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1
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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Fazakas, Ádám Sándor. "The Use of the Harmonium in Opera." Studia Universitatis Babeş-Bolyai Musica 69, no. 1 (June 10, 2024): 181–96. http://dx.doi.org/10.24193/subbmusica.2024.1.13.
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The article explores the role of harmonium in opera during the transformative 19th and early 20th centuries, amidst significant reforms in orchestration. The author thoroughly explores how harmonium is used in opera, even providing a table of operas that feature this instrument. It delves into specific opera passages by composers representing diverse nationalities and spanning various epochs, covering the period from 1845 to 1936. Through examples from works such as Verdi’s “Giovanna d’Arco” and “Don Carlos,” Dvořák’s “Rusalka,” and Enescu’s “Œdipe,” the essay illustrates the diverse roles played by the harmonium in operas. The author highlights the historical and musical significance of the harmonium in opera, suggesting a reevaluation of its role in today’s performances. Keywords: harmonium, orchestra, opera, romantic music, 20th century music
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Jianli, Qi, and Li Shan. "The uniqueness of female vocals in the Chinese national opera: analysis of styles and techniques of performance at the intersection of cultures (19th – 20th centuries)." OOO "Zhurnal "Voprosy Istorii" 2023, no. 7-2 (July 1, 2023): 132–39. http://dx.doi.org/10.31166/voprosyistorii202307statyi59.
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Female vocals in the Chinese national opera are a unique phenomenon that has its own peculiarities in styles and techniques of performance. In this article, the authors try to analyze the styles and techniques of female vocal performance in Chinese opera and identify its unique features. In addition, he authors also consider the influence of Western opera on the development of Chinese national opera in the 19th - 20th centuries and give specific examples of operas with female vocals in the Chinese opera tradition.
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Ladič, Branko. "Karl Goldmark und seine letzten Opernwerke." Studia Musicologica 57, no. 3-4 (September 2016): 325–48. http://dx.doi.org/10.1556/6.2016.57.3-4.3.
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Karl Goldmark (1830–1915) was undoubtedly one the most influential composers of the Austro-Hungarian Empire, and through his first opera – The Queen of Sheba – he was also very well-known abroad. This opera, with its very fashionable oriental subject, was first performed in Vienna in 1875 and was one of the greatest successes of the period. After Merlin (1886) and The Cricket on the Hearth (1896), a “song-opera” strongly influenced by the Biedermeier-period, Goldmark wrote three operas over the next ten years. A Prisoner of War (libretto E. Schlicht, premiered in 1899 in Vienna) was based on one episode of the Iliad. In this short opera the composer tried to express the change of Achilles’ soul, but he mostly failed due to a relatively weak and conventional libretto and vague musical style. In the following opera, Götz von Berlichingen (libretto A. M. Willner, premiered 1902) the libretto is also the weakest element of the work and the whole opera reminds one of Meyerbeer ’s operas. The composer found a renewed inspiration during the work on his last opera – The Winter’s Tale (libretto by Alfred Maria Willner after Shakespeare, premiered in 1907 in Vienna). This fairy tale opera is full of interesting musical moments and elements written in Goldmark’s late style and is still attractive for the opera-going public.
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Park, Chang-min. "A Study of the Diversification of Materials of Korean New Operas: Focusing on selected works by the Creative Factory of Performing Arts." Academic Association of Global Cultural Contents 57 (November 30, 2023): 79–99. http://dx.doi.org/10.32611/jgcc.2023.11.57.79.
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Starting in 1950, Korean Opera, which has a history of 73 years to date in 2023, served as an motive to pave the way for the creation of Korean opera through the “MOM Creation Contest” organized by Korea National Opera in 2009. Since then, it has been changed to the Creative Factory of Performing Arts organized by the Arts Council Korea since 2014, and new operas have been discovered every year through continuous support until 2023, and 17 new operas have been finally selected. This study examined the diversified aspects of material utilization for new operas discovered through the Creative Factory of Performing Arts, focusing on the material of the libretto, which is the first work and basic element of the creation of an opera.
In order to study the material diversification of new opera selected through the Creative Factory of Performing Arts, six classification criteria were set, each of which is a genre, method of libretto, original foundation, the spatial background of work, the temporal background of work, and basic material. In addition, in order to help understand, this study also examined aspects of the diversification of materials of new operas in overseas opera theaters such as the United States, Germany, the United Kingdom, Austria, Italy, and France.
As a part of the development of cultural contents, I hope that this study will help understand the trend of diversification through the recently discovered Korean new operas, help revitalize creation, and further promote convergent development in all fields of performing arts.
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Li, Jing. "A Study on the Characteristics of Chinese Ethnic Opera: With Special Focus on Uyghurs." Korean Society of Culture and Convergence 45, no. 9 (September 30, 2023): 1445–54. http://dx.doi.org/10.33645/cnc.2023.09.45.09.1445.
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Works depicting ethnic minority groups have comprised a major component of Chinese opera. After the 1950s, composers in Xinjiang inherited ethnic musical traditions while exploring ways to integrate Uyghur folk literature and music into opera, drawing upon Western musical techniques. As a result, many operas with unique characteristics were produced. Ethnic minority Chinese opera is a principal constituent of Chinese opera, exhibiting regional and individual traits while retaining operatic performance forms. This paper focuses on investigating characteristics of Uyghur opera in terms of material, character setting, musical language, and stage presentation in order to explore the distinctiveness of ethnic minority Chinese opera. By analyzing representative works, it aims to elucidate various artistic attributes conveyed in Uyghur opera and reflect historical perspectives, contributing to comprehending ethnic minority Chinese opera.
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Lindenberger, Herbert. "Towards a Characterization of Modern Opera." Modernist Cultures 3, no. 1 (October 2007): 84–93. http://dx.doi.org/10.3366/e2041102209000343.
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Herbert Lindenberger regards the modern canon as “not quite opera” in its resistance to the theatricality of traditional opera, its forays into popular musical forms, and its use of imitation and parody to quote opera of the past. In his view, modern opera divides itself into two kinds: the “hard” and the “soft.” Lindenberger goes on to consider the question of postmodern opera, but he is less persuaded now than he was previously that this is a useful term, especially given the extent to which one can find so-called “postmodern” elements in “modernist” operas.
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Galina, Gulnaz S. "MODERN TRENDS IN THE GENRE FORMATION OF BASHKIR OPERA." Arts education and science 4, no. 37 (2023): 158–63. http://dx.doi.org/10.36871/hon.202304158.
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In the article, the author examines the opera compositions of Salavat Nizametdinov from the viewpoint of generic features of the genre. In a broader sense, it is considered as a new sociocultural phenomenon in Bashkir national art, which brought new features to the established structure of the opera genre at the turn of the century. Examples of particular compositions are used to highlight individual and general features of his work, consciously focused on modern trends in the development of the opera theatre: chamber music, embodiment of the features of mono-opera, duo-opera, opera-ballad, opera-parable, opera-chronicle. The themes of his operas, unlike the previous stage of the genre's development, as well as the departure from the norms of the national language in a concentrated form reflect the main idea of the composer's entire oeuvre — the actualisation of moral problems of modern society, which is a new word in Bashkir musical art. In relation to the operas of Zagir Ismagilov’s and Husain Akhmetov’s predecessors, the classics of national music, who were oriented towards the traditions of the “Mighty Five”, the new trends form a phenomenon defined by the author as a way to update opera not only by means developed in the musical theater itself, but also through contact with other non-academic genres. The author concludes that the trend towards genre and stylistic mix is the general idea of all Bashkir professional music at the present stage.
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Naumenko, Tatiana I. "The “Song Opera” of the 1930s: In Search for New Poetics of the Genre." Problemy muzykal'noi nauki / Music Scholarship, no. 3 (2023): 58–67. http://dx.doi.org/10.56620/2782-3598.2023.3.058-067.
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Contemporary researchers of opera of the Stalin period primarily touch upon the Soviet “opera project” (Ekaterina Vlasova, Marina Frolova-Walker): conceived on a high level of ambitiousness, it became virtually a failure. An immense number of operas created during the course of the 1930s and the 1940s, with a small number of exceptions, slipped into obscurity: a significant part of them has never seen the stage and has been preserved only as archival materials. One of the main reasons is mentioned as the low artistic level of the overwhelming part of the opera material. In them, along with rather fair criticism of many opera works, there were attempts to understand the reasons why Soviet opera, which received a level of government support unprecedented in its scale, adapted itself to the new sociocultural conditions with such great difficulty. In the present article the attempt is made to comprehend the phenomenon of the so-called song opera: with this aim the examination of one of the most illustrative periods of its development is proposed. It spans the period of five years — from 1936 (the year the article Muddle Instead of Music came out and the Committee for the Affairs of Art was created affiliated with the Council of People’s Commissars of the USSR) until 1940 (the All-Union Opera Conference was held). During this period the greatest number of operas was composed (including 30 song operas), presentations of newly created compositions and the subsequent discussion of them in the Committee for the Affairs of Art was brought into practice. A considerable number of publications from these years was devoted to the issues of opera. The discussions of the art of opera received unprecedented caliber and were conducive to the formation of complex perceptions of the aesthetic etalon of Soviet opera. However, the etalon operatic composition was never written. The article is based on analysis of archival materials and documents, part of which is being brought into scholarly use for the first time.
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Meng, Mei. "Exploring the Communication Strategy of Intangible Cultural Heritage in the New Media Context." SHS Web of Conferences 155 (2023): 01017. http://dx.doi.org/10.1051/shsconf/202315501017.
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As the pearl of China’s intangible cultural heritage, there are still many difficulties in the development of opera. This paper takes Meilin opera of Sanming City, Fujian Province, as an example, analyzes the current situation of the inheritance of Meilin opera in the context of “Internet+”, and compares it with the development of similar operas, and finally discusses the new strategies for the protection and development of intangible cultural heritage such as opera from the perspective of communication path and communication mechanism.
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Carskadden, Laura, and Jenine Brown. "Implicit and Explicit Biases for Gender in Opera Roles." Journal of Singing 80, no. 4 (March 2024): 409–15. http://dx.doi.org/10.53830/sing.00023.
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Abstract: Recent scholarship by LaBonte and Bryngelsson has illustrated an imbalance of roles composed for men and women within often-performed operas today. This study examines the possible implications of this on audience members, testing participants’ explicit and implicit biases for gender after watching scenes from an opera by Mozart, performed as written and also performed with the gender roles reversed. The experimental findings have implications for opera companies and for opera pedagogy, and we ask whether continuing to perform frequently performed operas from this era as written is propagating negative stereotypes against women, in terms of both representation and character portrayals.
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Li, Mengshan. "Strategies for Sustainable Protection of Traditional Opera Intangible Cultural Heritage from the Perspective of Rural Revitalization: The Example of the Ningbo Opera in China." Communications in Humanities Research 15, no. 1 (November 20, 2023): 269–76. http://dx.doi.org/10.54254/2753-7064/15/20230852.
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The traditional opera intangible cultural heritage (ICH) is closely related to rural revitalization. Traditional operas intangible cultural heritage needs to be protected in a sustainable manner from the perspective of rural revitalization, and this need comes from both national policy and social and economic growth. With Ningbo Opera chosen as a particular case to be investigated, the research focuses on the sustainable protection of traditional opera ICH from the perspective of rural revitalization. The Ningbo Operas inheritance situation was also looked into, including the enrollment of students, the number of ICH inheritors, the amount of funding provided by the government to carry out inheritance activities, and the methods of inheritance in four different areas. To analyze and summarize the inherited situation of Ningbo Opera using the method of data analysis, the information on these scenarios was gathered and organized. Using surveys analysis, to look into the villages situation of sustainably protect Ningbo Opera, the best techniques to look for these factors are suggested. The article is studied in order to investigate the most efficient and sustainable strategies to protect traditional opera ICH and to contribute favorably to the sustainable protection of ICH from the perspective of rural revitalization.
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Fabris, Dinko, and Vania Cauzillo. "Community opera: A short introduction and a case study in Italy." International Journal of Community Music 17, no. 1 (March 1, 2024): 19–36. http://dx.doi.org/10.1386/ijcm_00095_1.
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Around the beginning of the 2000s, among various responses to the crisis in traditional opera, a few Western theatres and festivals started to propose community operas based on the involvement of professional and amateur performers as co-creators. This article traces the idea back to the pre-Second World War United States and its more general use from the 1950s onwards, although it carried with it the negative connotation of being the naive output of amateur singers and musicians. The term reappeared in the United Kingdom in a series of works put on between 1990 and 2005, especially by the composer Jonathan Dove at Glyndebourne and in other British regions. All of these were presented as ‘community opera’. Among other ventures similar to the ‘new’ community opera in the British style, La Monnaie theatre in Brussels became the first European important opera house to start a program of community operas as a staple part of its season. The first one, Orfeo and Majnun (2018), defined as ‘a participative opera’, assembled myths from both Western and Persian cultures and whose music combined Western and Middle-Eastern elements. Immediately after, the first Italian community opera, Silent City, was produced in 2019 in the then European Capital of Culture Matera, establishing a new model of opera centred on social inclusion and involving people with disabilities. This article is aimed at defining the origins of community opera and at exploring similar phenomena around the globe.
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Zifei, Li, Asliza bt Aris, and Zainudin bin Md Nor. "The Application of Totem Culture Elements in the Design of Jin Opera Cultural and Creative Products." International Journal of Global Optimization and Its Application 2, no. 3 (September 30, 2023): 148–53. http://dx.doi.org/10.56225/ijgoia.v2i3.257.
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Jin opera is one of the well-known local operas in China, commonly known as Shanxi opera. It is also known as Zhongluo opera because it originated in central Shanxi. Jin opera has a long history of culture, and its costumes and patterns are unique visual elements of totem culture. It is to promote the culture of Jin opera and to integrate and develop the culture of Jin opera into public life. Based on the four principles of practicality, emotionality, formal beauty, and artistry of Jin opera, cultural and creative products were proposed by Jin opera scholar Ren Nanan as the design concept to analyze and reorganize the colors and patterns of Jin opera costumes. By analyzing and applying the design principles and concepts of Jin opera costume culture, we analyze the design and feasibility of cultural and creative products of Jin opera culture from three aspects: color, pattern, and program rules, and provide ideas and concepts for the design of cultural and creative products of Jin opera culture, so that its culture can be accepted and loved by young people. Jin opera is one of the most precious traditional arts in China. With the emphasis on cultural inheritance, the role of cultural and creative design is receiving increasing attention, and the artistic and creative design incorporating visual elements of Jin Opera will become increasingly sophisticated.
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Izvarina, О. M. "Opera directing in the Ukrainian Musical Theatre in 20s of 20th century." Musical art in the educological discourse, no. 3 (2018): 66–70. http://dx.doi.org/10.28925/2518-766x.2018.3.6670.
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The article highlights the prerequisites for the formation of Ukrainian opera directing on the basis of materials from rare editions, musical criticism of the 1920s, memoirs of contemporaries, modern scientific research. The close connection of the Ukrainian opera direction with the traditions of the direction of the Ukrainian music and drama theatre is considered. The assimilation of the experience and creative achievements of the directors of the «theatre of the coryphaeuses» M. Staritsky, M. Kropiwnicki and M. Sadovsky is covered. The features of the stage life of operas of the classical repertoire on the Ukrainian opera scene of the 1920s are analysed. It is shown the widespread differences between the director’s interpretations of classical operatic works of this period with the aim of the so-called «modernizing» and “approaching the viewer”. It possess characteristic of the stage productions of the Ukrainian operas of the 1920s, the estimation of the director’s decisions of M. Bogolyubov, O. Ulukhanova, V. Manzi, E. Jungvald-Khilkevich, Yu. Lishansky, S. Butovskiy with the musical-critical thought and periodical press of this period. The importance of the productions of Ukrainian operas of the 1920s for the progressive development of national opera art and Ukrainian opera directing is proved.
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Xue Chen, Zheng. "The System of Dominant Themes in the Operas of Jin Xiang." Университетский научный журнал, no. 76 (October 24, 2023): 101–9. http://dx.doi.org/10.25807/22225064_2023_76_101.
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The article’s author considers the system of dominant themes in the operas of the Chinese composer of the 20th century Jin Xiang, close to the principle of the end-to-end development of thematism in European and Russian classical opera. The author reveals the specifi cs of working with thematism in the operas “Savage Land”, “Yang Guifei” and “Eight Women Jump Into the River”. The research methods were a holistic and comparative analysis of the thematism of operas in terms of expressiveness, imaginative-semantic content, dramatic function, and symphonic development. The analysis of the “dominant thematism” and its development in Jin Xiang’s operas made it possible to prove that leitmotifs embody the national ideological content in the works of the Chinese composer, express senses, states and actions of the heroes, describe events, and reveal plot confl icts of the drama. In his opera work, Jin Xiang develops his own system of leitmotifs, connecting each opera together in imaginative, semantic, dramatic and organisational aspects. At the same time, the dominant thematism gives Jin Xiang’s works a national character, allowing Chinese opera to maintain its identity against the background of the stylistic globalisation in music.
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Shangqi, Li. "Research on the Countermeasures of the Art Communication of Rare Operas under the Background of Rural Cultural Revitalization—Take the Wa Qing Opera in Tengchong, Yunnan Province as an Example." Advances in Social Science and Culture 5, no. 4 (November 20, 2023): p142. http://dx.doi.org/10.22158/assc.v5n4p142.
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As a kind of traditional drama with local characteristics, the Wa nationality Qing opera itself has high artistic value, historical value and scientific research value. This paper mainly analyzes the spread of the contemporary process and characteristics of the wa opera, understand the present situation of the wa opera art spread, find out the difficulties and problems in the communication and inheritance of the wa opera art, try to explore spread potential of the wa in the background of rural cultural, explore new path and new strategies of rare operas dissemination under the new background.
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Leicester, H. Marshall. "Discourse and the film text: Four readings of Carmen." Cambridge Opera Journal 6, no. 3 (November 1994): 245–82. http://dx.doi.org/10.1017/s0954586700004328.
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‘Quoi du reste’, to paraphrase Derrida on Hegel in Glas, ‘ici, maintenant, d'une Carmen?’ What's left of Carmen here and now? Aside from its intrinsic interest, the question seems worth asking in light of a bias that recent treatments of opera – particularly those influenced by poststrucuralist theory – seem to betray. The most prominent, Catherine Clément's Opera, or The Undoing of Women, Michel Poizat's The Angel's Cry and Jeremy Tambling's Opera, Ideology, and Film, regard opera as an institution rather than as a body of texts. Each of the authors, to my mind at least, allows a prior structure or structures – the systemic presence of male domination and its construction of women in society, a quasi-Lacanian understanding of unconscious fantasy, the bourgeois construction of operatic experience – to constrain what operas, and opera, can mean. They thus produce what are in effect reception studies or analyses of the audience, which is perhaps why they operate at some distance from the detail of the texts, musical or verbal, of the operas they analyse.
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Lv, Yihang. "The Present Situation and Countermeasures of Jiangxi Opera, an Intangible Cultural Heritage in Chinese Universities." BCP Education & Psychology 9 (March 29, 2023): 348–54. http://dx.doi.org/10.54691/bcpep.v9i.4705.
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As an important part of Chinese traditional culture, Jiangxi Opera has been listed as one of the national intangible cultural heritage and is the traditional drama of Jiangxi Province. However, it is understood that in some other Jiangxi Opera troupes, Jiangxi Opera, like most local operas in China, is also facing a shortage of actors, and there is a gap between new and old actors. A series of problems, such as the loss of an audience and the lack of performance venues, has led to a vicious circle in the development of Jiangxi Opera, which is in danger of being lost. Many local opera troupes are facing difficulties that they cannot continue to survive. Through studying the methods of popularizing Jiangxi Opera in universities, this paper introduces three methods of integrating Jiangxi Opera into the classroom, regularly carrying out Jiangxi Opera activities, and establishing Jiangxi Opera clubs, to make Jiangxi Opera more popular on campus, cultivating more Jiangxi Opera lovers, enabling students to understand and learn Jiangxi Opera more closely, and participating in learning and experiencing Jiangxi Opera personally, which can not only inherit and carry forward Jiangxi Opera, Protect and inherit the excellent traditional culture of our Chinese nation. At the same time, it can also cultivate students' understanding of "cultural diversity" and enhance national pride. Through this article, I hope to find out a more suitable development path and method for the art of Jiangxi Opera on campus, which can make Jiangxi Opera more and more popular in universities, and truly inherit and carry forward this excellent traditional art of Jiangxi.
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Kropova, Daria Sergeevna. "From Greek Tragedy To Opera-Film." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 62–72. http://dx.doi.org/10.17816/vgik7262-72.
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There are some common features between opera (film-opera and theater-opera) and the Greek tragedy. Hereafter a question arises: why theoreticians and artists try to revive tragedy - what is so important in ancient drama that remains actual up to date? The author argues, that musical drama (opera) is the successor to the Greek tragedy, whereas cinema exposes musical and ancient nature of the opera clearer, than theater. The author dwells upon new possibilities of opera: different ways ofcooperation between musical and visual constituents, differences between stage and screen operas; advantages of the film-opera. The screen adaptation of opera is very actual and has special aspects. It is obvious, that opera enriches cinema language and cinema reforms traditional theatrical musical drama. There is a number of works, which are devoted to the problem of the opera- film (mostly written by music experts), but there are no special research on the part of cinema theoreticians. Cinema-opera differs from theater-opera. Cooperation between image and music is defined by specific features of the camera. The opportunities of cinema are wider in some aspects and may advance reform of stage. Integration of arts in opera-film is connected with integration of arts in the Greek tragedy. The Athenian drama, grown up from ancient cults, is connected with ancient rituals. Since the ancient sources of drama find their reflection in film-opera, the latter reaches out these cults.
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Herzfeld, Gregor. "Poe and “Gothic Opera”." Edgar Allan Poe Review 16, no. 1 (April 1, 2015): 1–18. http://dx.doi.org/10.5325/edgallpoerev.16.1.00001.
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Abstract This article seeks to fulfill two aims: The first is a more documentary one, namely, to give a broad overview, including short characteristics, of the rich operatic production following Poe's texts. The second is a more interpretative one, that is, to investigate the reasons that brought Poe to such a privileged position. Given the special outline of his stories, the composers seem to be interested in a kind of sensual operatic experience, which André Schaeffner labeled “theater of fear” with regard to Debussy. Following this lead, the article aims to reconstruct a line of tradition using “Gothic” elements in operas, creating a “Gothic opera,” which can be traced back to Weber's Freischuütz, Marschner's Vampyr, and Wagner's Flying Dutchman. In order to explore what has attracted opera composers to Poe's works for the last hundred years, I study Poe's ideas on literary musicality, the reception of Gothic features in music and opera, and the aesthetic concepts that might be a unifying factor in these different operas. My idea is that there is a certain aesthetics of atmosphere that can be realized especially well in music and opera, respectively. Composers who are fascinated by Gothic conceptions of atmosphere do not bypass Poe as one of its most ingenious masters and readily adapt his texts to operatic works. By way of reading four of the Poe operas more closely, the aesthetics of a fearful musical atmosphere will be exemplified.
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Peng, Na. "Explore the Representation of Heroic Elements in Saving Opera." International Journal of Education and Humanities 13, no. 1 (March 14, 2024): 37–38. http://dx.doi.org/10.54097/zvq7fk58.
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The New Grove Dictionary of Music and The Musician defines the term "saving opera" as "an ambiguous term with a plot development pattern of" one or more people save the protagonist from physical and mental distress ". Salvation opera is especially so because of the word "salvation". Before the French Revolution, the creation "horror" appeared in the field of European literature. With the "Gothic novel" as the main representative, it creates a very mysterious and scary atmosphere for people. It is this "horror" factor that affects the creation of opera. Symatic themes are repeatedly used in operas, such as "Dark", "Cage", "mistreated women", etc. It stimulated the script writer's curiosity and explored under this theme, when the prototype of the rescue opera began to form."Gothic" literature brought rescue opera an unprecedented style of comic opera. However, the rescue opera at this time has not formed its unique artistic value and spiritual significance, and has not yet had a profound impact on the society at that time.
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FRANCISCO, MEGAN. "Battlestar Galactica and Space Opera: Transforming a Subgenre." Journal of the Society for American Music 15, no. 1 (February 2021): 99–123. http://dx.doi.org/10.1017/s1752196320000486.
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AbstractRon Moore, creator and producer of the reimagined Battlestar Galactica television series, outlined his proposed show's aesthetic in a manifesto aptly titled “Naturalistic Science Fiction or Taking the Opera out of Space Opera.” The title of this essay took a stand against the science fiction subgenre of space opera, asserting that it was outdated, overdone, and unrealistic. Moore's vision for his series revolutionized iconic elements of classic television space operas. Though Moore resisted the stigma of space opera, his reimagined series holds an inherent “operaticness”—a term first coined by opera scholar Marcia Citron. Battlestar Galactica has many operatic qualities, particularly in its narrative structure, cinematography, characters, and music. After analyzing Galactica's explicit evocations of opera, this article will explore the operatic features of the soundtrack and evaluate the characters intimately tied to the opera by tracing the tropes of gendered opera as outlined by Susan McClary and Catherine Clément. Through a detailed analysis of three episodes, I will demonstrate how Moore successfully constructed a series that relied deeply upon operatic qualities and resonances.
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Roll, Julia, and Sven-Ove Horst. "The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany." Baltic Screen Media Review 5, no. 1 (December 20, 2017): 90–109. http://dx.doi.org/10.1515/bsmr-2017-0014.
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AbstractToday, opera houses are confronted by new (global) digital media offers that enable people to remain outside the opera house while attending a live-opera, e.g. via livestreamed opera performances in the cinema. This is a challenge for media managers in these fields because they need to find new ways to work with these new opportunities. Within a cultural marketing context, branding is highly relevant. Based on the brand image approach by Kevin Lane Keller (1993), we use a complex qualitative-quantitative study in order to investigate if, and how, the brand images of live-opera performances and live-streamed operas differ between countries and cultural contexts. By comparing Estonia and Germany, we found that the perception of live-opera is rather a global phenomenon with only slight differences. Furthermore, the ‘classical’ opera performance in an opera house is still preferred, with a corresponding willingness to pay, while the live-streamed opera offer may provide a modern touch. The study may help media managers in adapting their brand management to include new digital product offers and to find targeted differentiation strategies for increasingly competitive markets.
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Christoforidis, Michael. "Georges Bizet’s Carmen and Fin-de-Siècle Spanish national opera." Studia Musicologica 52, no. 1-4 (March 1, 2011): 419–28. http://dx.doi.org/10.1556/smus.52.2011.1-4.29.
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At the end of the 19th century, Georges Bizet’s Carmen was the most performed opera with a Spanish theme in the Iberian peninsula. It had made its breakthrough into the Spanish repertoire in the late 1880s, just as debates over the state and future of Spanish opera had intensified and were tied to emerging questions of national identity. In a period when full-length Spanish works (zarzuela grande and opera) were struggling to maintain a foothold in the repertoire, Carmen received numerous operatic productions and several adaptations into the Spanish lyric genre of the zarzuela, accelerating the process of acculturation of Bizet’s opera.The main ideologues of Spanish national opera, Felipe Pedrell, Antonio Peña y Goní and Tomás Bretón all engaged critically with Bizet’s “infamous espagnolade,” and it formed the backdrop to a wave of Spanish nationalist operas, from Bretón’s La Dolores (1895) to Manuel de Falla’s La vida breve (1905). This paper will explore the multi-faceted impact of Bizet’s Carmen in shaping the discourses of Spanish national opera, and its stylistic impact upon the new repertory of Spanish operas that were created at the turn of the 20th century.
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Yazar, İlhan Uğur. "The Influence of Orientalism in the 18th and 19th Century Opera Librettos." Journal of Human Sciences 19, no. 2 (June 21, 2022): 300–310. http://dx.doi.org/10.14687/jhs.v19i2.6283.
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This study aims to trace the change and transformation of meaning and influence of orientalism and in the West from the 18th century through the 19th century in the operas where both content and visual codes were penetrated in the subtlest way, which first evolved geographically and politically, then diplomatically and culturally, and finally the purpose of domination by the West. While opera librettos embodied orientalism visually, the evolving content of orientalism shaped the operas. From this viewpoint, this study discusses the interaction between the East and the West in the 18th century, and the reflection of the historical memory in the performing arts in the 19th century, in which the attempts for domination emerged. In this context, ‘Tamerlano’ Opera by George Frederick Händel and the ‘Abduction from the Seraglio’ Opera by Wolfgang Amadeus Mozart in the 18th century are looked through, and ‘Aida’ Opera by Giuseppe Verdi in the 19th century is construed subsequently.
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Kertesz, Elizabeth. "Ethel Smyth’s The Wreckers: a cosmopolitan voice for English opera." Studia Musicologica 52, no. 1-4 (March 1, 2011): 485–97. http://dx.doi.org/10.1556/smus.52.2011.1-4.33.
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As debates raged about the parlous state of English opera in the first decades of the 20th century, the composer Ethel Smyth saw her opera The Wreckers staged in London. After writing two operas directed towards the German market and in an idiom steeped in the German Romantic tradition, Smyth consciously re-focused her style for The Wreckers, exploring the possibilities of creating opera that might simultaneously find favour in England and appeal to theatres on the continent.This paper will consider The Wreckers as an essay in a cosmopolitan style, that simultaneously employed internationally recognised tropes of Englishness. Written between 1903 and 1905, The Wreckers speaks to Smyth’s interest both in French opera as exemplified by Bizet and Massenet and in elements of verismo. The Wreckers has largely been viewed in the context of English opera and this paper aims to re-situate Smyth’s most significant opera within her cosmopolitan milieu.
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Rathey, Markus. "Setting the Stage: Drama, Libretti and the ‘Invention’ of Opera in Leipzig in the 1680s." Cambridge Opera Journal 29, no. 3 (November 2017): 287–311. http://dx.doi.org/10.1017/s0954586718000010.
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AbstractThe opera house in Leipzig opened its doors in 1693. Operas had been performed in central Germany for quite some time but they were primarily confined to courts. With the founding of the opera, Leipzig, home of an important trade fair, provided an additional musical attraction that could entertain merchants coming for the fair. While the year 1693 marks the beginning of regular opera performances in Leipzig, the preceding decades saw an increased interest in dramatic genres in the realms of both secular and sacred music. The connection between these dramatic works and the opera house are not just circumstantial. Some of the key players in the opera business in Leipzig were involved in these earlier pieces as well, especially the poet Paul Thymich, the first librettist for the Leipzig opera, who provided the majority of texts for the drammi per musica, Singspiels and sacred cantatas.
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van, der. "A song that will not die: Shifting symbolism in the interpretation of two sanguineous operas." Muzikologija, no. 5 (2005): 57–84. http://dx.doi.org/10.2298/muz0505057v.
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Bart?k's well-known opera Duke Bluebeard's Castle has an internationally hardly known parallel in Willem Pijper's opera Halewijn. The Hungarian and the Dutch opera share the same motives; they make use of a historical, a literary and a musical heritage, both from eastern and western Europe, in different ways yet with remarkable similarities. This article is an investigation into the backgrounds of the two operas and into the contexts in which their motives developed - and continue to develop.
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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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Zhichuang, Gao. "Stage and musical culture of Peking opera and Western opera: a cross-cultural comparison." OOO "Zhurnal "Voprosy Istorii" 2022, no. 12-1 (December 1, 2022): 210–23. http://dx.doi.org/10.31166/voprosyistorii202212statyi37.
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The article is devoted to the study of the stage and musical features of Peking and Western opera in a comparative context. It is said that the formation and development of both types of opera art has the following artistic characteristics: Peking opera music is a process of evolution of folk dance, song poetry; Western opera mainly consists of composers who transform the folk musical heritage, religious music into an integral operatic genre. Although Peking and Western operas are diff erent in performance system and artistic creativity, they have something in common in the form of dramatic music and can absorb and develop together.
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Cochran, Zoey M. "Virile Condottieri On-screen and Emasculated Heroes on the Operatic Stage: Portraying Male Protagonists in Fascist Italy (1931-1937)." Revue musicale OICRM 5, no. 1 (April 9, 2018): 63–91. http://dx.doi.org/10.7202/1044444ar.
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Virility was central to Italian fascist ideology and yet the operas composed and performed in Italy during the 1930s systematically subvert the virility of their heroes both dramatically and musically, revealing a more fraught relationship with fascist ideology than has been suggested until now. A comparison between operas by Gian Francesco Malipiero, Ottorino Respighi, Pietro Mascagni, Ildebrando Pizzetti, and Alfredo Casella on the one hand and films by Alessandro Blasetti, Mario Camerini, and Carmine Gallone on the other, all produced in Italy during the mid-1930s, shows that the absence of male protagonists embodying fascist ideals of virility is confined to opera. I suggest that the failure of these operas to present virile male protagonists partly stems from a confrontation between opera and film. Indeed, the emergence of sound films and cinema’s privileged position within the Fascist regime forced opera to redefine itself as an art form in relationship to film.
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Yanko, Yu V. "Performing interpretation of the opera in the spectacles of the Opera Studio of the Kharkiv National I. P. Kotlyarevsky University of Arts in the late 20th – the early 21st century." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 92–107. http://dx.doi.org/10.34064/khnum2-14.07.
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Problem statement. Musical director’s activity of an opera performance is a complex phenomenon and largely unexplored, in particular, the theoretical aspects of the conductor’s interpretation of the opera have not received a sufficient development in domestic musicology yet. In the theoretical aspect not only the role of the conductor-director, but also co-directors of an opera performance – a director, a choirmaster and others who in cooperation create an artistic image of an opera spectacle is insufficiently investigated. The necessity of exploration of practical issues of the opera’s interpretation for further theoretical generalizations, awareness of specifics of the various performing interpretations determines the relevance of the topic of the offered article. The recent researches and publications by O. Menkov, P. Lando, G. Tkachenko and V. Makarenko emphasize the need of creation of the theory of collective performing, in particular, of the opera works, as well as the conductor’s role as a head of staging process. Admitting all the above, we insist also the necessity of developing a shared position by the all co-creators of the performance (a conductor, a stage director, a choirmaster, a ballet master, a painter and others). The purpose of the study – to reveal the specifics of the creation of the performing interpretation in student’s opera theater on the example of the work of opera studio of the Kharkiv National University of Arts named after I. P. Kotlyarevsky. The methodology of the research includes the interpretive analysis, chosen for understanding and explanation the specifics of the opera performance, as well as retrospective historical observations over the working process in Opera Studio of Kharkiv University of Art on the cusp of the 20th and 21st centuries with followed by generalization. Results. As the research material, the creative activity of the opera studio’s team under the leadership of the People’s Artist of Ukraine, professor of Solo Singing and Opera Training Department of Kharkiv National University of Arts was chosen. During the period since 1989 year to present time about 30 operas were staged in Opera Studio under the leadership of the Maestro. Co-organization persons of the opera studio’s performances were the stage directors I. Ryvina, O. Kolomiytsev, A. Kaloyan, the choirmasters – Honored Arts Workers of Ukraine professor N. Byelik-Zolotaryova (in performances 1989–2008, from 2013 and to present day) and associate professor I. Verbitska (during the period from 2009 to 2012), which also was executed the functions of the conductor of performances of student’s opera theater. The concertmasters headed by professor L. Kucher carried out studying the musical material of operas by students. According to our explorations, the principles of selection of operas for production in the Opera Studio became: art value of the chosen sample; presence of performance stuff among undergraduates of Department of the Solo Singing to create the main and secondary characters; vocal possibilities of young performers (because the opera studio is the student’s opera theater); the material base for creation of sceneries, tailoring the costumes etc.; demand of the chosen sample in opera theaters. For identification of the specifics of production process in student’s opera theater two representative samples were chosen: the production versions of the operas “The love for three oranges” by S. Prokofiev (18.12.1989, the stage director I. Ryvina, the choirmaster N. Byelik-Zolotaryova, the painter T. Medvid) and “Dido and Aeneas” by H. Purcell (19.11.2001, the stage director O. Kolomiytsev, the head of the opera’s staging I. Ryvina, the choirmaster N. Byelik-Zolotaryova, the painter K. Kolesnichenko), under maestro A. V. Kalabukhin’s conducting. The choice of these opera samples by Kharkiv University Opera Studio brightly demonstrates the essence of its repertoire policy, which is concluded in selection for staging the operas of different styles and directions. The performing conception of the opera “The love for three oranges” was built, on the one hand, on the understanding of this musically-scenic opus as the embodiment of the forms of “conditional theater”, on the other hand – as solution to the problem about essence of art, the theatricalized answer to the question, which it should be. The staging of the first English opera “Dido and Aeneas” by H. Purcell was directed on comprehension and acquisition by students of Baroque stylistics in an opera genre. Conclusions. As features of the staging process in the opera studio, it should be noted, at first, the synthesis of creative and pedagogical orientation in the activities of the producers of performances. So, in the student opera the conductor on rehearsals not only builds the structure of the opera whole, seeking an ensemble between performers-soloists, chorus and orchestra, but also is at work with students upon the technique of sound articulation (breathing, diction, phrasing), upon the emotional and meaning content of music. The rehearsals of young singers with stage directors also have a clear pedagogical orientation, presupposing detailed explanations of both the general line of development of the image and the specific situational details of the behavior of the character in different stages of the opera. An integral part of the artistic and pedagogical process, when creating the performance of the opera studio, the work of professional collectives is: choir and orchestra, which helps the student to enter the atmosphere of a real opera art. In the above successful performances of the Opera Studio of Kharkiv National University of Arts, the choir sound (choirmaster N. Byelik-Zolotaryova) featured a magnificent ensemble, a variety of dynamics, expressiveness of the word, intelligent emotionality, spirituality. Under the direction of A. Kalabukhin and I. Verbitska, the orchestra supported young performers by naturally way, and in solo instrumental episodes it showed the timbre saturation and completeness of expression of a musical thought. In the process of ground work on the performance, one should pay attention to certain organizational moments on which its success depends, namely, the drawing up of a clear schedule of rehearsals depending on the employment of students at lectures and the availability of the own premises for orchestral and stage rehearsals and performances. Given the sufficiently limited number of such rehearsals before the premiere, as well as the pedagogic orientation of student opera performance, it is extremely important to coordinate the actions of all the co-directors of the performances. A conductor, a director, a choirmaster, a painter, a costume designer and others have to adhere to the general artistic idea of the work, which clarified by the way of preliminary joint discussion.
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Monod, Paul. "The Politics of Handel's Early London Operas, 1711–1718." Journal of Interdisciplinary History 36, no. 3 (January 2006): 445–72. http://dx.doi.org/10.1162/002219506774929746.
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Athough aristocratic Whigs were the primary supporters of opera during the last years of Queen Anne's reign, Whig publicists launched a series of attacks against Italian opera that revealed social and ideological tensions within the party. The Earl of Shaftesbury, an ardent Whig, gave intellectual weight to the Whig aristocratic taste for opera, but proponents of the popular theater remained unconvinced that this foreign art form could be reconciled with Whig principles. Handel's operas reflected, as well as responded to, these debates.
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Rachmawati, Yul, and Tangguh Okta Wibowo. "KENIKMATAN IRONIS BAGI MANTAN PREMAN DI YOGYAKARTA SETELAH MENONTON SINETRON PREMAN PENSIUN." Jurnal Komunikasi 12, no. 2 (September 9, 2018): 111–20. http://dx.doi.org/10.21107/ilkom.v12i2.4513.
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ABSTRACTThis study attempts to explore how the reception of the audiences after watching Preman Pensiun(PP) soap opera, a comedy soap opera by Aris Nugraha which has aired up to three series. Theproblematization of this study comes when PP soap opera raises a question, how do audiences’response in the city other than Bandung? This study tries to understand how receptive thugs whoare retired or ex-thugs after watched PP soap operas in their daily lives. For data collection,researchers conducted in-depth interviews after approaching three informants as former thugs in Yogyakarta. The result of this study is the communication of former thugs in daily life after they have constructed and reproduced values adopted from PP soap opera. Last, PP soap opera givespleasure for the ex-thugs in providing entertainment, but also it gives ironic pleasure and paradoxwhen they feel away with the pleasure.Keywords: daily lives of ex-thugs; ironic pleasure; Preman Pensiun soap opera; reception of thugs
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Donington, Robert. "Opera as Opera Is." Musical Times 128, no. 1732 (June 1987): 314. http://dx.doi.org/10.2307/1193723.
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McEwen, Mitch, and Marcelo López-Dinardi. "House Opera | Opera House." ARQ (Santiago), no. 91 (December 2015): 26–31. http://dx.doi.org/10.4067/s0717-69962015000300004.
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Tomof, Kiril. "Italian opera in Stalin’s Soviet Union." Contemporary Musicology, no. 3 (2019): 107–49. http://dx.doi.org/10.56620/2587-9731-2019-3-107-149.
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This article explores the role of Italian opera in Soviet musical life from the end of World War II through the beginning of the Cold War. Italian opera provided inspiration for Soviet musical careers, exemplars against which Soviet musical development was measured, and simple musical enjoyment for Soviet audiences. The article analyzes two archival source bases that shed light on these dynamics. One source is box office data from the opera and ballet theaters in Moscow, Leningrad, and the Soviet Union's national republics. Analysis of this data demonstrates that operas by Italian composers provided a solid backbone of consistency in opera programming against which the tumultuous pursuit of a distinctively Soviet, multinational opera played out. Some especially famous operas were also so popular that they kept audiences coming to the theaters. The other archival source is bureaucratic correspondence regarding an effort to recruit Italian opera pedagogues to visit the USSR’s conservatories. Analysis of the correspondence uncovers Soviet bureaucrats’ insecurity about cultural development just as Soviet influence was expanding into Eastern Europe. It also reveals Soviet perceptions of Italian musical elites facing the complexities of the Cold War division of Europe. The article contributes to our understanding of the connection between performances of Italian opera and the construction of a Soviet musical culture that placed a very high value on opera as an advanced form of musical expression. It reveals that even during a period often considered the most insular in Soviet history, Soviet musicians and cultural administrators were engaging with their counterparts in the West. Finally, it demonstrates that the distinction between “international” and “transnational” cultural exchange that is often key to the way scholars of globalization analyze interactions that cross national borders is not as important in a Soviet context in which society was essentially embedded in the state bureaucracy.
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Neville, Don. "Opera or ortorio?: Metastasio's sacred opere serie." Early Music XXVI, no. 4 (November 1998): 596–608. http://dx.doi.org/10.1093/earlyj/xxvi.4.596.
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Neville, D. "Opera or oratorio?: Metastasio's sacred opere serie." Early Music 26, no. 4 (November 1, 1998): 596–607. http://dx.doi.org/10.1093/em/26.4.596.
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Nicholls, David. "Virtual Opera, or Opera between the Ears." Journal of the Royal Musical Association 129, no. 1 (2004): 100–142. http://dx.doi.org/10.1093/jrma/fkh004.
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A number of authors, including John Covach and especially Edward Macan, have investigated the links between art music and progressive rock. This article builds on and extends such work by positing, defining, discussing and dissecting a hybrid genre I term virtual opera. Exemplified by such albums as The Who's Tommy (1969) and Quadrophenia (1973), Genesis's The Lamb Lies Down on Broadway (1974) and Frank Zappa's Joe's Garage (1979), each of which is subjected to detailed examination, virtual operas find their ideal site of performance between the ears of individual listeners, rather than on stage or screen. In each case, the aural and visual dimensions of the albums combine to create multi-layered musico-dramatic narratives, freed from the usual performance constraints associated with either opera or rock.