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Relevant bibliographies by topics / Opera arias

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Academic literature on the topic 'Opera arias'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Opera arias"

1

Chuilon, J., and E. T. Glasow. "Bryn Terfel: Opera Arias." Opera Quarterly 13, no. 4 (January 1, 1997): 211–16. http://dx.doi.org/10.1093/oq/13.4.211.

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Regalado, Jacinto. "Edita Gruberová Opera Arias." Opera Quarterly 8, no. 2 (1991): 171–74. http://dx.doi.org/10.1093/oq/8.2.171.

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Kimball, C. "Natalie Dessay: French Opera Arias." Opera Quarterly 15, no. 1 (January 1, 1999): 166–67. http://dx.doi.org/10.1093/oq/15.1.166.

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Harris, Kenn. "June Anderson Bellini Opera Arias." Opera Quarterly 6, no. 4 (1989): 131–32. http://dx.doi.org/10.1093/oq/6.4.131.

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Ashbrook, W. "Phyllis Curtin: Opera Arias (1960--1968)." Opera Quarterly 16, no. 2 (January 1, 2000): 294–95. http://dx.doi.org/10.1093/oq/16.2.294.

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Greeen, London. "Claudia Muzio Opera Arias and Songs." Opera Quarterly 7, no. 3 (1990): 192–93. http://dx.doi.org/10.1093/oq/7.3.192.

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Law, Joe K. "Selma Kurz Opera Arias and Songs." Opera Quarterly 7, no. 3 (1990): 197–99. http://dx.doi.org/10.1093/oq/7.3.197.

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McKee, David. "Kiri Te Kanawa Italian Opera Arias." Opera Quarterly 8, no. 2 (1991): 174–76. http://dx.doi.org/10.1093/oq/8.2.174.

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Willier, Stephen A. "Dame Eva Turner Opera Arias and Songs." Opera Quarterly 7, no. 3 (1990): 188–91. http://dx.doi.org/10.1093/oq/7.3.188.

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Green, London. "Tito Schipa Opera Arias, Duets, and Songs." Opera Quarterly 7, no. 3 (1990): 193–94. http://dx.doi.org/10.1093/oq/7.3.193.

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Dissertations / Theses on the topic "Opera arias"

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Yang, Hyun Joo. "Which arias better represent Susanna's character : the original or replaced arias? /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11199.

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Dalla, Vecchia Francesco. "Key symbolism in Francesco Cavalli's arias." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2689.

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This study has been conceived to verify whether Francesco Cavalli (Crema, 1602--Venice, 1676), the most representative composer of seventeenth-century Venetian opera, used what is called "key symbolism." Key symbolism, or the association of one particular mood or meaning with one specific key, has been a topos in music theory literature ever since Plato and Aristotle. Many scholars maintain that early modern composers believed in the connotative power of the keys and selected them according to the "affect" they meant to convey. These assumptions are mostly based on the treatises of the time and significant examples, but key symbolism had never been investigated systematically as a poetic code. This study on key symbolism focused on the identification of patterns in the associations of the expressive content ("affect" or "affection") and the key of Cavalli's arias. Arias represent the best place to investigate this association because they form semantic and musical units. Cavalli's twenty-seven extant operas include more than 850 arias and, thus, provide a sufficient sampling for testing the consistency of these patterns in the work of the same composer. My analysis and categorization of Cavalli's arias, which resulted in the compilation of a complete thematic catalogue, was based directly on the manuscript sources of the Contarini Collection held by the Biblioteca Nazionale Marciana in Venice, and the collection of librettos owned by the same library. This study on Cavalli's key selection determined the following points: 1) the complete spectrum of the keys actually used by Cavalli, and how his tonal palette compares with the one proposed by contemporary theorists; 2) how practical factors, such as orchestration or the voice of the singer, influenced Cavalli's choice of the key; 3) the frequency with which the composer associated recurring topics in arias with particular tonalities; 4) whether Cavalli's usage is consistent with the connotations of the keys described in theoretical literature; and, finally, 5) whether the association of a topic with a key is systematic enough to be considered a poetical code. In the end it appears that Cavalli's choice of the key was certainly influenced but not determined by the content of the text. On the one hand, it is possible to identify some of the affective characteristics he attributed to keys; on the other hand, the link between the key (signifier) and the expressive content of the aria text (signified) cannot be codified as a system of meanings.

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Lynn, Robert. "Guidelines for transcribing coloratura opera arias for tuba, with transcriptions of three arias by Vivaldi, Gluck, and Delibes." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317923.

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Farrell, Jennifer Heather. "Ornament and the affections in the opera arias of George Frideric Handel." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2470.

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The performance of opera arias composed by George Frideric Handel in our modern day is complicated by the necessity of including improvised embellishments, which were a standard component of the eighteenth-century genre of opera seria. Furthermore, discussions concerning the concepts of historical authenticity and performance practice muddle the issue of preparing Handel's music for presentation. In recent years scholars have prepared ornamented versions of select Handel arias in consultation with eighteenth-century performance practice treatises and other contemporary materials that provide considerable insight into the purpose and execution of ornamentation in performances Handel himself oversaw. What remains relatively unexplored, however, is the relationship between eighteenth-century embellishments and the Baroque affections, or passions. The affections, or passions, were rationalized emotional states derived from the Greek and Latin doctrines of rhetoric and oratory which Baroque composers sought to evoke and express in their music. This study explores the correlation of Baroque affections with ornaments as a legitimate approach to the composition of embellishments for Handel's opera arias. The tradition of rhetoric, the conventions of late Baroque Italian opera seria as a form, and the practice of ornamentation as an integral part of these conventions are examined. The study also provides a survey of eighteenth-century literature concerning the relationship of the musical representation of affects and ornamentation. Lastly, a review of Handel's operatic career and of the plots of the Agrippina, Rinaldo and Rodelinda will provide a context for the preparation of "affective" ornamented versions of six arias from these operas. In closing, a brief discussion of the early music movement and of the debates surrounding the use of the term "authentic" in relation to historic performance practices will illuminate the relevance of the relationship between affect and ornament to twenty-first century performances.

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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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Pinkall, Bryan Robert. "A technical and historical analysis for selected art songs and arias for tenor voice by George Frederic Handel, Jules Massenet, Roger Quilter, Stefano Donaudy, Gabriel Fauré, and Agustin Lara." Kansas State University, 2010. http://hdl.handle.net/2097/4091.

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Master of Music
Department of Music
Julie Yu
This report contains an extensive technical and historical analysis of tenor repertoire. It contains modern technical approaches to “Every Valley” and “Thou Shalt Break Them” from Messiah by George Frederic Handel. The report also reviews the history, music theory, and performance techniques of several late Romantic and Neoromantic art songs and arias from Italy, France, and England. The pieces reviewed are the following: “Ouvre tes yeux bleus” by Jules Massenet, “En fermant les yeux” from Manon by Jules Massenet, Three Pastoral Songs by Roger Quilter, Nell by Gabriel Fauré, “Quando ti rivedró” from 36 Arie De Stile Antico by Stefano Donaudy, and “O del mio amato ben” from 36 Arie De Stile Antico by Stefano Donaudy. Finally, this report reviews the popular Spanish art song Granada by Agustin Lara.

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Fateeva, Anna A. "Three Arias From Mozart’s Don Giovanni: a Comparative Analysis of Performance Issues and Technical Problems Found in Four Complete Piano-Vocal Scores. A Vocal Accompanist’s Perspective." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/552.

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The objective of this essay is to study technical problems and performance issues in the piano-reduction accompaniments of three solo arias from Mozart’s Don Giovanni: “Or sai chi l’onore,” “Dalla sua pace la mia dipende,” and “Batti, batti, o bel Masetto.” This study is executed through the comparative analysis of the arias’ accompaniments from four piano-vocal score editions of the opera (Bärenreiter, G. Schirmer, Ricordi, and Boosey & Hawkes) with cross-reference to the full orchestral score (the Neue Mozart-Ausgabe). The essay contains a detailed presentation of the merits and flaws of each of the four piano-vocal score editions; a discussion of the realizations’ quality; examples by the author of plausible modifications; and the author’s suggestions for practice, fingering, pedaling, and dealing with various performance issues. This essay can provide a stimulus for vocal pianists to explore the countless possibilities in piano realizations of the orchestral accompaniments of operatic works, and to continue to refine and improve their ability to imitate orchestral sonorities and textures at the piano.

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Nakagawa, Stephanie Eiko. "A Canadian opera aria anthology for soprano." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/62056.

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A problem that Canadian opera faces is that once works are premiered, they rarely receive any further performances. Singers must overcome numerous barriers to sing these works due to limited score accessibility and lack of aria adaptations and recordings. Even if singers feel passionately about Canadian opera, such obstacles may impede their motivation to perform Canadian repertoire. This thesis aims to increase the awareness and accessibility of Canadian opera through the creation of a “Canadian Opera Aria Anthology for Soprano.” The anthology includes background information about the operas, composer and librettist biographies, opera synopses, and aria adaptations. In addition, performance and interpretive guides have been formed from the author’s own research in performing these works, available recordings, and from information gathered from the author’s interviews with the composers and librettists. Hopefully the arias within this anthology will not only provide singers with useful arias for auditions, but also give them and their audience a lens through which they may better understand Canadian opera and culture. Ultimately, this research aims to increase the recognition of Canadian opera and to develop a greater interest and appreciation for these works so that one day, they may become a part of the standard operatic repertoire and reach both Canadian and international stages.
Arts, Faculty of
Graduate

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Joo, Kwan Kyun. "An Anthology of Tenor Arias from Korean Operas." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752385/.

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The first Western opera to be performed in Korea was Verdi's La Traviata on January 16, 1948, by the Joseon Opera Company. The first Korean opera, Chunhyangjeon by Jae Myung Hyun, premiered at the Korean National Theater in May 1950, just before the outbreak of the Korean War. Daejeon.go.kr reports that since that year approximately 200 Korean operas have been produced in Korea. Nevertheless, there have been consistent efforts to create and introduce Korean operas to the public. Most of them ended up being "one-off" performances with a single production. Most research on Korean opera has focused on its history, the challenges of producing new operas, or an analysis of selected Korean operas. This study equips singers with the following: pertinent historical background with the libretto, a synopsis, research regarding the composer and librettist, a character analysis, vocal and textual analysis of the selected opera arias, instruction regarding the Korean language, IPA, and a word-by-word translation of the text. I also make recommendations for tenor arias from Korean operas for singers with specific voice types.

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Janis, Christine Anne. "Opera workshop for the undergraduate: more than aria coaching /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487856076413803.

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Books on the topic "Opera arias"

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Benjamin, Britten. Opera arias: Tenor. [London?]: Boosey & Hawkes, 1996.

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Wustman, John, Barbara Richards, and Jomeg Ellchar. Opera arias for tenor. [S.l.]: Lawson-Gould, 1994.

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Gano, John. Arias of blood. Bath, England: Chivers Press, 1997.

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Gano, John. Arias of blood. Bath, England: Chivers Press, 1997.

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John, Gano. Arias of blood. London: Macmillan, 1997.

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Arias of blood. New York: St. Martin's Press, 1997.

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Paleari, Alberto. Celeste Aida: Frasi dal teatro in musica in italiano. Milano: Bompiani, 1998.

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Transatlantic arias: Early opera in Spain and the new world. Madrid: Iberoamericana ; Frankfurt am Main : Vervuert, 2013.

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Arthur, Schoep, ed. Bringing soprano arias to life. Metuchen, N.J: Scarecrow Press, 1990.

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Changing the score: Arias, prima donnas, and the authority of performance. New York: Oxford University Press, 2008.

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Book chapters on the topic "Opera arias"

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Abert, Anna Amalie. "Von der Nummern-Oper zur „scena ed aria“." In Geschichte der Oper, 101–13. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-03564-6_7.

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Dunham, Richard. "Traditional Areas of Theatrical Design (Drama, Dance, Opera, and Musical Theatre)." In Stage Lighting, 347–66. Second edition. | New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315454696-15.

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"Arias and Monologues." In Performing Opera. Bloomsbury Methuen Drama, 2016. http://dx.doi.org/10.5040/9781474239110.ch-002.

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"CHAPTER TWO. OPERA IN SPAIN AND THE NEW WORLD: TRANSATLANTIC OPERA AND ITS ORIGINS." In Transatlantic Arias, 59–92. Vervuert Verlagsgesellschaft, 2013. http://dx.doi.org/10.31819/9783954872275-004.

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"INTRODUCTION. MANIPULATING THE MASSES? IDEOLOGY AND EARLY OPERA." In Transatlantic Arias, 11–32. Vervuert Verlagsgesellschaft, 2013. http://dx.doi.org/10.31819/9783954872275-002.

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"CONCLUSION. PAST FORWARD: THE LEGACY OF EARLY NEW WORLD OPERA." In Transatlantic Arias, 221–34. Vervuert Verlagsgesellschaft, 2013. http://dx.doi.org/10.31819/9783954872275-007.

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"CHAPTER ONE. A EUROPEAN INVENTION: THE GENESIS OF OPERA IN EUROPE." In Transatlantic Arias, 33–58. Vervuert Verlagsgesellschaft, 2013. http://dx.doi.org/10.31819/9783954872275-003.

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"CHAPTER THREE. OPERA IN THE CITY OF KINGS: TOMÁS DE TORREJÓN’S LA PÚRPURA DE LA ROSA." In Transatlantic Arias, 93–150. Vervuert Verlagsgesellschaft, 2013. http://dx.doi.org/10.31819/9783954872275-005.

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"CHAPTER FOUR. Arias: Some Issues." In The Culture of Opera Buffa in Mozart's Vienna, 95–109. Princeton University Press, 1999. http://dx.doi.org/10.1515/9781400822751.95.

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"CHAPTER FIVE. Class and Gender in Arias: Five Aria Types." In The Culture of Opera Buffa in Mozart's Vienna, 110–55. Princeton University Press, 1999. http://dx.doi.org/10.1515/9781400822751.110.

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Conference papers on the topic "Opera arias"

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V. Branco, Matheus, Bruno S. Dupczak, and Daniel Tenfen. "Case Study on the Application of Statcom to Improve the Voltage Control And Stability In Wind Power Plants." In Congresso Brasileiro de Automática - 2020. sbabra, 2020. http://dx.doi.org/10.48011/asba.v2i1.1027.

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A gera¸c˜ao de energia e´olica no Brasil apresenta um crescimento exponencial nos ´ultimos anos. Contudo, existem limita¸c˜oes quanto ao fornecimento de potˆencia reativa pelos aerogeradores, o que pode comprometer o controle de tens˜ao coordenado pelo Operador Nacional do Sistema El´etrico (ONS). Para tanto, s˜ao necess´arias ferramentas adicionais de compensa¸c˜ao de reativos, visando a estabilidade da opera¸c˜ao do Sistema Interligado Nacional (SIN). Buscando atender os requisitos t´ecnicos impostos pelo ONS, este trabalho apresenta an´alises de opera¸c˜ao em regime permanente e de transit´orios eletromecˆanicos de um Compensador S´ıncrono Est´atico no complexo e´olico Ventos da Bahia II. O trabalho verifica a viabilidade t´ecnica de implanta¸c˜ao deste sistema, destacando as vantagens para o controle de tens˜ao em situa¸c˜oes de opera¸c˜ao normal e sob contingˆencias.

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Xu, Hui, and Qi Chen. "Research on the Nationalization of Opera Aria and Singing." In 2015 International Conference on Management, Education, Information and Control. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/meici-15.2015.270.

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Lalitha, M. Padma, K. Venkata Pavan Kumar, and Venkatesu Samala. "Modeling and simulation of porcelain disc insulators using finite element method in OPERA software." In 2014 Annual International Conference on Emerging Research Areas: Magnetics, Machines and Drives (AICERA/iCMMD). IEEE, 2014. http://dx.doi.org/10.1109/aicera.2014.6908243.

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"An Analysis of Tenor Aria Singing Style in Tsiolkovsky's Opera Works--Taking Youth, Where Are You as an Example." In 2019 International Conference on Arts, Management, Education and Innovation. Clausius Scientific Press, 2019. http://dx.doi.org/10.23977/icamei.2019.057.

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Olivares, Catalina, and José Eugenio Rubilar Medina. "Desplazamiento del retrato fotográfico: transito del espacio íntimo al espacio social y público." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5230.

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En esta comunicación convergen indagaciones sobe el retrato como código. En esta oportunidad, el retrato pictórico y fotográfico de dos casos chilenos: la figura naval de Arturo Prat y los retratos fotográficos de Detenidos Desaparecidos (D.D) en dictadura militar (1973-1990). En estos dos modos el retrato es un código visual que abre cuestionamientos en torno a quién ve el retrato, cómo se ve este y qué lugar ocupa, estableciendo relaciones entre testimonio, poder y memoria. Profundizaremos en el retrato pictórico decimonónico del capitán de fragata, que se explicita en la distinción del estatus militar en su contexto privado, y se reconfigura en la escena pública como hombre de armas mitificado en la figura de héroe. Dicha significación acompaña el cambio del código del retrato pictórico, que transita hacia espacios de hiperrepresentación global, en el que se inscriben nuevos discursos. El segundo caso navega en el origen y tránsito del retrato del D.D, que va desde la fotografía del álbum familiar a una imagen incluida a la vida pública como retrato-cartel. Aquí la imagen se posiciona como reclamación social, suponiendo un cambio en el significado del mismo retrato. El paso va desde la esfera privada a la pública, así como un pasaje entre el retrato que individualiza al sujeto con sus características personales, a un sujeto cuya identidad visual (la fotografía con rigurosidad) se disuelve para dar paso a un símbolo que aglutina la idea global de quienes han desaparecido. En ambos casos el retrato como transición y transacción de discursos que van de lo local a lo global, opera en una forma simbólica. El retrato adquiere entonces una condición orgánica que se tiñe del propio devenir social y que, en estos casos, levanta la tensión del retrato como testimonio, como reclamación social y como mito que refuerza oficialidad.http://dx.doi.org/10.4995/ANIAV.2017.5230

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Iribarne, Jorge. "The essential purpose of any Urban Project is to define Public Space." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6233.

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In that aspect, buildings role, no matter their architectural qualities, is to shape that void and give it character. If one asks people about their remembrances of cities they have visited, they usually mention places and the activities that took place there. Architecture, great or bad is the referente of Architects. Only some monuments –Eiffel Tower or Sidney´s Opera- which act as the city´s image are worth recalling. The failure of CIAM´s urbanism was not its lack of quality, even vition, as some of Le Corbusier designs clearly demostrate, but its disregard of public space, merely a left over spread between isolated building blocks and highways. A good instrument to understand this fact are the Figure/ Ground plans, in which the basic shape of buildings and voids are drawn in black and white. In the tradicional city renders, the public spaces have a clear definition, a presence of its own. In any CIAM project –mostly- or construction, the public realm is the shapless space left over by buildings, with no hint about use or limits. A clear demonstration is the no-space around the Philarmonic, the National Library and the Art Gallery in Berlin. This knowlege is sufficiently incorporated into the practice of most Western Designers, but two perverse conditions are part of the everyday´s life of entire populations in the World: In poor Countries there is an urgent need to incorporate slums to the city structure, culture and services.In Asian Cities, mainly in China, inmense areas are demolished overnight and its tradicional fabric replaced by endless rows of anonymous high rise blocks amid a maze of transport elevated structures, with no place left for pedestrians. An old text advices not to let the urgent erase the important. In today´culture both conditions are unfortunately simultaneous.

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