Relevant bibliographies by topics / In opera

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'In opera'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "In opera"

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Wieczorek, Sławomir. "O historii Opery Robotniczej w Krakowie (1954–1957)." Muzyka 65, no. 3 (November 19, 2020): 69–94. http://dx.doi.org/10.36744/m.569.

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Stanisław Drabik był pomysłodawcą i organizatorem dwóch specyficznych placówek operowych, których historia przez wiele lat pozostawała zapomniana. W latach 1947–1949 we Wrocławiu prowadził Operę Robotniczą, która przygotowała w 1948 wystawienie opery Flis Stanisława Moniuszki. Do pomysłu tego powrócił w 1954 roku w Krakowie, gdzie działała pod jego kierownictwem druga placówka tego rodzaju. Po dwóch latach prób w lipcu 1956 roku krakowska Opera Robotnicza przedstawiła inscenizację Halki Stanisława Moniuszki na scenie Teatru im. Juliusza Słowackiego. Oficjalnie zespół miał składać się z utalentowanych muzycznie robotników Kombinatu Metalurgicznego w Nowej Hucie, jednak rzeczywisty skład zespołu znacznie odbiegał od tych deklaracji. Finalnym celem działań Drabika było zorganizowanie w Krakowie i kierowanie operą zawodową, a nawiązanie do haseł stalinowskiej propagandy o upowszechnianiu sztuki wśród robotników miały mu pomóc uzyskać finansowe i administracyjne wsparcie instytucji państwowych dla jego planów. Przemiany polityczne polskiego Października, destalinizacja i odwilż w życiu artystycznym skutecznie przekreśliła te plany. Opera Robotnicza straciła dyskursywny i instytucjonalny parasol ochronny. Premiera Halki została bardzo negatywnie przyjęta przez krytyków – pisano o profanacji narodowej opery, fatalnym poziomie aktorskim i muzycznym przedstawienia oraz o nadużyciach finansowych. Część z tych krytyk została jednak sformułowana przez przedstawicieli konkurencyjnej wobec Drabika instytucji walczącej o powstanie zawodowej opery w Krakowie. Podjęta przez ponad rok po premierze walka zespołu i Stanisława Drabika o utrzymanie placówki nie zakończyła się powodzeniem, a Opera Robotnicza popadła w całkowite zapomnienie.
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Marković, Tatjana. "Kako inter/nacionalna je opera?" Musicological Annual 48, no. 1 (June 1, 2012): 91–107. http://dx.doi.org/10.4312/mz.48.1.91-107.

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Od 19. stoletja dalje se izraz »narodna opera« uporablja v dvojnem pomenu: poleg omenjene politične reference za »obrobno« območje (V in JV Evropa, Skandinavija, Iberski polotok, deloma Nemčija) pomeni tudi narodno tradicijo opere, vključno s »središčem« (Italija, Francija, Anglija, deloma Nemčija). Prispevek nudi zemljevid ključnih vprašanj, povezanih z narodno opero in njenim dojemanjem in razbija tradicionalno dihotomijo »narodno-mednarodno« v opernih študijah.
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Xue, Chulan, Ruicong Ma, Zongchen Hou, and Shan Wang. "Study on accompaniment of dulcimer in Shandong Lv Opera and Wuyin Opera." SHS Web of Conferences 159 (2023): 02015. http://dx.doi.org/10.1051/shsconf/202315902015.

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Shandong art is deeply influenced by Confucianism. As a big province of culture and drama, it has given birth to various kinds of operas and has strong local characteristics. Among various kinds of operas, dulcimer plays an important role as an accompaniment instrument, and is the primary instrument for many kinds of operas. Lv opera and Wuyin opera are two of the most important operas in Shandong, so this paper summarizes the characteristics and causes of the dulcimer accompaniment in Shandong local operas by analyzing the characteristics of the dulcimer accompaniment in Lv opera and Wuyin opera. Finally, some suggestions are put forward to protect and develop Shandong traditional opera.
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Kopecký, Jiří. "Karl Goldmark and Czech national opera: The final operas of Antonín Dvořák and Zdeněk Fibich." Studia Musicologica 57, no. 3-4 (September 2016): 349–59. http://dx.doi.org/10.1556/6.2016.57.3-4.4.

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If Bedřich Smetana is thought to be the father of Czech national opera, Antonín Dvořák and Zdeněk Fibich would be his sons. Czech critics as well as the public expected that Smetana’s successors would bring Czech opera to international recognition. Dvořák and Fibich gave increased attention to opera composition during the 1890s and the beginning of the twentieth century. They both crowned their achievements with monumental operas on subjects with historical settings: Fibich’s The Fall of Arkona (1900) and Dvořák‘s Armida (1904). The reason for this apparent coincidence was, in part, that these works were written after Wagner’s operas and before the operatic successes of Richard Strauss, when it was possible to devise free combinations of symphonically composed scenes, arioso-like vocal lines influenced by verismo, and the dramaturgical effects of grand opera. As a praised model for successful historical opera might have served Karl Goldmark’s famous work Die Königin von Saba, especially in the case of Fibich’s last opera, which was explicitly compared with Goldmark’s opera. Operas on historical subjects form a little-known part of the works of Czech composers, but they extend from Smetana’s piece The Brandenburgers in Bohemia through the late operas of Dvořák and Fibich to Janáček’s two-part opera The Excursions of Mr Brouček. It is a line of operas that present an unforgettable counterpart to many successful Czech theatrical compositions – representative operas and intimate tragedies, comic operas and fairy tales, generally written on subjects from Czech villages and mythology, including Smetana’s Bartered Bride and Libuše, Fibich’s The Tempest and Šárka, Dvořák’s Jakobín, Kate and the Devil and Rusalka, Josef Bohuslav Foerster’s Eva, as well as Leoš Janáček’s Jenůfa.
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Winkelhorn, Kathrine, and Anja Mølle Lindelof. "Fra glemte værker til iscenesættelse som form." Peripeti 13, no. 25 (May 28, 2021): 64–75. http://dx.doi.org/10.7146/peri.v13i25.109577.

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“Opera is an omnivorous monster. Opera is the result of countless skilled craftsmen, technicians, musicians, singers, artists and administrators work. Opera is passion. Opera is lie and truth in the purest form” as stage director Kirsten Dehlholm wrote in the program to Rachmaninov Troika – hers and Hotel Pro Forma’s staging of Sergei Rachmaninoff’s three operas: Aleko, The Miserly Knight and Fransisca da Rimini produced by the Belgian opera, La Monnaie in Brussels, June 2015 - the first time these three operas were being staged together. In this article we discuss the concept of the art work by examining how Rachmaninov Troika balances between 1) revitalizing these three more or less forgotten music historical operas and/or is creating a new piece of work.
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Zhang, Bin. "An Examination of the Relationship between the Origins of Drama Genres in the Context of the Musical Style of the Clapper Opera." Yixin Publisher 1, no. 1 (March 31, 2024): 7–16. http://dx.doi.org/10.59825/jms.2024.1.1.7.

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The origin and circulation of Clapper Opera have different opinions, and most of the previous literature has ignored the role of music in the process of the spread of Clapper Opera. This paper proposes: The formation of Banqiang marks the formation of the Clapper Opera, and explores the relationship between similarities and differences by using the existing musical style factors of the Clapper opera, including dialects and Taoism, plate, singing melody, scale mode and accompaniment forms, and finds out the origin relationship between the Clapper Opera operas under the background of musical styles, thus adding new clues to the transmission of the Clapper Opera. It provides the basis for the spread and evolution of the Clapper Operas.
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Zheng, Meizhen, Peng Bai, Xiaodong Shi, Xun Zhou, and Yiting Yan. "FT-GAN: Fine-Grained Tune Modeling for Chinese Opera Synthesis." Proceedings of the AAAI Conference on Artificial Intelligence 38, no. 17 (March 24, 2024): 19697–705. http://dx.doi.org/10.1609/aaai.v38i17.29943.

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Although singing voice synthesis (SVS) has made significant progress recently, with its unique styles and various genres, Chinese opera synthesis requires greater attention but is rarely studied for lack of training data and high expressiveness. In this work, we build a high-quality Gezi Opera (a type of Chinese opera popular in Fujian and Taiwan) audio-text alignment dataset and formulate specific data annotation methods applicable to Chinese operas. We propose FT-GAN, an acoustic model for fine-grained tune modeling in Chinese opera synthesis based on the empirical analysis of the differences between Chinese operas and pop songs. To further improve the quality of the synthesized opera, we propose a speech pre-training strategy for additional knowledge injection. The experimental results show that FT-GAN outperforms the strong baselines in SVS on the Gezi Opera synthesis task. Extensive experiments further verify that FT-GAN performs well on synthesis tasks of other operas such as Peking Opera. Audio samples, the dataset, and the codes are available at https://zhengmidon.github.io/FTGAN.github.io/.
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Babenko, Oksana Vasil'evna. "The origins of Russian Opera as the key to understanding modern opera art." Культура и искусство, no. 8 (August 2020): 76–86. http://dx.doi.org/10.7256/2454-0625.2020.8.33608.

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The subject of this research is the origins of Russian Opera and its evolution. The grounds of Russian Opera can be observed in folk and Church rites of the Ancient Rus’. The origins of Russian Opera stem from the Middle Ages, when the cantatory tradition formed under the impact of Byzantine and Russian folk traditions. The folk-Church events of the XVI – XVII centuries contained the theatrical elements, which later on were incorporated by the professional musical theater. Until the XVIII century, theatrical performances were open only to royalty and upper class society. The first theatre in Russia was built in 1672 for the Tsar and received a name “The Comedy Mansion”. It staged operas on the Biblical themes. The first secular operas appeared in the second half of the XVIII century. In 1756, the Empress Elizabeth of Russia turned the theater into a state and public institution. Russian operas of that time mirrored the Western models to a large extent. The emergence of truly national operas is related to the name of M. I. Glinka (1804-1857). The conclusion is made that modern Opera borrowed the principles of nationalism and humanism from its precursors. The author draws parallels between the first operas, classical Russian Opera on the one hand, and modern Russian Opera on the other. Analysis is carried out on the origin of the plots and libretto of the operas. P. I. Tchaikovsky, M. P. Mussorgsky, A. P. Borodin, N. A. Rimsky-Korsakov, S. V. S. V. Rachmaninoff, S. S. Prokofiev, D. D. Shostakovich and others, same as the inventors of the opera, wrote their operas based on literary and historical storylines.
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Rosmiati, Ana. "PILIHAN DIKSI DALAM PRODUCT PLACEMENT DALAM SINETRON TUKANG OJEK PENGKOLAN." Acintya : Jurnal Penelitian Seni Budaya 13, no. 2 (March 9, 2022): 129–43. http://dx.doi.org/10.33153/acy.v13i2.3998.

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This research on the accuracy of diction in the placement of product placement in the soap opera Tukang Ojek Pengkolan (TOP) at the RCTI Television Station is interesting considering that there are advertising products that are inserted when the soap opera is running. Product placement has become a trend to be shown in soap operas and films in Indonesia with the aim of introducing products effectively because at the same time as the broadcast time, TOP soap operas are one of the soap operas that air on RCTI with high viewership ratings. The story in this soap opera is relatively light about the life of a motorcycle taxi driver. The problem in this research is how to choose an effective diction placement in the product placement of the soap opera Tukang Ojek Pengkolan and how to place the product placement in the soap opera Tukang Ojek Pangkalan when viewed from the nature of the advertisement. The purpose of this study was to find an effective choice of diction placement in the product placement of the soap opera Tukang Ojek Pengkolan and to describe the advertising nature of the product placement found in the soap opera Tukang Ojek Pengkolan. This type of research is a qualitative descriptive research. The data source in this study is the primary data source in the form of the soap opera Tukang Ojek Pengkolan (TOP).Keywords : Product placement, advertisement, soap opera TOP
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Ożarowska, Aleksandra. "Beyond the libretto." STRIDON: Studies in Translation and Interpreting 1, no. 2 (November 30, 2021): 49–63. http://dx.doi.org/10.4312/stridon.1.2.49-63.

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Nowadays both intra- and interlingual surtitles are an inherent element of almost all opera produc­tions and, partly thanks to this technology, opera is now going through a renaissance. The trend of staging operas in a modernised fashion is especially popular these days, but it represents a particu­lar challenge for surtitlers. It is argued in this article that while surtitles accompanying traditional opera productions are usually intrasemiotic, as their source text is just the libretto, modernised productions often have intersemiotic surtitles. The article analyses fragments of surtitles prepared for four different operas staged in the Metropolitan Opera House, Bayerische Staatsoper and Royal Opera House. The result show that while traditionally surtitles provide the viewers with the mean­ing of the libretto, the role of intersemiotic surtitles is much more extended, as they provide the audience with more comprehensive information about the whole opera production.
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Dissertations / Theses on the topic "In opera"

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Friedman, Arnold Jacob. "A Different Drummer: A Chamber Opera." Thesis, view full-text document. Access restricted to the University of North Texas campus, 1999. http://www.library.unt.edu/theses.

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Schmidt, Stephan Sebastian. "Opera Impura : Formen engagierter Oper in England /." Trier : Wissenschaftlicher Verlag, 2002. http://catalogue.bnf.fr/ark:/12148/cb389827692.

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Auvinen, Tuomas. "Unmanageable opera ? : the artistic-economic dichotomy and its manifestations in the organisational structures of five opera organisations /." Thesis, Boston Spa : British thesis service, 2000. http://catalogue.bnf.fr/ark:/12148/cb39143436f.

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O'Keefe, Patricia Beatrice. "Selected Operas of Isabelle Aboulker As Repertoire for the University Opera Studio." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699840/.

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Aboulker’s operatic works present an opportunity for opera workshop programs in the United States to perform contemporary operatic works in a foreign language, revitalizing the operatic repertoire and giving students the opportunity to prepare and perform roles without the weight and influence of significant performance history. Aboulker’s style, which has been called “effectively simple,” allows developing students to work on new French language repertoire without the burden of excessively difficult or atonal vocal lines. Aboulker’s works are tuneful and humorous and her longest operatic work lasts a mere hour and a half. These qualities also serve to mitigate the challenge presented to the student by the French language. Many of Aboulker’s works are conceived specifically to be performed with piano only, or have already been published in piano reduction. Most of her operatic works are very short or divide easily into scenes that could be performed separately where the performance of a longer work is either not feasible or not desired. All of these characteristics combine to make the operas of Isabelle Aboulker a viable repertoire option for the university opera studio.
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Bellot, Alexandra. "L'évolution de la décoration théâtrale sur les scènes de l'Opéra et de l'Opéra-Comique entre 1914 et 1936." Thesis, Poitiers, 2018. http://www.theses.fr/2018POIT5007.

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Objet d'étude pluridisciplinaire, la décoration théâtrale est un art éphémère ne vibrant que sous les projecteurs. Au début du XXe siècle, le rôle de l'élément visuel est sensiblement renforcé sur scène. Dans un contexte artistique parisien caractérisé par la variété des formes d'expression, la multitude des influences venant de l'étranger et les questionnements autour des relations possibles entre les arts ; une nouvelle approche de la scène se dessine et un autre regard se porte sur la conception des spectacles et sur la création de leurs éléments constitutifs tels que les décors et les costumes. Ces nouvelles considérations autour de l'esthétique de l'espace scénique mènent à de nouvelles théories et de nouvelles tendances de la décoration théâtrale. Centrée autour des maisons d'opéra parisiennes, notre étude propose une meilleure compréhension du processus de renouvellement de la décoration théâtrale sur les scènes de l'Opéra et de l'Opéra-Comique dans la première moitié du XXe siècle. Vitrines de l'Art français, les deux théâtres entretiennent depuis leur création des relations particulières entre rivalité et complémentarité. Notre thèse porte un éclairage nouveau sur la décoration théâtrale conçue pour les spectacles lyriques du début du XXe siècle en proposant de définir précisément le positionnement de l'Opéra et de l'Opéra-Comique. Par l'analyse de la confrontation entre le traditionalisme assujetti aux deux maisons et les nouvelles aspirations que connaît le monde du Théâtre, notre étude explore tout d'abord les prémices d'un renouveau du décor de scène et met en lumière les principaux acteurs du mouvement. Le recours systématique aux décorateurs professionnels héritiers des dynasties de la fin du XIXe siècle et à la technique du trompe-l'œil sont progressivement abandonnés par les maisons d'opéra. Aussi, de nouveaux collaborateurs du monde du Théâtre, peintres pour la plupart, se trouvent au cœur de la conception des spectacles. Notre thèse ouvre le champ d'étude et examine l'impact des mouvements artistiques venant de l'étranger. Dans une capitale française, siège d'une agitation artistique internationale, les influences et les collaborations avec les artistes étrangers se jouent aussi dans l'art du décor de scène. Le monde du spectacle des années 1920 est marqué par l'empreinte des Ballets russes et les créateurs de décors saisissent pleinement le modèle en l'adaptant aux œuvres et au goût français. Les directeurs de l'Opéra de l'Opéra-Comique secouent hardiment la routine décorative de leur théâtre en s'entourant d'artistes capables d'offrir une autre conception du décor d'opéra en créant des cadres propices au développement d'un nouvel imaginaire. Plus favorable aux expériences novatrices, le décor de ballet offre une grande liberté à ses créateurs. En abordant la question du renouvellement du décor de ballet à l'Opéra et à l'Opéra-Comique, notre thèse révèle leur ligne directrice et examine leur transformation en pôle de création et de modernité chorégraphique. La question du goût est au cœur du dernier volet de notre étude en dévoilant tout d'abord les réactions des maisons d'opéra face au succès du cinéma. Les directeurs des théâtres s'emparent de ses ressources techniques afin de moderniser la mise en scène et d'enrichir les procédés existants. En s'intéressant au rôle scénographique que peut assumer la lumière et au caractère de la projection cinématographique, les théâtres offrent une autre conception de la décoration théâtrale dans laquelle la toile peinte n'est plus exclusive. En s'interrogeant sur l'évolution du goût français, notre thèse offre un éclairage sur les relations entretenues entre les arts décoratifs et les arts de la scène et met en lumière le travail pour la scène des artistes qui conditionnent le goût français des années 1920 et 1930. Enfin l'étude des décors des spectacles des années 1930 cerne les accords et les limites entre le goût du public et les aspirations esthétiques
Multidisciplinary object of study, the theatrical decoration is an ephemeral art that vibrates only in the spotlight. At the beginning of the 20th century, the role of the visual element is considerably enhanced on stage. In a Parisian artistic context characterized by the variety of forms of expression, the multitude of influences from abroad, and the questions surrounding the possible relationships between the arts; a new approach to the stage is emerging and another look is being taken at the design of shows and the creation of their constituent elements such as sets and costumes. These new considerations around the aesthetics of the stage space lead to new theories and trends in theatrical decoration. Focused on Parisian opera houses, our study offers a better understanding of the process of the renovation of theatrical decoration on stages of Opéra and Opéra-Comique in the first half of the 20th century. Showcases of French art, the two theatres have, since their creation, maintained special relationships between rivalry and complementarity. Our thesis sheds new light on theatrical decoration designed for early 20th century lyrical shows by proposing to precisely define the positioning of the Opéra and the Opéra-Comique. By analysing the confrontation between traditionalism subjected to the two theatres and the new aspirations of the world of theatre, our study first explores the beginnings of a renewal of the stage set and highlights the main actors of the movement. The systematic use of professional decorators, heirs of the dynasties of the late 19th century and the trompe-l'oeil technique were gradually abandoned by opera houses. As a result, new collaborators from the world of theatre, most of whom are painters, are at the heart of the creation of the shows. Our thesis opens the field of study and examines the impact of artistic movements from abroad. In a French capital, the headquarters of an international artistic unrest, influences and collaborations with foreign artists are also at stake in the art of stage set design. The 1920s theatre world was marked by the influence of the Ballets russes and the set designers fully grasped the model by adapting it to French creations and tastes. The directors of the Opéra de l'Opéra-Comique shake up the decorative routine of their theatre by surrounding themselves with artists capable of offering an alternative conception of the opera set by creating a setting that is conducive to the development of a new imagination. More favourable to innovative experiences, ballet set design offers great flexibility to its creators. By approaching the question of the renewal of ballet set design at the Opera and the Opéra-Comique, our thesis reveals their direction and examines their transformation into a pole of creation and choreographic modernity. The question of taste is at the heart of the last part of our study by first revealing the reactions of opera houses to the success of cinema.The directors of the theatres seize its technical resources in order to modernize the staging and enrich existing processes. By focusing on the scenographic role that light can play and the character of film projection, theatres offer another conception of theatrical decoration in which the painted canvas is no more exclusive. By questioning the evolution of French taste, our thesis offers a view on the relationship between the decorative and performing arts and highlights the work for the stage of the artists who condition the French taste of the 1920s and 1930s. Finally, the study of the sets of the 1930s shows identifies the harmony and limits between the public's taste and the aesthetic aspirations of the time
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Wedholm, Hjalmar. "opera : stadsgårdskajen." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-98552.

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Mould, Stephen James. "Curating Opera." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/14521.

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Recent decades have seen the art curator emerge from a behind-the-scenes, anonymous position to that of a public functionary, challenging the role of the artist as the dominant force in the creation of art. A blurring of the roles of artist, gallerist and curator has resulted, along with a diversification in disciplines that attract curatorial attention, including science and architecture. The notion of Gesamtkunstwerk has frequently been evoked in the literature and even found its way into exhibition titles.1 The blurring of curatorial roles is also a characteristic of the opera house, where the singer, composer, conductor, impresario and (most recently), the stage director historically vie for predominance, giving rise to the power struggles for which the world of opera is renowned. The competing forces that drive operatic practice have so far had no visible commentators (such as the art world has recently acquired), to examine curating and curatorial roles within the opera house and to demystify the process for the public. This thesis will: (1) consider the so-called ‘birth’ of opera, with reference to the near-contemporary rise of the modern art museum; (2) examine aspects of the performance history of works by Gluck, Mozart and Beethoven, in order to demonstrate curatorial practices employed in the dissemination and maintenance of the repertoire; (3) consider curatorial tendencies within the modern opera house with reference to current performance practices and the related practices of art museums, highlighting aspects of authenticity, authorial intent, preservation and historically informed performance practice.
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Helander, Karin. "Opera som teater : modern regi på Stockholmsoperan 1919-1923 /." Stockholm : Institutionen för teater och filmvetenskap, 1993. http://catalogue.bnf.fr/ark:/12148/cb36968571t.

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Salfen, Kevin McGregor. "Paintings and Palaces, or the Lament of the Burger Flipper." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2186/.

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The opera is scored for chamber orchestra consisting of one oboe, two Bb clarinets, two horns in F, one trumpet in C, one tenor trombone, two percussionists (playing snare drum, bass drum, tambourine, wood block, triangle, suspended cymbal, crash cymbal, agogo bells, cow bell, brake drum, metal whistle, whip, large gong, Glockenspiel, chimes, timpani in F (low) and C), eight or more violins in two parts, six or more violas in two parts, and eight or more cellos in two parts. The characters are Alejandro Jiminez, a dramatic tenor; the Manager of Burger Palace, a baritone; the Suits 1/Fast Food Workers, a choir (SATB) and the Suits 2/Customers, a second choir (SATB), each ideally consisting of eight vocalists for a total of sixteen; the Daydream Figures, which are mimed parts; the Man with Gun, which is a spoken part. The opera, in one act consisting of six scenes and an interlude, is based on a libretto by the composer. There is only one scene change: from an essentially empty stage to a fast food restaurant in Scene 4. The length of the work is approximately sixty to sixty-five minutes.
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Kramer, Ursula. "--richtiges Licht und gehörige Perspektive-- Studien zur Funktion des Orchesters in der Oper des 19. Jahrhunderts /." Tutzing : H. Schneider, 1992. http://catalogue.bnf.fr/ark:/12148/cb35555708v.

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Books on the topic "In opera"

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Kirk, Elise K. American opera. Urbana: University of Illinois Press, 2001.

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Kimbell, David R. B. Italian opera. Cambridge [England]: Cambridge University Press, 1991.

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Kimbell, David R. B. Italian opera. New York, NY: Cambridge University Press, 1995.

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Knapp, J. Merrill. The magic of opera. New York: Da Capo Press, 1985.

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Sandra, Isetta, ed. Opere catechetiche =: Opera catechetica. Roma: Città nuova, 2008.

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Tertullian. Opere apologetiche =: [Opera apologetica]. Roma: Città nuova, 2006.

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Sutherland, Susan. Opera. Lincolnwood, Ill: NTC Pub. Group, 1997.

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Wang, Yao, ed. Tales from Tibetan opera. Beijing, China: New World Press, 1986.

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William, Saroyan. Opera, opera. Alexandria, VA: Alexander Street Press, 2004.

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Gallo, Denise P. Opera: The basics. New York, NY: Routledge, 2006.

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Book chapters on the topic "In opera"

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Valenti, Chloe. "Opera." In The Palgrave Encyclopedia of Victorian Women’s Writing, 1206–11. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78318-1_170.

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Valenti, Chloe. "Opera." In The Palgrave Encyclopedia of Victorian Women's Writing, 1–6. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-02721-6_170-1.

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Roth, Emily, Jonathan Allender-Zivic, and Katy McGlaughlin. "Opera." In Stage Management Basics, 179–96. 2nd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003133049-15.

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Gillett, Cary, and Jay Sheehan. "Opera." In The Production Manager's Toolkit, 137–46. 2nd ed. New York: Routledge, 2023. http://dx.doi.org/10.4324/9780367808174-15.

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Werr, Sebastian. "Zwischen Grand opéra und Opera-ballo." In Musikalisches Drama und Boulevard, 88–146. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02874-7_4.

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"OPERA, OPERA." In Here in Our Auschwitz and Other Stories, 254–57. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1vbd1g9.23.

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Weiss, Piero. "The War Of The Buffoons." In Opera, 106–14. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195116373.003.0017.

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Abstract The buffo style in opera was first heard outside Italy in the intermezzos brought to various European cities in the 1720s and ‘30s by the two or three singers required for their performance. When full-length opere buffe began to be exported in the late 1740s, they traveled by much the same routes with some-what bigger companies; still, following the tried and true pasticcio practice, many were cut down to the size of intermezzos and patched together with music from other operas. It was just such a repertory of miscellaneous intermezzos that Parisians heard when the impresario Eustachio Bambini, on tour in northern France with his tiny, undistinguished company, was summoned to Paris by the directors of the Opera. The Italians opened on 1 August 1752 with Pergolesi’s La serva padrona, sharing the bill with Lully’s Acis et Ga/atee performed by the regular company; the Opera orchestra accompanied both. Not immediately successful, the Buffoons (as they were soon called) adjusted to the relative vastness of the Palais Royal and, as they added other works to their repertory, began winning enthusiastic support from a part of the public.
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"‘Opera about Opera’." In Word and Music Studies, 51–80. BRILL, 2005. http://dx.doi.org/10.1163/9789004501416_005.

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"OPERA ON OPERA: LUCIANO BERIO’S OPERA." In "Music's Obedient Daughter", 463–81. Brill | Rodopi, 2014. http://dx.doi.org/10.1163/9789401210553_019.

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"Opera." In The Szymanowski Companion, 168–80. Routledge, 2016. http://dx.doi.org/10.4324/9781315552378-37.

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Conference papers on the topic "In opera"

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Chen, Guoxing, Yinqian Zhang, and Ten-Hwang Lai. "OPERA." In CCS '19: 2019 ACM SIGSAC Conference on Computer and Communications Security. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3319535.3354220.

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Oh, Erick. "Opera." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450507.3457432.

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De Lellis, Giovanni. "OPERA." In XV International Workshop on Neutrino Telescopes. Trieste, Italy: Sissa Medialab, 2014. http://dx.doi.org/10.22323/1.196.0012.

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Xu, Yang, Kan-Lin Hsiung, Xin Li, Ivan Nausieda, Stephen Boyd, and Lawrence Pileggi. "OPERA." In the 42nd annual conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1065579.1065746.

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De Serio, Marilisa. "OPERA." In International Workshop on Astroparticle and High Energy Physics. Trieste, Italy: Sissa Medialab, 2003. http://dx.doi.org/10.22323/1.010.0009.

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Paoloni, Alessandro. "Opera." In XVI International Workshop on Neutrino Telescopes. Trieste, Italy: Sissa Medialab, 2016. http://dx.doi.org/10.22323/1.244.0010.

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Kose, Umut. "OPERA." In 16th International Workshop on Neutrino Factories and Future Neutrino Beam Facilities. Trieste, Italy: Sissa Medialab, 2015. http://dx.doi.org/10.22323/1.226.0031.

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Wei, Qingxiang. "Opera Troupe, Chinese Opera, Stage: The Expression and Change of Peasant Opera Culture." In 2020 3rd International Conference on Humanities Education and Social Sciences (ICHESS 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201214.533.

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Ringendahl, Elisa. "Lied versus Oper – Pole musikalischer Gattungen bei Oscar Bie." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.70.

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A comparison of Oscar Bie’s monographies Die Oper and Das deutsche Lied shows that opera and ‘Lied’ are two extremes in Bie’s understanding of musical genres. While opera according to Bie is an “impossible work of art” which arises from countless contradictions, the low-conflict ‘Lied’ forms an opposite pole. Bie’s perception influences the way he deals with the two genres in writing: while opera is suitable for an adequate feuilleton, ‘Lied’ is not. Bie’s comparison gives him the possibility to break with established patterns of genres. It becomes apparent that for him opera takes on a special role in that it represents the culmination of the basic features of music. As a critic, Bie demands utmost congruence between object and written representation. Writing about music means to be an artist who deals with the same work of art but in another medium.
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Gabriele, Alessio, Michelangelo Lupone, Paola Inverardi, and Patrizio Pelliccione. "Ad-opera." In the FSE/SDP workshop. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1882362.1882388.

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Reports on the topic "In opera"

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Giesa, Aaron. SATOR / AREPO / TENET / OPERA / ROTAS. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.3030.

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von Balthasar, Hans Urs. Uno sguardo d’insieme sulla mia opera. Saint John Publications, 2022. http://dx.doi.org/10.56154/ud.

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Catán, Daniel. Composing Opera: A Backstage Visit to the Composer's Workshop. Inter-American Development Bank, August 1997. http://dx.doi.org/10.18235/0007926.

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Johnson, W. L. Dramatic Expression in Opera, and Its Implications for Conversational Agents. Fort Belvoir, VA: Defense Technical Information Center, January 2003. http://dx.doi.org/10.21236/ada462170.

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Meot, F., R. Gupta, H. Huang, V. Ranjbar, and G. Robert-Demolaize. Re-visiting RHIC snakes: OPERA fields, n0 dance. Office of Scientific and Technical Information (OSTI), September 2017. http://dx.doi.org/10.2172/1399670.

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Giorcelli, Michela, and Petra Moser. Copyright and Creativity. Evidence from Italian Opera During the Napoleonic Age. Cambridge, MA: National Bureau of Economic Research, March 2020. http://dx.doi.org/10.3386/w26885.

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Kodama, K., /Aichi U., G. Tzanakos, /Athens U., B. Baller, B. Lundberg, R. Rameika, et al. Request for a Test Exposure of OPERA Targets in the NuMI Beam. Office of Scientific and Technical Information (OSTI), November 2004. http://dx.doi.org/10.2172/993551.

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Wu, Yanyan. Meta-analysis of the effects of Wuqin Opera on balance dysfunction in the elderly. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, March 2023. http://dx.doi.org/10.37766/inplasy2023.3.0099.

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Barragán, Jaime. Banco Europeo de Inversiones. Inter-American Development Bank, December 2005. http://dx.doi.org/10.18235/0007568.

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Presentación expuesta durante el evento "Experiencias de Provisión y Financiamiento de Infraestructura bajo Asociaciones Publico Privadas", llevado a cabo en el Banco Interamericano de Desarrollo, Washington D.C., Diciembre 8-9, 2005. Ésta describe de forma general qué es el Banco Europeo de Inversiones, el modo en el que opera, sus miembros, los tipos de proyectos en los que participa, entre otra información relevante.
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P. H. Titus, S. Avasaralla, A. Brooks, R. Hatcher. NSTX Disruption Simulations of Detailed Divertor and Passive Plate Models by Vector Potential Transfer from OPERA Global Analysis Results. Office of Scientific and Technical Information (OSTI), September 2010. http://dx.doi.org/10.2172/988890.

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