Academic literature on the topic 'Mad scenes in opera'
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Journal articles on the topic "Mad scenes in opera"
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Seidel, G. "Mad scenes in 19th century opera." Australian and New Zealand Journal of Psychiatry 34, s1 (2000): A61. http://dx.doi.org/10.1080/000486700763.
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Erfurth, A., and P. Hoff. "Mad scenes in early 19th-century opera." Acta Psychiatrica Scandinavica 102, no. 4 (2000): 310–13. http://dx.doi.org/10.1034/j.1600-0447.2000.102004310.x.
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PUGLIESE, ROMANA MARGHERITA. "The origins of Lucia di Lammermoor's cadenza." Cambridge Opera Journal 16, no. 1 (2004): 23–42. http://dx.doi.org/10.1017/s0954586704001776.
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This article addresses the long-controversial dating of the cadenza with flute in the mad scene of Donizetti’s Lucia di Lammermoor. New manuscript sources indicate that the famous cadenza dates not from the first half of the nineteenth century, as musicologists had assumed, but from 1889, when it was added to the opera for Nelly Melba’s performances at the Palais Garnier, Paris. The cadenza was most likely composed by Melba’s teacher Mathilde Marchesi to showcase the light voice and virtuosic technique of her student. Once introduced, the cadenza with flute decisively altered the impact and reception of the mad scene. In the first two decades after the opera’s 1835 première, the mad scene had not been particularly popular, perhaps because it contravened contemporary Italian taste for mad scenes featuring docile, virginal heroines. By the fin de siècle, however, the mad scene was regarded as the highlight of the opera, the excesses of the cadenza resonating with the new vogue for violent and hysterical heroines on the operatic stage.
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Meyer, Stephen. "Terror and Transcendence in the Operatic Prison, 1790–1815." Journal of the American Musicological Society 55, no. 3 (2002): 477–523. http://dx.doi.org/10.1525/jams.2002.55.3.477.
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Abstract Act 2, scene 1 of Beethoven's 1814 version of Fidelio and the recitative and aria for Amenaïïde from Rossini's Tancredi are the only prison scenes from the period 1790–1815 that are still a part of the performing repertory, but prison scenes were a common feature in operas from these decades. The revolutionary and post-revolutionary period was also a time in which ideas about incarceration were undergoing profound changes—changes that are reflected on the operatic stage. This essay examines the political and aesthetic meanings of the operatic prison scene, providing a broader context for the revisions that Beethoven made to Florestan's recitative and aria. The famous oboe melody that introduces the final section of this scene marks both a turning point in the drama and a self-reflexive moment in the history of opera, in which the dramaturgy of the prison intersects with the philosophy of musical idealism. In this sense, the passage from terror to transcendence is not merely a common topos of prison scene plots; it is also a paradigm for composition, reception, and musico-dramatic meaning in early nineteenth-century opera.
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du Quenoy, Paul. "Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Siècle Russia." Revolutionary Russia 28, no. 1 (2015): 77–79. http://dx.doi.org/10.1080/09546545.2015.1037108.
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Edmondson, Linda. "Anna Fishzon, Fandom, Authenticity, and Opera - Mad Acts and Letter Scenes in Fin‑de‑Siècle Russia." Cahiers du monde russe 57, no. 4 (2016): 928–31. http://dx.doi.org/10.4000/monderusse.10018.
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PORISS, HILARY. "A madwoman's choice: aria substitution in Lucia di Lammermoor." Cambridge Opera Journal 13, no. 1 (2001): 1–28. http://dx.doi.org/10.1017/s0954586701000015.
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Shortly following the premiere of Lucia di Lammermoor in 1835, performances of this opera often featured a strange substitution: sopranos performed the rondò-finale from one of Donizetti's earlier operas, Fausta, in place of the now-famous mad scene aria. At least four productions were affected and this alteration was performed by some of the most famous sopranos of the time. This article explores the brief tradition of altering the mad scene by looking carefully at its origin and subsequent appearances, discussing its effects on the experience of hearing Lucia di Lammermoor as a whole, and investigating the possible reasons why this substitution lasted only for a brief period of time.
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TÜRKMENOĞLU, Ömer, and Dilek ALİYAZICIOĞLU. "A STUDY ABOUT THE "ARSHIN MAL ALAN" OPERETTA." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 2 (2021): 287–304. http://dx.doi.org/10.46291/zfwt/130215.
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Azerbaijan became acquainted with opera at the beginning of the twentieth century thanks to the tours organized by Russian and European operas to Baku. The intense admiration of the Azerbaijani people led Azerbaijani composers to produce works in opera style. In that period, Üzeyir Hacıbeyli combined his knowledge of authorship, historiography, scientists, education, journalism and musicians in the art of opera, based on the impact of the strong and aesthetic touch of art on people, and laid the foundations of opera in the East by composing the mugam opera "Leyli and Mecnun". In the revolution and democracy struggle that started in Azerbaijan, the artists and intellectuals of the period started an enlightenment movement through their works. On this occasion, Hacıbeyli turned from the opera style to the operetta style. Operetta is a musical / dialogue stage piece that takes its subject from social problems and aims to make the audience laugh while making them think. Hacıbeyli compiled the topics of his operettas from the reactionary perspectives that prevent his people from adopting modern life, offered solutions through his works and gave new and modern perspectives to his audience. The "Arşın Mal Alan" has gained a worldwide reputation thanks to the musical structure that it has created by carefully synthesizing the elements of the Azerbaijani national music style, folk mahnis, dances and mugam traditions with the European operetta style. This work, which is about the tradition of arranged marriage rebelled by the new generation, has been translated into more than sixty languages worldwide thanks to its musical and sociological success and has been adapted to the big screen. Considering that it is a very popular work in our country and in other countries where it has been staged and is of such importance for the Turkish world opera literature, the work does not take place in our opera scenes enough and it is noteworthy that the number of publications such as articles, theses and books about it in Turkey. With this study, it is thought to contribute to the literature. In this article, the history of Azerbaijan operetta, the life of Üzeyir Hacıbeyli and the operetta "Arşın Mal Alan" are examined. Keywords: Azerbaijan Opera, Üzeyir Hacıbeyli, Operetta, Opera, Arşın Mal Alan
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Taruskin, Richard. "Crowd, mob, and nation in Boris Godunov: What did musorgsky think, and does it matter?" Studia Musicologica 52, no. 1-4 (2011): 123–42. http://dx.doi.org/10.1556/smus.52.2011.1-4.9.
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When Musorgsky revised his opera Boris Godunov in 1871–1872 as a condition for its eventual performance in 1874, he made many changes that went far beyond what the Imperial Theaters demanded of him. Among these changes was the composition of a crowd scene outside Moscow, in which the rebellious populace hails the Pretender, to replace a crowd scene at Red Square in which a submissive, hungry crowd beg Boris for bread. The original scene came, like the rest of the libretto, directly from Pushkin’s eponymous play. The new scene reflected a new view of the historical events, and Musorgsky wrote his own text for it. The two scenes are ideologically at odds, particularly as regards their view of the Russian nation in relation to the Russian people. Moreover, the two scenes share the episode of the Holy Fool and the thieving boys, which Musorgsky transferred from the one score to the other. Obviously, Musorgsky regarded them as incompatible within a single production and thought he had made conflating them impossible. And yet, at the Bolshoy Theater in 1939, the two scenes were indeed played that way, inconsistencies and redundancies be damned. The Bolshoy production (which became widely known through recordings and film) might be written off, the way we tend to write off the art of the Stalinist era, as a politically motivated anomaly. But other productions, including one in San Francisco in 1992, and one that was mounted in 2010 at the Teatro Regio in Torino, have included both scenes without any such evident motivation, possibly because the Bolshoy production is now regarded by some as canonical. Is the historiographical contradiction involving our theme of Opera and Nation to be regarded as a blemish? If not, what considerations can be seen to outweigh it? Can Musorgsky’s political ideas be deduced from the work in which we assume they are embodied? And if they can be, should they be regarded as an aspect of the work that performers need respect?
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Taruskin, Richard. "Crowd, Mob, and Nation in Boris Godunov: What Did Musorgsky Think, and Does It Matter?" Journal of Musicology 28, no. 2 (2011): 143–65. http://dx.doi.org/10.1525/jm.2011.28.2.143.
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When Musorgsky revised his opera Boris Godunov in 1871–72 as a condition for its eventual performance in 1874, he made many changes that went far beyond what the Imperial Theaters demanded of him. Among these changes was the composition of a crowd scene outside Moscow, in which the rebellious populace hails the Pretender, to replace a crowd scene at Red Square in which a submissive, hungry crowd begs Boris for bread. The original scene came, like the rest of the libretto, directly from Pushkin's eponymous play. The new scene reflected a new view of the historical events, and Musorgsky wrote his own text for it. The two scenes are ideologically at odds, particularly as regards their view of the Russian nation in relation to the Russian people. Moreover, the two scenes share the episode of the Holy Fool and the thieving boys, which Musorgsky transferred from the one score to the other. Obviously, Musorgsky regarded them as incompatible within a single production and thought he had made conflating them impossible. And yet, at the Bolshoy Theater, beginning in 1927, the two scenes have indeed been played that way, inconsistencies and redundancies be damned. The Bolshoy production of 1939 (which became widely known and influential through recordings and film) might be written off, the way we tend to write off the art of the Stalinist era, as a politically motivated anomaly. But many other productions and most recordings since 1948 have included both scenes without any such evident motivation, indicating that the Bolshoy production is now regarded as canonical. Is the historiographical contradiction involving the theme of the conference at which this article was first presented (“Opera and Nation,” Budapest 2010) to be regarded as a blemish? If not, what considerations can be seen to outweigh it? Can Musorgsky's political ideas be deduced from the work in which we assume they are embodied? And if they can be, should they be regarded as an aspect of the work that performers need respect?
Dissertations / Theses on the topic "Mad scenes in opera"
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Gerber, Melissa. "Power in Madness : a critical investigation into the musical representation of female madness in the mad scenes of Donizetti’s ‘Lucia’ from Lucia di Lammermoor (1835) and Thomas’s ‘Ophélie’ from Hamlet (1868)." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/51380.
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The 19th-century fascination with madness led to a theatrical phenomenon most palpably represented in the operatic mad scene, where the insane heroine expresses her madness in an aria of ‘phenomenal difficulty’ (Ashley 2002). This research explores the representation of female madness as power in the mad scenes of two famously mad opera characters: Lucia from Gaetano Donizetti’s Lucia di Lammermoor (1835) and Ophélie from Ambroise Thomas’s Hamlet (1868). The objective is to investigate the representation of female madness in the libretti, the musical scores and in visual performances, in order to challenge the notion of female madness as weakness.
The research was conducted using a qualitative research paradigm. The study explored the depiction of female madness in various fields of artistic representation, and the concept of power and female power in literature, resulting in the novel interpretation of these enigmatic mad scenes. This was a hermeneutic study considered within an interpretive paradigm. The research was conducted in three stages: a literature review, a full score analysis and a visual performance analysis.
The results show that the 19th-century gendered paradigm shift of madness to an overtly female disorder, led to various artistic interpretations of the madwoman, most notably in art, literature, theatre and opera. Opera proved to be the ultimate platform for the musical depiction of female madness, particularly due to the virtuosic vocal capacity of the coloratura soprano. In spite of social and political advancement, women were portrayed as weak in operatic plots. It was established that a delicate balance exists between power and powerlessness in the operatic mad scene. Both Lucia and Ophélie are women trapped in a patriarchal environment, and the onset of their madness is traditionally attributed to the weak default of their gender and their inability to process dramatic emotional events. However, the composers’ musical realisation of madness, as well as the embodied performance of both characters by the soloists, accentuates the interplay between madness as weakness and, most importantly, madness as empowerment. The study shows that the powerlessness associated with female madness is paradoxically reversed by the very factors that denote female madness in the operatic mad scene, namely gender and vocal virtuosity. Numerous musical and visual performance elements employed by composers and directors, notably depicting the madwoman as feeble, point to the empowerment of the seemingly ‘weak’ soprano. Musical elements used to portray madness include deconstruction, orchestration and high pitch. The study revealed additional musical elements, such as the inclusion of themes from previous acts of the opera, the use of specific instrumentation and a capella passages for soprano. The study argues that the characteristics that define female madness in music, namely gender and vocal excess, specifically contribute to the representation of madness as power. Elaborate coloratura vocal passages and scant orchestration are the two musical elements used by Donizetti and Thomas to assist in the depiction of female madness as power in the operatic mad scene. Consequently the study establishes that the extravagant vocal virtuosity displayed by the coloratura soprano casts the madwoman as powerful in the operatic mad scene.<br>Mini Dissertation (MMus)--University of Pretoria, 2016.<br>Music<br>Unrestricted
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Dumont, Danielle Myriam. "Histeria: poética da interpretação na performance das cenas de loucura em ópera." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7412.
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Previous issue date: 2017-03-25<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This work is a practice-based research which consists in bonding a poetic-philosophical reflection about the interpretation of mad scenes in opera and the performance of the spectacle Hysteria: an operistic madness. As a method, this work intends to make poetics and interpretation as a path to performance and, therefore, as a path to artistic knowledge. Thereunto, is necessary to comprehend the interpreter as a co-creator, for while the interpreter brings the artwork to the present moment, any possible results of the interpretation are always measured by one’s senses and comprehension, by one’s manner to feel-think, by one’s body and soul. The human being’s way to feel and think is always non-transferable and authentic. The authenticity, that is, the originality of permitting to feel and think, and therefore, to be, is madness. Apart from a common-sense behavior while install authenticity of human being, madness is a call to immerse in a interpretive path, the poetical making of oneself: it is a path to life. The singer, as interpreter, installs a world. While one lends one’s voice to the muses, the singer creates, measuring oneself by the divine. Installing oneself, becoming authentically isn’t just a divine act of the human being, but also a madness act. Madness is always transgression of a pattern to a original and authentic way of being. By the way, women are the culminating figure of transgression and madness: they are the hysterical and disobedient ones, at the same time they are the loving mothers and life generators in body dimension. The feminine body is poetic. In it resounds the poetic voice, the creating voice. It is from the relation between madness, feminine, poetic voice and performance that the spectacle Histeria is born. This operistic solo spectacle, divided in two acts, tells a story of a feminine trajectory in madness and of a poetic birth of the character Lúcia. In a completely original composition of plot and vocal-scenic performance, the spectacle groups own texts??, other author’s texts and operas’ mad scenes arias from several composers: Ophelia’s mad scene (from Ambroise Thomas’ Hamlet), À vos jeux, mes amis... Partagez-vous mes fleurs!… Pâle et blonde; the great Lucia’s aria (from Gaetano Donizetti’s Lucia di Lammermoor), Il dolce suono... Spargi d’amaro pianto; the aria Ah! non credea mirarti (Vincenzo Bellini’s La Sonnambula); O rendetemi la speme... Vien, diletto…, from Elvira (I Puritani, also Bellini’s); Ombre légère (from Giacomo Meyerbeer’ Dinorah or Le Pardon de Ploërmel); and Glitter and be gay (Leonard Bernstein’s Candide). Hysteria is the feminine creative power flowering through voice and body.<br>Este trabalho é uma pesquisa artística que consiste na conjugação entre uma reflexão poético-filosófica acerca da interpretação de cenas de loucura em ópera e a performance do espetáculo Histeria: uma loucura operística. Enquanto método, procura-se fazer da poética e da interpretação um caminho para a performance e, portanto, para o saber artístico. Para isso, é preciso compreender o intérprete enquanto co-criador, pois enquanto nele a obra se apresenta, qualquer resultado possível de sua interpretação será sempre na medida de seus sentidos e de sua compreensão, de seu sentir-pensar, de seu corpo e de sua alma. O sentir e o pensar do homem são sempre intransferíveis e autênticos. A autenticidade, isto é, a originalidade de se permitir sentir e pensar, e portanto, ser, é também loucura. Enquanto é distanciamento de um padrão e um instaurar autêntico do ser humano, a loucura é convite para o caminho interpretativo, para o poetizar-se; é caminho para vida. O cantor, no papel de intérprete, é também instaurador de mundo. Enquanto empresta sua voz às musas, ele cria, mede-se com o divino. Instaurar-se a si mesmo, vir-a-ser, autenticamente, é não só um ato de divinização do próprio ser humano, mas também um ato de loucura. A loucura é sempre transgressão do padrão para um modo de ser originário e autêntico. As mulheres, por sua vez, são a figura culminante da transgressão e da loucura: elas são as histéricas e desobedientes, ao mesmo tempo que são as mães amorosas e geradoras da vida no corpo. O corpo feminino é poético. Nele ressoa a voz poética, criadora. É da relação entre a loucura, o feminino, a voz poética e a performance que nasce o espetáculo Histeria. Este espetáculo operístico solo, dividido em dois atos, conta a trajetória feminina da loucura e do vir-a-ser poético da personagem Lúcia. Numa composição de enredo e performance cênico-vocal completamente original, o espetáculo reúne textos próprios, de outros autores e árias de cenas de loucura em ópera de diversos compositores: a cena de loucura de Ofélia (da Ópera Hamlet, de Ambroise Thomas), À vos jeux, mes amis... Partagez-vous mes fleurs!… Pâle et blonde; a grande cena de Lucia (da Ópera Lucia di Lammermoor, de Gaetano Donizetti), Il dolce suono... Spargi d’amaro pianto; a ária Ah! non credea mirarti (La Sonnambula, de Vincenzo Bellini); O rendetemi la speme... Vien, diletto…, de Elvira (I Puritani, também de Bellini); Ombre légère (Dinorah ou Le Pardon de Ploërmel, de Giacomo Meyerbeer); e Glitter and be gay (Candide, de Leonard Bernstein). Histeria é o florescimento da potência criativa feminina, por meio da voz e do corpo.
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Volaj, Altin. "Ion, opera in seven scenes, based on Euripides original play." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8143.
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Thesis (D.M.A.) -- University of Maryland, College Park, 2008.<br>Thesis research directed by: School of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Urista, Dawn. "Giselle's Mad Scene: A Demonstration and Comparison of 21st Century and 19th Century Paris Opéra Stagings." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11502.
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ix, 47 p. : ill. A DVD of the April 2, 2011 performance is archived in the Department of Dance at the University of Oregon. Please call 541-346-3386 for information.<br>This project entailed restaging Act 1's Mad Scene from the ballet <italic>Giselle</italic> to compare, contrast and analyze the character of Giselle within Henri Justamant's 1860's choreographic notation for the Paris Opéra Ballet and Sorella Englund's version at the Royal Danish Ballet Summer 2010 workshop. Using my journal from the workshop with Ms. Englund, I coached the cast using similar prompts and exercises she had given. To restage the Justamant ballet, we utilized his newly discovered choreographic notebook in conjunction with Joan Lawson's <italic>Mime.</italic> Preparations for the rehearsals, including translations, obtaining recordings of the original score, and the developments and revelations that emerged from the cast's exploration of the characters, are addressed and assessed. This research provides insight into the original nature of this Romantic ballet and reflects upon oral coaching versus restaging from a script, use and disuse of music, and interpretations and archetypes discussed in the review of literature.<br>Committee in charge: Shannon Mockli, Chairperson;
Marian Smith, Member;
Jenifer Craig, Member;
Walter Kennedy, Member
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Laurenti, Jean-Noël. "Valeurs morales et religieuses sur la scène de l'Académie Royale de Musique, 1669-1737 : étude du Recueil général des opéras /." Paris : [J.-N. Laurenti], 2000. http://catalogue.bnf.fr/ark:/12148/cb40964525z.
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Jurgens, Eric. "The Silence: Overture and Two Scenes from an Opera in Two Acts." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/21.
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The Silence is the story of William Rose, a man who, while searching the world for his missing wife and daughter, is kidnapped and held in a secret Iranian prison. After many years of torture, abuse and a slow descent into insanity, secrets about his family manifest as mysterious and magical occurrences, creating a dangerous tension between the prisoners and guards. Questions begin to arise: Who is actually in charge of this prison? Why haven’t the guards ever met the warden? Why is the prison haunted by mysterious voices? And what exactly would it take to crumble the walls of this corrupt institution?
Act II scene iii, The Hour of Angels – William sits alone in his cell, carving the images of his wife and daughter into the wall. As he begs his family to come back to him, the image of his wife slowly comes to life.
Intermezzo and Act II scene i, Danger in the Meadow – Flashback. The prison guards spy on Christina and Madelyn Rose as they play in a meadow not far from the secret prison. Christina sees them hiding and in a panic sends her daughter to a distant building to hide and look for help.
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Leyser, Elisabeth. "Att gå från kvinna till man på scen : byxroller inom scenkonst." Thesis, Stockholms konstnärliga högskola, Operahögskolan, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-582.
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Frehner, Paul (Paul Anton). "Sirius on earth : 2001-2003, a chamber opera in five scenes, in full score." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84688.
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Sirius on Earth is a chamber opera that deals satirically with social and political issues that are pertinent to a Western multicultural urban setting. Angela Murphy wrote the libretto, which is based on an original dramatic scenario conceived of by the composer. This dissertation consists of two parts: the opera in full score and an analysis of the opera. Sirius on Earth is scored for a cast of eight singers and an ensemble of fifteen players. The analysis is related to the overall objectives of the work which include representing and satirizing the musical and cultural diversity inherent in multicultural Western cities, symbolized in the opera by the city of Sirius, through the composer's individual approach to musical pluralism. Important musical and dramatic features of the opera are discussed in the analysis, including modal organization, musical characterization and techniques of recontextualization such as allusion and parody. Conclusions dissect the opera's underlying satirical and dystopian viewpoint.
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Shalita, Martin P. "The Operas of Ralph Vaughan Williams: An Identification and Performance Analysis of the Arias and Duet Scenes for Male Voice." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/553.
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Ralph Vaughan Williams (1872-1958) was one of the most prolific British composers of the twentieth century, yet his operas are virtually unknown in the standard operatic repertoire. Singers and teachers of singing are often challenged in finding operatic arias composed in the English language, because the standard operatic repertoire simply does not have as many works originally written in English as are found in Italian, German, or French. If there are arias from Vaughan Williams’ operas that are accessible to the young singing voice, they should not remain unknown. This study was executed in hopes of identifying for singers and teachers of singing, the arias, duets and scenes for male voice that can stand alone outside performances of the operas. The implications of this research project are that singers and teachers of singing have a newly found wealth of repertoire to utilize in performance as well as in the learning environment. Not only are these findings beautiful music from one of the twentieth century’s most prominent composers, but they are perhaps more importantly, accessible to the young and developing singer.
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Kan, Fang-Hsuan, and 甘芳嫙. "The Analysis and Vocal Interpretation of the “Mad scene” in Donizetti’s Opera“Lucia di Lammermoor”." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/70089239331855543593.
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碩士<br>台南科技大學<br>音樂研究所<br>98<br>Drama Lucia di Lammermoor of Giaetano Donizetti is the classical genre of the nineteenth century Italian romance drama and it is ended with the tragedy episode in a format of Opera Seria. Within the work, the third scene Mad Scene is the classical repertoire of Coloratura Soprano. In order to study and exam the techniques of Bel Canto, the author categorizes and elaborates ten different ways of singing in her dissertation, being based on this feature.
Mad Scene is a stereotype of Scena ed Aria, immediately following by Cabaletta, which is dissected into sixteen parts by the author in efforts to research, analyze and interpret its ways of performance. Callas , the famous Coloratura Soprano of mid-twentieth century, revived the Italian style of Bel Canto and with the ensuing contribution of Sopranos as Sutherland, Gruberova, Sumi Jo, this genre of singing prevails.
Then, in the end, the author compares their respective styles of delivering Mad Scene. Their application of Coloratura elaborated tunes not only presents the maturity of singing skills but provides assistance to whoever is interested in this field and suggestions to promising teachers as well.
Books on the topic "Mad scenes in opera"
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Kelterborn, Rudolf. Julia: Chamber opera in 15 scenes. Opera Factory Zürich, 1991.
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Good days and Mad: A hysterical tour behind the scenes at Mad magazine. Thunder's Mouth Press, 1994.
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León, Tania. Scourge of hyacinths: An opera in twelve scenes : libretto. Peermusic Classical, 1999.
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Bellardo, S. J. Germinal: Opera in three actes, 6 scenes, prologue and epilogue. s.n., 1992.
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Mad loves: Women and music in Offenbach's Les contes d'Hoffmann. Princeton University Press, 2000.
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Adès, Thomas. Powder her face: An opera in two acts and eight scenes. Faber Music, 1995.
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Wallace, Mary Elaine. More opera scenes for class and stage: From one hundred selected operas. Southern Illinois University Press, 1990.
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Nikolovski, Vanja. Behind the Scenes of The Fiery Angel: Prokofiev's Character Reflected in the Opera. Arizona State University, 2018.
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Theatre, Celtic Music. A will of her own: A comic chamber-opera in four scenes. Essex Unitarian Church, 1985.
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Fox, Malcolm. Sid the serpent who wanted to sing: An opera for children in five scenes. G. Schirmer, 1990.
Find full textBook chapters on the topic "Mad scenes in opera"
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Parr, Sean M. "Melismatic Madness and Technology." In Vocal Virtuosity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197542644.003.0004.
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By the mid nineteenth-century, coloratura had become stylized to the point that it could represent hysterical cries. If we consider technology in its original sense as a “practical art” that extends the body’s abilities, then coloratura—an art that features the extended agility and range of the voice—is perhaps the most striking technology employed to mark and empower the operatic madwoman. This chapter explores mid-century mad scenes and related technologies: Giacomo Meyerbeer’s L’Étoile du nord and Le Pardon de Ploërmel, as well as Ophélie’s mad scene in Ambroise Thomas’ Hamlet. These operas also feature sopranos who embody a particular, aestheticized view of femininity at mid-century as stylized, objectified icons of hysteria. Exploring the aural impact of these scenes, the sopranos who originally portrayed the mad heroines, the original staging manuals, and the historical context of emerging psychiatry highlights the importance of the visual in thinking about this phenomenon.
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"Scenes from My Childhood." In Mad Music. University Press of New England, 2014. http://dx.doi.org/10.2307/j.ctv1xx9hpm.5.
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"THE STRUCTURE OF SCENES." In The Last Opera. Indiana University Press, 2019. http://dx.doi.org/10.2307/j.ctvh1dqnb.12.
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Kam, Tan See. "Setting the Scene." In Tsui Hark's Peking Opera Blues. Hong Kong University Press, 2016. http://dx.doi.org/10.5790/hongkong/9789888208852.003.0001.
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The Introduction contextualizes Tsui Hark’s Peking Opera Blues both in the light of the many struggles for democracy in modern China since Republican times, and in the light of his own filmmaking career. It suggests that politically committed youth, and so-called revolutionaries, seeking social transformations in the post-imperial China depicted in this film, may well have parallels in contemporary Hong Kong especially post 1997. In addition to highlighting Tsui’s specific, and well-received, contributions in cinema, some social, political and cultural contexts, particularly related to questions of Chinese identity, culturation, citizenship and colonialism, together with some of the issues specific to contemporary Hong Kong and Sinophonic filmmaking, are raised in order to prepare the ground for situating five different acts of reading film (through multiple theoretical and analytical lenses) in the chapters to follow.
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Gideon, Miriam. "Fortunato: An Opera in Three Scenes (1958)." In Recent Researches in American Music, 75. A-R Editions, 2013. http://dx.doi.org/10.31022/a075.
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"FOURTEEN. The Annus mirabilis: San Francisco Mad for Opera." In Verdi at the Golden Gate. University of California Press, 1993. http://dx.doi.org/10.1525/9780520913424-019.
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Biggi, Maria Ida. "I teatri a Venezia nel 1868." In Venezia 1868: l’anno di Ca’ Foscari. Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-294-9/005.
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In 1868 the theatrical context in Venice was affected by local abut also statal economic situation, due by the development of the new Italian State, formed after the Peace of Vienna that, signed on 23 October 1866, marked the end of the Third War of Independence and the annexation of Venice to the unitary state. Venice therefore became less important for theatrical production, and the city was no longer among the capitals of theatre and music, as it could have been considered until in the first half of 19th century. A new trend throughout Europe was moreover the ‘grand opera’, while in Venice the dominant show was still the traditional musical opera, in addition to opera and ‘opera buffa’, created by great Italian composers. The theatres active in 1868 in the city are La Fenice, Teatro San Benedetto then called Rossini, Teatro Apollo, Teatro Malibran and Teatro San Samuele. Through the reviews of the Gazzetta di Venezia and documents such as sketches of the scene made by famous set designers, that interesting moment is reconstructed.
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Mestyan, Adam. "Behind the Scenes: A Committee and the Law, 1880s–1900s." In Arab Patriotism. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691172644.003.0008.
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This chapter discusses the legal background of theaters in late Ottoman Egypt, starting with a microhistory of the Comité des Théâtres. Its administrative history highlights the process by which khedivial theaters became state institutions overseen financially and administratively by the Comité des Théâtres. Financial experts expressed cultural preferences through indirect censorship of the program within the Opera House. The preferences of the khedives were also taken into consideration—when and if there was no cost involved—and some favored Arab impresarios could use the Opera House. In this way, patriotism in Arabic was staged in the stage of the symbolic Opera House within the colonial frames. As a consequence, “culture” attained a double function as both legitimizing and mirroring elite power. The chapter also considers private theaters and their legal environment.
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Sisman, Elaine. "Is Don Giovanni Evil?" In Evil. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199915453.003.0017.
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Although Mozart’s librettist for Don Giovanni, Lorenzo Da Ponte, explicitly invoked Dante’s Inferno as a source of his inspiration, both text and music tell a much more ambivalent story. The parts of the action familiar to its first audiences (the night-time escape and duel, the country maid, the statue of the dead Commander coming to dinner) were complicated by Don Giovanni’s persuasive, even heroic music and the hyper-dramatic self-justifications by his would-be conquests. Chronicling the Don’s last day, the opera focuses on his behaviors both nonchalant and impassioned as well as the inability of patriarchal norms and punishments to contain him. The opening scene, the episodic introduction of the women, and the serenade in Act II are seen here as telling examples of Mozart and Da Ponte’s desire—as in their other two collaborations, Le nozze di Figaro and Così fan tutte—to accommodate a serious moral tale to the poignant delights of comic opera. They reveal a vision of the Don beyond good and evil.
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Kreuzer, Gundula. "Flat Bayreuth: A Genealogy of Opera as Screened." In Screen Genealogies. Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463729000_ch09.
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Gundula Kreuzer challenges common assumptions about the ‘screenification’ of contemporary opera productions by reconsidering historical screening techniques within staged opera. Beginning with the Baroque picture-frame stage, she highlights how a desire for visual illusion on stage came into conflict with the increasingly complicated array of equipment, scenery, and props required to produce such elaborate scenes. Retracing strategies tested out at Wagner’s Festspielhaus at Bayreuth, she argues that the theatre’s curtain line came to imply an invisible screen with the capacity to organize the various media on the deep stage into a unified whole, a perception fostered by the visual and acoustic environment of the auditorium. Rather than a part of the telos of modernist painting, she highlights this flattened planar format as the outcome of technical and aesthetic conflict, whose legacy proves highly relevant to contemporary experiments with operatic staging.