67, no. 1 (July 4, 2019): 53. http://dx.doi.org/10.18290/rh.2019.67.1-5.
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Karol Kurpiński’s operatic works played a unique role in the process of shaping new trends in Polish opera theatre and in theatrico-musical criticism at the border of Enlightenment and Romanticism. The article presents press discussions devoted to the operas of the author of Zamek na Czorsztynie [The Czorsztyn Castle] in the 1920s, i.e. at the time of their first stagings in the National Theatre in Warsaw. Numerous controversies and contradictions that appear in the 19th-century reviews of Kurpiński’s operas testify to how difficult it was for his contemporary critics to explicitly classify and evaluate these works. A thorough review of the press at that time also shows that the dramatic and musical works by the author of Pałac Lucypera [Lucyper’s Palace], as great examples of the genological complexity of opera forms at that time and an important element of the process of formation of the so-called national opera programme, constituted an excellent starting point for discussions between the two opposition socio-cultural camps formed in Warsaw in the last years of the 1920s, which represented different aesthetic ideals and understood the tasks and functions of theatre criticism in two different ways. However, as it turns out, the statements of the representatives of the antagonistic camps about Kurpiński’s works did not follow a single, simple scheme – on the contrary, the controversies between the Classicist critics and their opponents were arranged in a very complicated and heterogeneous pattern. This multi-faceted reflection of the 19th-century critics on his works perfectly illustrates the fluidity and fuzziness of tendencies regarded in the research tradition as contradictory, i.e. the “Classical” and “Romantic” tendencies, which leads to the verification of some judgments about the composer and the reception of his output formulated in the contemporary works of music, theatre and literary historians.
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Bogucki, Marcin. "Postać celebrytki w operze: rozwiązła księżna i króliczek „Playboya”." Poznańskie Studia Polonistyczne. Seria Literacka, no. 42 (September 30, 2022): 229–48. http://dx.doi.org/10.14746/pspsl.2022.42.13.
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The aim of the article is to analyse two British contemporary operas: Thomas Adès’s Powder Her Face and Mark Anthony Turnage’s Anna Nicole from the perspective of celebrity studies. Both of these works were inspired by the biographies of celebrities – Margaret Campbell, Duchess of Argyll’s and Anna Nicole Smith’s. The text analyses how their biographies were edited both in literary and musical terms, attempting to determine to what extent they are either pioneering or embedded in the traditions of the opera.
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Wiley, Roland John. "Dances in Opera: St. Petersburg." Dance Research 33, no. 2 (November 2015): 227–57. http://dx.doi.org/10.3366/drs.2015.0139.
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In Russia opera dances emerged in the eighteenth century, distinguishing themselves from other theatre works that included dance; the most important works and composers of this period will be summarized. As a repertoire of continuing interest, opera dances began with those of Mikhail Glinka in 1836 and 1842. Problems of studying the opera dances since then, including local practice, faulty scholarship and press criticism, will be identified. The principal makers of opera dances in Russia are introduced next together with their accomplishments, not least in light of so-called theatre reforms of the early 1880s, which favored opera over ballet proper. Finally, selected opera dances from Glinka to Tchaikovsky are analysed, with elaborations from historical records and the contemporary press.
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Soper, Kate, and Joseph Cermatori. "From Medieval Romance to Contemporary Opera: Philosophy, Allegory, Eros." PAJ: A Journal of Performance and Art 44, no. 2 (May 1, 2022): 41–50. http://dx.doi.org/10.1162/pajj_a_00608.
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Grinev, Sergei S. "About Development of Opera Production of Contemporary Musical Theater." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2017): 114–19. http://dx.doi.org/10.17674/1997-0854.2017.3.114-119.
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Germano, William. "Opera as News:Nixon in Chinaand the Contemporary Operatic Subject." University of Toronto Quarterly 81, no. 4 (October 2012): 805–23. http://dx.doi.org/10.3138/utq.81.4.805.
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Halliwell, Michael. "‘Voices within the Voice’: Conceiving Voice in Contemporary Opera." Musicology Australia 36, no. 2 (July 3, 2014): 254–72. http://dx.doi.org/10.1080/08145857.2014.958271.
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Heile, Björn. "Recent Approaches to Experimental Music Theatre and Contemporary Opera." Music and Letters 87, no. 1 (January 1, 2006): 72–81. http://dx.doi.org/10.1093/ml/gci179.
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Morra, Irene. "Outstaring the Sun: Contemporary Opera and the Literary Librettist." Contemporary Music Review 29, no. 2 (April 2010): 121–35. http://dx.doi.org/10.1080/07494467.2010.534917.
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Blake, Andrew. "‘Wort oder Ton’? Reading the Libretto in Contemporary Opera." Contemporary Music Review 29, no. 2 (April 2010): 187–99. http://dx.doi.org/10.1080/07494467.2010.534929.
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KONSON, GRIGORIY R., and IRINA A. KONSON. "HANDEL’S OPERAS IN THE CONTEXT OF CONTEMPORARY DIRECTING: ON THE IMPLEMENTATION OF FILM COMPOSITION PRINCIPLES IN OPERA PERFORMANCES." ART AND SCIENCE OF TELEVISION 16, no. 2 (2020): 101–25. http://dx.doi.org/10.30628/1994-9529-2020-16-101-125.
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Mellēna-Bartkeviča, Lauma. "CONTEMPORARY MUSIC(AL) THEATRE IN LATVIA: PROBLEM OF DEFINITIONS AND FORMATS." Culture Crossroads 21 (December 28, 2022): 44–55. http://dx.doi.org/10.55877/cc.vol21.270.
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The article aims to discuss the existing problem in contemporary art criticism, when previous genre definitions and descriptions do not match to current phenomena in question. The contemporary music(al) theatre productions tend to by diverse and often produced as hybrids, interdisciplinary projects that do not allow a single method of analysis characteristic to one of the combined artistic disciplines. The three examples provided are defined by their authors as a contemporary chamber opera, a contemporary musical and opera-film, showing the diversity of music(al) theatre genres emerging today in new form. The author concludes that the hybridization of genres and the devised creation method implies the questioning of former analytical instruments and discourses in order to develop the criticism of performing arts along with the research subject.
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TĂBĂCARU, Roxandra. "Drama-Music Communication in Opera Performance." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 313–20. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.34.
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The study “Drama-Music Communication in Opera Performance” builds on my 35-year experience of lyric drama in opera production. In my career as a director, which spanned from Baroque opera to contemporary opera, I was intrigued by the multiple connections between the musical dramaturgy, vocal expressiveness, stage image and impact on the audience. Consequently, I realised that all these elements which rely on musical scores are connected by something similar to the principle of communicating vessels: with genuine and intense musical-dramatic communication, the artistic emotion may reach the same level in all the components of the connections mentioned above.
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Power, Stephanie. "Philip Glass The Trial, Aberystwyth Arts Centre." Tempo 69, no. 272 (April 2015): 60–61. http://dx.doi.org/10.1017/s0040298214001053.
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Philip Glass is so prolific a composer that it is tempting to wonder whether he has become entrapped by his trademark restlessly repeating patterns. At the age of 77, there is no diminution of his prodigious energy; The Trial brings his tally of operas to some 30 since he first shot to fame – or notoriety – with Einstein on the Beach in 1976. Glass is, in effect, an iconoclast-turned-icon, and he is now by far the most performed contemporary composer of opera on the planet.
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Collins, Aletta. "A Choreographer's Approach to Opera." Dance Research 33, no. 2 (November 2015): 269–72. http://dx.doi.org/10.3366/drs.2015.0141.
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My first professional commission as a choreographer was not for a dance company but for an opera company, for the Bregenz Festival in Austria. In 1988, while I was still a student at London Contemporary Dance School, I was approached to choreograph Camille Saint-Saëns's Samson et Dalila; the commission also included giving ‘movement’ to the chorus (a group of 120 singers) and directing the dancers when they were not dancing. The dancers were a classical company from Sofia, Bulgaria, a company of thirty none of whom spoke English.
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Zachinyaeva, M. P. "AFTER READING "HAMLET": THREE VIEWS ON A MASTERPIECE BY W. SHAKESPEARE." Arts education and science 1, no. 4 (2020): 96–102. http://dx.doi.org/10.36871/hon.202004012.
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This article is devoted to modern interpretations of W. Shakespeare's famous play in Russian music at the turn of the XXth — XXIst centuries on the example of R. Shchedrin's "Hamlet Ballad" — an instrumental work for the cello ensemble (2004), operas of the same name by S. Slonimsky (1991) and V. Kobekin (2006). Little-known pages from the history of creation and stage fate of "Hamlet Ballad" by R. Shchedrin are opened. The main emphasis in the publication is placed on the work of Vladimir Kobekin as the most radically read domestic version of the classic tragedy of the English playwright. The author defines the historical preconditions and reasons explaining the genre transformation of the opera into a comedy. Moreover, the author considers the distinctive features of Arkady Zastyrets's play, on which V. Kobekin relies in his libretto, from the "classical" Russian translation by Boris Pasternak, which is the basis of the opera by S. Slonimsky. The facts of the creative biography of contemporary Russian playwright and translator Arkady Zastyrets (1959–2019) are more fully revealed. The article also touches upon the musical dramaturgy of V. Kobekin's opera "Hamlet".
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Warnaby, John. "Maxwell Davies's ‘Resurrection’: Origins, Themes, Symbolism." Tempo, no. 191 (December 1994): 6–13. http://dx.doi.org/10.1017/s0040298200003855.
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Peter Maxwell Davies originally conceived the opera Resurrection in 1963, in response to the commercialism he encountered while studying in the United States. He regarded it as a sequel to Taverner, even before the completion of his first opera. Despite the intervention of two important chamber operas (The Martyrdom of St. Magnus and The Lighthouse), his decision to settle in the Orkney Islands, and the various changes in his compositional style – encouraged by his involvement with the writings ot George Mackay Brown – Maxwell Davies has retained the main elements of his inspiration. There appear to have been several attempts to complete the opera in response to the prospect of its reaching the stage, but the final impetus came from an increasing awareness, during the 1980s, of the corrosive effects of Thatcherism on British culture and society. Consequently, Resurrection became the focus of 25 years of endeavour, all the changes contributing to its ultimate fruition. It extends the philosophical and theological ideas adumbrated in Taverner, but explores these themes in the context of contemporary society, as opposed to the earlier opera's concern with events surrounding the English Reformation.
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Cachopo, João Pedro. "Diálogo com Hauke Berheide e Amy Stebbins." Dramaturgias, no. 10 (May 28, 2019): 110–20. http://dx.doi.org/10.26512/dramaturgias.v0i10.24872.
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