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Relevant bibliographies by topics / Los Angeles Opera

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Academic literature on the topic 'Los Angeles Opera'

Author: Grafiati

Published: 27 February 2023

Last updated: 27 February 2023

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Journal articles on the topic "Los Angeles Opera"

1

Kreuzer, Gundula. "Butterflies on Sweet Land? Reflections on Opera at the Edges of History." Representations 154, no. 1 (2021): 69–86. http://dx.doi.org/10.1525/rep.2021.154.6.69.

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Taking inspiration from Kalle Pihlainen’s philosophy of historical representation, this essay explores some of the ways in which operatic performance can harness the ambiguity between the genre’s historicist and presentist implications to mobilize not just the difference of the past from the present but also their connection. The essay focuses on two recent examples—Heartbeat Opera’s Butterfly (New York, 2017) and The Industry’s Sweet Land (Los Angeles, 2020)—whose unconventional presentations critically engage such temporal complexity. Moving beyond the proscenium and crucially involving the music in their directorial visions, both couch history’s grip on the present in terms of the consequences of past actions. By self-staging their differences from mainstream opera-house productions, moreover, both explore whether opera can still aspire to sociopolitical relevance today. Though Butterfly tackles a controversial repertory staple, while the immersive and site-specific Sweet Land enlists the operatic genre itself to probe various modes of historical imagination, both expose continuities of historical racism in contemporary US culture. Their blurring of lines between past and present prevents audiences from confining racist positions to the operas’ allegedly historical plots: instead of presenting past alterity, the productions reveal transhistorical semblance. Opera thus becomes a medium for performing the multidimensionality and open-endedness of history.

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Rutherford-Johnson, Tim. "PATTERNS OF SHIMMER: LIZA LIM'S COMPOSITIONAL ETHNOGRAPHY." Tempo 65, no. 258 (2011): 2–9. http://dx.doi.org/10.1017/s0040298211000349.

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In recent years Liza Lim has emerged definitively as one of the finest composers of her generation. A series of major works, including Ecstatic Architecture, commissioned for the inauguration of the Walt Disney Concert Hall in Los Angeles, and her third opera, The Navigator have confirmed her possession of a voice that is versatile, evocative, deeply expressive and uncompromisingly modern.

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Anderson, Martin. "London, Royal Festival Hall: Shostakovich: Prologue to ‘Orango’." Tempo 67, no. 266 (2013): 83–84. http://dx.doi.org/10.1017/s0040298213000971.

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The music of Shostakovich's abandoned opera Orango wasn't itself such a surprise: the première, given in Los Angeles in December 2011, was recorded live and released soon after on a Deutsche Grammophon CD (0289 479 0249 2). But experiencing it in the flesh – at its European première in the Royal Festival Hall on 16 May – revealed the music all over again and left at least this listener slack-jawed in astonishment at the profligacy of Shostakovich's genius.

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Minin, Oleg. "Russian Artists in the United States." Experiment 20, no. 1 (2014): 229–59. http://dx.doi.org/10.1163/2211730x-12341264.

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Charting Nicholas Remisoff’s artistic legacy during his California period, this essay explores his contributions to the cultural landscape of the state and emphasizes his work on live stage productions in San Francisco and Los Angeles in the early 1930s and 1940s. Delineating the critical reception of Remisoff’s work in opera, ballet and theatre in these cities, this essay also highlights the artist’s interactions and key collaborations with other Russian and European émigré artists and reflects on the nature of Remisoff’s particular affinity with Southern California.

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Nisnevich, Anna. "Simon Morrison, Russian Opera and the Symbolist Movement. Berkeley and Los Angeles: University of California Press, 2002. 374 pp." Cambridge Opera Journal 15, no. 2 (2003): 199–206. http://dx.doi.org/10.1017/s0954586703001691.

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FADER, DON. "OPERA AND POLITICS IN THE ANCIEN RÉGIME, WILLIAMS ANDREWS CLARK MEMORIAL LIBRARY, UNIVERSITY OF CALIFORNIA, LOS ANGELES, 27–28 FEBRUARY 2009." Eighteenth Century Music 7, no. 1 (2010): 168–70. http://dx.doi.org/10.1017/s1478570609990753.

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Leicester, H. Marshall. "Discourse and the film text: Four readings of Carmen." Cambridge Opera Journal 6, no. 3 (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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Willson, Rachel Beckles. "Paris, Théâtre du Châtelet: Péter Eötvös's ‘Angels in America’." Tempo 59, no. 232 (2005): 74–75. http://dx.doi.org/10.1017/s0040298205210173.

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Tony Kushner's play Angels in America is now secure in the canon of 20th-century US (and probably world) drama, but its subject-matter has not often been explored in the opera house. The play centres around questions about racial identity, connubial relationships and politics (that's all very operatic, of course); but also a type of intolerance and spiritualism that is peculiar to parts of the USA; and, most dramatically and provocatively, homosexual partnerships and AIDS. Aside from the historical examples provided by certain operas by Benjamin Britten (among others), the only operas on gay themes known to this writer are Matthias Pintscher's Thomas Chatterton (1994–97), Stewart Wallace's Harvey Milk (premièred 1995), Paula M. Kimper's Patient and Sarah (premièred 1998) and Estele Pizer's Perverse (premièred 2002) – and none addresses AIDS. So Péter Eötvös's new opera, to a libretto by Mari Mezei, directed by Philippe Calvario and premiered under the composer's baton on 29 November, seems nothing if not an intervention.

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Rickards, Guy. "New Releases of music by Women Composers." Tempo 59, no. 231 (2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.

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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1; Krets for orchestra9; Respiro for clarinet and tape2; Zeugma for ensemble3; Toreuma for string quartet4; Verto for voice, cello & percussion5,6,7; Emutatio for voice, chorus and orchestra5,8,9. 1Kyberia, 2Lars Hilde (cl), 3Affinis Ensemble, 4Arditti String Quartet, 5Berit Ogheim (voice), 6Lene Grenager (vc), 7Cathrine Nyheim (perc), 8Oslo Chamber Choir, 9Norwegian Radio Orchestra c. Christian Eggen. Aurora ACD 5021.TAILLEFERRE: Works for piano. Cristiano Ariagno (pno). Timpani 1C1074.‘Sweetly I Rejoice: Music based on Songs and Hymns from Old Icelandic Manuscripts’ by HILDIGUNNUR RÚNARSDÒTTIR, MIST THORKELSDÒTTIR, THÒRDUR MAGNÚSSON, JÒN GUDMUNDSSON, ELÍN GUNNLAUGSDÒTTIR and STEINGRÍMUR ROHLOFF. Gríma Vocal Ensemble. Marta Gudrún Halldórsdóttir (sop), EThos String Quartet. Instrumental Ensemble c. Gunnstein Òlafsson. Smekkleysa SMK31 (2-CD set).‘I Start My Journey’: Sacred music by Anon, SMÁRI ÓLASON, ELÍN GUNNLAUGSDÒTTIR, STEFÁN ÓLAFSSON, JAKOB HALLGRIMSSON, BARA GRÍMSDÒTTIR, HRÒDMAR INGI SIGURBJÖRNSSON, GUNNAR REYNÍR SVEINSSON. Kammerkor Sudurlands c. Hilmar Örn Agnarsson. Smekkleysa SMK17.‘New Zealand Women Composers’. DOROTHY KER: The Structure of Memory. JENNY McLEOD: For Seven. GILLIAN WHITEHEAD: Ahotu (O Matenga). ANNEA LOCKWOOD/Lontano: Monkey Trips (1995). Lontano c. Odaline de la Martinez. LORELT LNT116.SPAIN-DUNK: Phantasy Quartet in D minor. BEACH: String Quartet in one movement. SMYTH: String Quartet in E minor. Archaeus String Quartet. Lorelt LNT114.SAARIAHO: Du cristal…a la fumée1–3; Nymphaea4; Sept Papillons2. 1Petri Alanko (alto fl), 2Anssi Karttunen (vlc), 3Los Angeles PO c. Esa-Pekka Salonen, 4Kronos Quartet. Ondine ODE 1047-2.

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Fenlon, Iain. "Ellen Rosand Opera in Seventeenth-Century Venice: The Creation of a Genre. Berkeley-Los Angeles-Oxford: University of California Press, 1991. 840 pp. $125." Renaissance Quarterly 47, no. 1 (1994): 220–22. http://dx.doi.org/10.2307/2863148.

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Dissertations / Theses on the topic "Los Angeles Opera"

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Leung, Pak Hei. "Nocturnal Angels." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1615998351567249.

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Branstetter, Leah Tallen. "Angels and Arctic Monkeys: A Study of Pop-Opera Crossover." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1249493305.

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ANGELO, MARIA DE NAZARETH EICHLER SANT. "LO SVILUPPO DEL NUOVO AMORE ALLA VITA NEL RINASCIMENTO VENETO E LA SUA AFFERMAZIONE NELL OPERA TEATRALE DI ANGELO BEOLCO (C. 1494-1542) E NEL TRATTATO DI ALVISE CORNARO (1477-1566)." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=21451@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>L analisi dei ideali di vita del commediografo Angelo Beolco e del patrizio Alvise Cornaro alla luce dei giudizi etico-pratici raccomandati dai poeti e filosofi antichi. L indagine s incentra nello sviluppo di um nuovo amore per la vita che si scopre nel impegno con i diritti e l autonomia della vita terrena. Le idee e i valori classici, introdotti nella vita cultura attraverso gli studia humanitatis, si sono metti d accordo con i nuovi modi di sentire e pensare del Rinascimento Italiano. Quindi, l analisi si dedica anche alla cultura più vicina di Beolco e Cornaro: la campagna veneta e i palazzi dei patrizi veneziani.<br>Análise dos ideais de vida do comediógrafo Angelo Beolco e do patrício Alvise Cornaro à luz dos juízos ético-práticos recomendados pelos poetas e filósofos da Tradição Clássica. A investigação se concentra na emergência de um novo amor pela vida que se manifesta no compromisso com os direitos e autonomia da vida terrena. As ideais e valores clássicos, introduzidos na vida cultural mediante os estudos humanísticos, se combinam com novas formas de sentir e pensar, próprias do período do Renascimento Italiano. Assim, a presente análise investiga o contexto cultural mais próximo de Beolco e Cornaro: a campagna vêneta e as moradas patrícias de Veneza.

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Clair-Pondard, Sylvie. "L'activité lyrique en province pendant l'entre-deux guerres : le triangle Angers, Nantes, Rennes." Rennes 2, 1996. http://www.theses.fr/1996REN20003.

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La présente thèse reconstitue la vie lyrique angevine, nantaise et rennaise de l'entre-deux-guerres. Nous avons étudié la politique culturelle des cités, le fonctionnement interne des institutions et les acteurs de cette vie lyrique : directeurs, chefs d'orchestre et musiciens, cantatrices et chanteurs, choristes, danseurs, figurants, techniciens. Nous avons ensuite abordé le répertoire - opéra, opéra-comique, opérette - puis la réception de ce dernier par la presse et le public. Se dresse ainsi tout un tableau de la vie lyrique angevine, nantaise et rennaise de l'entre-deux-guerres; tableau, qui au-delà de la simple restitution, pose la question du goût musical en province et de la diffusion de ce goût<br>The present thesis reconstitutes the lyric life in Angers, Nantes and Rennes between the wars. First we studied the cultural policy in the cities, the internal functioning of the institutions and the actors of this lyric life: directors, conductors and musicians, professional singers, chorus singers, dancers, walkers-on and technicians. Then we started on the repertoire - opera, opera comic, operetta - and on its reception by the press and the audience. Then, it is the reality of the Angers, Nantes, Rennes lyric life between the wars that can be drawn up; a reality that, more than the simple restitution tackles the problem of musical taste in the provinces as well as its diffusion

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Yapp, Francis Anthony. "Les Prétentions du Violoncelle: The Cello as a Solo Instrument in France in the pre-Duport Era (1700-1760)." Thesis, University of Canterbury. School of Music, 2012. http://hdl.handle.net/10092/7464.

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When Hubert Le Blanc published his Défence de la basse de viole in 1741, the cello had already established itself as a solo instrument in Parisian musical life. Several cellists, both French and foreign, had performed to acclaim at the Concert Spirituel, and the instrument had a rapidly expanding repertoire of published solo sonatas by French composers. Among the most significant of the early French cellist-composers were Jean Barrière (1707-47), François Martin (c. 1727-c. 1757), Jean-Baptiste Masse (c. 1700-1757), and Martin Berteau (1708/9-1771). Their cello sonatas are innovative, experimental, often highly virtuosic, and, in spite of unashamedly Italianate traits, tinged with a uniquely French hue. Yet notwithstanding its repertoire and the skill of its performers, this generation of French cellist-composers has remained undervalued and underexplored. To a large extent, this neglect has arisen because a succeeding generation of French cellists of the late eighteenth century - the Duport brothers, Jean-Pierre (1741-1818) and Jean-Louis (1749-1819), the Janson brothers, Jean-Baptiste-Aimé (1742-1823) and Louis-Auguste-Joseph (1749-1815), and Jean-Baptiste Bréval (1753-1823) - are widely acknowledged as the creators of the modern school of cello playing. This dissertation focuses exclusively on the early French cello school. It seeks to examine the rise of the solo cello in France within its socio- cultural and historical context; to provide biographies of those com- prising the early French cello school; to explore the repertoire with particular emphasis on the growth of technique and idiom, detailing features that may be described as uniquely French, and to assert the importance of and gain recognition for this school, not as a forerunner of the so-called Duport school but as an entity in itself.

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Princ, Břetislav. "První verze d'Albertovy opery Tiefland a její pražská premiéra." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-310430.

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This thesis reconstructs the Prague premiere of the opera Tiefland by Eugen d'Albert and describes how this performance differed from earlier ones. The sources cited are original materials from the archives of the National Theatre including musical scores and references from the contemporary press. The thesis also provides an overview of opera premieres and the repertory of the Neues Deutsches Theater in the period 1888-1910 and details of d'Albert's visit to Prague before the time of the Tiefland premiere.

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Books on the topic "Los Angeles Opera"

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Alm, Irene. Catalog of Venetian librettos at the University of California, Los Angeles. University of California Press, 1992.

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Alm, Irene. Catalog of Venetian librettos at the University of California, Los Angeles. University of California Press, 1993.

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Irene, Alm, ed. Venetian opera libretti: A microfilm of Raccolta de'drammi, a collection of 1,286 opera libretti held by the University of California, Los Angeles. Research Publications International, 1993.

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Fleischman, Sid. Disappearing act. Greenwillow Books, 2003.

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Osborne, Nigel. Hell's angels: An opera in two acts. Universal Edition, 1986.

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Poizat, Michel. The angel's cry: Beyond the pleasure principle in opera. Cornell University Press, 1992.

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Underhill, Jeff. The ballad of Angel's alley: A pocket opera. Yackandandah Playscripts, 1989.

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8

Angels' bane. Berserk Productions, 2012.

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1962-, Maxwell Glyn, and Milton John 1608-1674, eds. Seven angels. Oberon Books, 2011.

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Angels and monsters: Male and female sopranos in the story of opera, 1600-1900. Yale University Press, 2004.

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Book chapters on the topic "Los Angeles Opera"

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Busch-Salmen, Gabriele, and Walter Salmen. "Der Cophta. Als Oper angelegt. Der Groß-Cophta." In Goethe Handbuch. J.B. Metzler, 2008. http://dx.doi.org/10.1007/978-3-476-00032-3_22.

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Svolacchia, Sara. "«Amour qui résonne en mon âme». Dante tra traduzione e memoria poetica in Jacqueline Risset." In L'illustre volgare. Società Editrice Fiorentina, 2022. http://dx.doi.org/10.35948/dilef/978-88-6032-685-0.09.

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In questo articolo si tenta di indagare il rapporto tra traduzione e scrittura poetica nell’opera di Jacqueline Risset e in particolare nella raccolta L’Amour de loin del 1988. Traduttrice della Commedia in francese, Risset opera nella propria poesia una riscrittura di alcuni motivi danteschi (la donna angelo, qui trasformata in uomo; la topica del primo incontro che passa per la vista; il tema dell’amore da lontano) coniugata con una pratica citazionale in cui i versi di Dante appaiono di volta in volta tradotti, commentati, reinventati.

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"11. Old Competitors,New Opera Companies in 1925." In Making Music in Los Angeles. University of California Press, 2019. http://dx.doi.org/10.1525/9780520933835-013.

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Lo, Patrick, Robert Sutherland, Wei-En Hsu, and Russ Girsberger. "Melisandra Dunker, Music Librarian, Los Angeles Opera." In Stories and Lessons from the World's Leading Opera, Orchestra Librarians, and Music Archivists, Volume 1: North and South America. Emerald Publishing Limited, 2022. http://dx.doi.org/10.1108/978-1-80117-652-120221009.

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Chieffo, Monica C. "“Uber opera”: the politics of site-specific mobile opera in Los Angeles." In Experiencing Music and Visual Cultures. Routledge, 2021. http://dx.doi.org/10.4324/9780429198366-10.

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"2. “The Largest and Most Enthusiastic Audience That Ever Has Assembled in the City”: The National Opera Company of 1887." In Making Music in Los Angeles. University of California Press, 2019. http://dx.doi.org/10.1525/9780520933835-004.

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"Dieci opere." In Angelo Di Castro. Quodlibet, 2022. http://dx.doi.org/10.2307/j.ctv2gvdn7r.7.

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"Regesto delle opere." In Angelo Di Castro. Quodlibet, 2022. http://dx.doi.org/10.2307/j.ctv2gvdn7r.9.

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"4. The Music of Intuitive Angels: The Magic Flute." In A Season of Opera. University of Toronto Press, 2000. http://dx.doi.org/10.3138/9781442670471-005.

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Meglin, Joellen A. "The Remaking of the Choreographer." In Ruth Page. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190205164.003.0013.

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The turn that Page took away from ballet Americana and toward European opera with her “opera-into-ballet” La Revanche (Revenge, 1951) was a pragmatic and strategic one, related to postwar politics, anti-American sentiment in French cultural circles, and indirectly the cosmopolitan climate of the Marshall Plan for European recovery. She and Fisher understood that a political as well as an artistic choreography was required for their cosmopolitan project. With her adaptation of Giuseppe Verdi’s 1853 opera, Il Trovatore, Page turned to European Romanticism and timeless themes of obsession, revenge, and compassion, appealing to a sense of enduring European legacies and traditions. Music collaborator Isaac Van Grove’s view of opera’s kinesthetic roots in popular dance forms and Page’s own lived experience of choreographing countless operas in Chicago led to a theory of “re-creation” in which the body “sang” the story. She set Revenge on Boris Kochno’s newly resurrected Ballets des Champs-Élysées—a company the very spirit of which was considered to be French. Page/Fisher, as a result of his recent legal successes, were able to play the role of “angels” and help the financially floundering company. For the ballet’s design, they employed Spanish visual artist Antoni Clavé, whose bold, avant-garde sets for Roland Petit’s Carmen had catapulted him to fame. Revenge was a triumph largely because of Page’s effective encapsulation of the narrative, her dramatic rendering of the characters, and Clavé’s striking designs. The ballet succeeded in solidifying her status as a cosmopolitan choreographer in the international ballet world.

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