Relevant bibliographies by topics / Opera, English

Contents

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

Academic literature on the topic 'Opera, English'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Opera, English"

1

Lee, M. "English opera reformed." Early Music 41, no. 4 (November 1, 2013): 679–81. http://dx.doi.org/10.1093/em/cat091.

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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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Rickards, Guy. "‘Lulu’ in English." Tempo 60, no. 238 (October 2006): 41–42. http://dx.doi.org/10.1017/s0040298206250319.

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BERG Opera: Lulu. Lisa Saffer (sop), Susan Parry (mezzo), Robert Hayward (bar), John Graham-Hall (ten), Gwynne Howell (bass), Robert Poulton (bar), Stuart Kale (ten), Anna Burford, Graeme Danby (bass), Alan Oke (ten), Roger Begley (bass), Claire Mitcher (sop), Paul Napier-Burrows (bass), Jane Powell (mezzo), Moira Harris (sop), Toby Stanford-Allen (bar). English National Opera Orchestra c. Paul Daniel. Chandos Opera In English CHAN 3130 (3-CD set).
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Parks, Ruth. "Opera in the English Classroom." English Journal 76, no. 6 (October 1987): 67. http://dx.doi.org/10.2307/818062.

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Sporton, Gregory. "Luisa Miller, English National Opera." Scene 6, no. 2 (December 1, 2018): 177–79. http://dx.doi.org/10.1386/scene_00017_5.

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Palma Fahey, María. "Understanding idioms and idiomatic expressions in context: a look at idioms found in an Irish soap opera." TEANGA, the Journal of the Irish Association for Applied Linguistics 22 (July 17, 2019): 84–104. http://dx.doi.org/10.35903/teanga.v22i0.154.

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This paper looks at idioms drawn from a corpus of soap opera and compares their communicative functions to those performed by idioms in corpora of naturally-occurring conversation. In this study soap opera data is validated as a suitable tool for demonstrating the role that idioms play in spoken interaction. Soap operas, as well as other media genres, try to convey a believable linguistic world, exploiting idioms and providing contexts in which the pragmatic functions of idioms can be understood and analysed. This paper suggests that the analysis of idioms found in soap opera can contribute to the increase of knowledge and understanding concerning the communicative functions that idioms have in conversation. The data used in this study is drawn from the corpora of naturally-occurring conversation --- the Limerick Corpus of Irish English (LCIE) and the Cambridge and Nottingham Corpus of Discourse in English (CANCODE) --- and a corpus of the Irish soap opera, Fair City.
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Fuhrmann, Christina. "Continental Opera Englished, English Opera Continentalized: Der Freischütz in London, 1824." Nineteenth-Century Music Review 1, no. 1 (June 2004): 115–42. http://dx.doi.org/10.1017/s1479409800001890.

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22 July 1824. Many Londoners had waited years for this night. They thronged to the English Opera House, filling the boxes and cramming the benches in the pit and gallery. It was worth the heat, the expense, the danger from pickpockets. After hearing of its success for three years, after glimpsing snatches of it in concert and sheet music excerpts, and after enduring weeks of advertising for the English Opera House production, they would finally be the first in London to witness the most celebrated German opera of the time: Weber's Der Freischütz.
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Sternfeld, Frederick W. "Orpheus, Ovid and Opera." Journal of the Royal Musical Association 113, no. 2 (1988): 172–202. http://dx.doi.org/10.1093/jrma/113.2.172.

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It was in the Shakespeare year of 1964 that I first realized to what extent my work on English stage music lacked foundation and depth without a better knowledge of the practices of dramatic music in Italy. Even at that early stage I recognized that the key plot for intermedi and the first operas was the story of Orpheus which looms so impressively, both in quantity and in quality, at the birth of opera. Indeed, it is a plot that continues to act as a springboard for the imagination of composers of operas and ballets, even after the seventeenth century, as witnessed by the works of Gluck, Offenbach and Stravinsky.
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Stollberg, Arne. "„A work so truly English in its story and its music“. Arthur Sullivans Ivanhoe und die Suche nach einer englischen Nationaloper." Studia Musicologica 52, no. 1-4 (March 1, 2011): 457–84. http://dx.doi.org/10.1556/smus.52.2011.1-4.32.

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In order to overcome the persistent cliché of a “land without music,” considerable efforts were made in Great Britain at the end of the 19th century to establish what is now labelled the English Musical Renaissance. One of the movement’s main concerns was to establish both institutionally and artistically a National Opera for the production of English works. In this context, the opening of a newly built opera house, the Royal English Opera, by the impresario Richard D’Oyly Carte in 1891 created a great stir. The Royal English Opera was inaugurated with Arthur Sullivan’s “Romantic Opera” Ivanhoe. Sullivan tried to give his score an especially English flavour without using folksongs or other overtly national musical characteristics. His composition can be seen as a synthesis of German, French and Italian influences, which intentionally mirrors the fusion of the Anglo-Saxon and Norman elements to form the English nation under King Richard the Lionheart as presented in the opera’s plot. Unfortunately the story of D’Oyly Carte’s enterprise was a short one and Sullivan’s opera quickly passed into oblivion.
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Graham, Stephen. "Julian Anderson Thebans, English National Opera." Tempo 68, no. 270 (September 4, 2014): 77–78. http://dx.doi.org/10.1017/s0040298214000394.

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In basing his first opera on Sophocles' Thebans trilogy, heard at the ENO on 3 May 2014 in a condensed three-act version, one act per play, Julian Anderson shows his colours as something of a classicist. No postmodern pastiche nor quasi-medieval dramatic innovations for him, as we've seen from near British contemporaries Mark-Anthony Turnage and George Benjamin, nor the technological and dramaturgical explorations of other recent ENO productions, from Two Boys to Satyagraha to A Dog's Heart. No, this is a composer with his feet firmly planted in the grand operatic tradition of classical subjects and traditional telling.
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Dissertations / Theses on the topic "Opera, English"

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Norling, Cody Andrew. "Operatic egalitarianism: English-language opera, Redpath Chautauqua, and the May Valentine Opera Company." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6619.

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For the majority of summers between 1917 and 1925, May Valentine presented popular operas to receptive audiences on the chautauqua circuits, conducting and managing her own operatic troupe for the Redpath Chautauqua Bureau from 1923 to 1925. During this time, Valentine produced and conducted “light opera”—English-language operettas such as DeKoven’s Robin Hood, Gilbert and Sullivan’s The Mikado and The Gondoliers, Oscar Straus’s The Chocolate Soldier, and Michael William Balfe’s The Bohemian Girl—throughout much of the United States to chautauqua’s demanding, predominantly rural crowds. That her company maintained relative operational autonomy, saw steady ticket revenues and an enthusiastic press reception, and garnered regular appearances in period entertainment magazines while on the summer circuits suggests that Valentine was a successful conductor and impresario. A case study of the May Valentine Opera Company, this thesis explores processes associated with the chautauqua-based dissemination of opera in order to address broader operatic tastes of the 1910s and 1920s in the United States. The capitalist enterprise of the chautauqua circuits proved to be an ideal outlet for the large-scale dissemination of a vernacular operatic repertoire. Throughout her career, Valentine expressed her egalitarian vision for opera in the United States and, with tour stops in upwards of forty-seven states, furthered her cause through the day-to-day operations of a touring, commercial troupe. Valentine’s public persona as a female operatic conductor further inspired a press reception that often focused on her position as a harbinger of the period’s increased attention to female participation in public music making. The chautauqua-circuit career of May Valentine represents not only a now-forgotten continuation of touring English-language opera, but an early twentieth-century operatic phenomenon propagated by standardized chautauqua-circuit business practices, both grounded in and promoted with period ideals of social edification and cultural egalitarianism.
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Auvinen, Tuomas. "Unmanageable opera ? : the artistic-economic dichotomy and its manifestations in the organisational structures of five opera organisations /." Thesis, Boston Spa : British thesis service, 2000. http://catalogue.bnf.fr/ark:/12148/cb39143436f.

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Armondino, Gail Miller. "The opéra comique in London, or transforming French comic opera for the English stage, 1770-1789 /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40039597v.

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Bumpus, Julie L. "Ballad Opera in England: Its Songs, Contributors, and Influence." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276055885.

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Henderlight, Justin. "Declamation in seventeenth-century English opera, or the nature of "recitative musick"." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42032.

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During the English Reformation, composers attempted to create a uniquely English take on opera, one rooted in dramatic elements and conventions tied to the English court masque of the earlier part of the century. One component essential to opera, recitative, was understood then and now to be an Italian invention, and though the Britons knew it to be an indispensible element of operatic style, they had only a passing acquaintance with its specific characteristics. Using stylistic features present in declamatory lutesongs from within masques and without, English composers attempted to develop their own brand of musical monody to fulfill the dramatic function of recitative in their operas. Traditionally, the stunted growth of this tradition has been explained by cultural and political factors alone; however, this study shows how the difficulties encountered while developing an English recitative tradition prevented composers from having the tools necessary for their operas to flourish. This fact is shown by examining the obstacles that had to be overcome when attempting to reconcile a rich, existing tradition of dramatic poetry with the demands of creating a moving and varied musical setting of the text. Further, an attempt is made to define the genre of English recitative and the breadth of style therein by examining the specific features of declamation in the major operatic works of Restoration England. The analysis further shows how the inconsistent degree of efficacy in these composers’ efforts prevented them from creating a conventionalized style of declamation applicable to all dramatic situations.
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Girdham, Jane. "English opera in late eighteenth-century London : Stephen Storace at Drury Lane /." Oxford : Clarendon press, 1997. http://catalogue.bnf.fr/ark:/12148/cb35871269n.

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O'Neill, Sinéad. "A history of opera in performance : Verdi's Macbeth at Glyndebourne, 1938 to 2007." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1319.

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This dissertation is a history of Glyndebourne Festival Opera’s productions of Verdi’s Macbeth. The first three chapters document each of the three productions, which are directed by Carl Ebert (1938), Franco Enriquez (1964), and Richard Jones (2007). The final chapter is an analysis – focusing on the score’s staging potential – of the opera itself. The analysis is used to draw together and clarify the various staging interpretations discussed in the previous three chapters. The Glyndebourne Archives form the main source for the first two chapters, and my observation of rehearsals and performances informs the third. Historical context is particularly important in the first chapter, while dramaturgical analysis comes to the fore in the second and third. In all cases, the individual production as art work is the main subject of my research. The interaction of music and stage is of particular importance. The methodological challenges presented by exploring something as ephemeral as live performance are discussed in the introduction, and kept in mind throughout. This dissertation is the first major study of Glyndebourne Festival Opera’s creative work. As such, it takes a first step towards the scholarly investigation of the history of opera production in Britain.
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Martin, Steven Edward. "The British operatic machine : Investigations into the institutional history of English opera, c. 1875-1939." Thesis, University of Bristol, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529870.

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Woof, Lawrence. "Italian opera and English oratorio as cultural discourses within eighteenth-century English literature, with particular reference to the novels of Samuel Richardson and Fanny Burney." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282170.

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McBrayer, Benjamin Marcus. "The Specter of Peter Grimes: Aesthetics and Reception in the Renascence of English Opera, 1945-53." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1216694339.

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Thesis (Master of Music)--University of Cincinnati, 2008.
Advisors: Dr. Bruce D. McClung PhD (Committee Chair), Dr. Mary Sue Morrow PhD (Committee Member), Kenneth R. Griffiths MM (Committee Member) Title from electronic thesis title page (viewed Oct. 4, 2008). Includes abstract. Keywords:Benjamin Britten; Ralph Vaughan Williams; Peter Grimes; The Pilgrim's Progress; Gloriana; Aesthetics; Reception; Reception History; English Opera; Twentieth-Century English Opera Includes bibliographical references.
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Books on the topic "Opera, English"

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Gilbert, Susie. Opera for everybody: The story of English National Opera. London: Faber and Faber, 2009.

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Opera for everybody: The story of English National Opera. London: Faber and Faber, 2009.

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Horace. Opera. 4th ed. Monachii: K.G. Saur, 2001.

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Nantucket soap opera. New York: Atheneum, 1987.

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Shakespeare, William. L' opera poetica. Milano: Oscar Mondadori, 2000.

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Fried, Block Adrienne, ed. Operas in English: A dictionary. Westport, Conn: Greenwood Press, 1999.

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Danesi, Marcel. Opera Italian!: An introduction to Italian through opera. 2nd ed. Welland, Ont: Éditions Soleil Pub., 2004.

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Jonas, Peter. Power house: The English National Opera experience. London: Lime Tree, 1992.

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English opera in late eighteenth-century London: Stephen Storace at Drury Lane. Oxford: Clarendon Press, 1997.

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Bolcom, William. McTeague: An opera in two acts in English. [New York]: E.B. Marks Music Co., 1992.

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Book chapters on the topic "Opera, English"

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Seeley, Paul. "The Royal English Opera House." In Richard D’Oyly Carte, 111–26. Abingdon, Oxon; New York, NY: Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9781351045919-7.

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Corness, Patrick John. "Two English translations of Jaroslav Kvapil’s Rusalka libretto." In Opera in Translation, 291–314. Amsterdam: John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/btl.153.14cor.

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Walkling, Andrew R. "Dramatick opera in the 1680s." In English Dramatick Opera, 1661–1706, 209–32. London and New York : Routledge, 2019. | Series: Ashgate interdisciplinary studies in opera: Routledge, 2019. http://dx.doi.org/10.4324/9781315524214-6.

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Walkling, Andrew R. "Responses to dramatick opera, 1674–81." In English Dramatick Opera, 1661–1706, 156–208. London and New York : Routledge, 2019. | Series: Ashgate interdisciplinary studies in opera: Routledge, 2019. http://dx.doi.org/10.4324/9781315524214-5.

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Walkling, Andrew R. "The rise of dramatick opera, 1673–75." In English Dramatick Opera, 1661–1706, 117–55. London and New York : Routledge, 2019. | Series: Ashgate interdisciplinary studies in opera: Routledge, 2019. http://dx.doi.org/10.4324/9781315524214-4.

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Walkling, Andrew R. "Dramatick opera in the 1690s and beyond." In English Dramatick Opera, 1661–1706, 233–306. London and New York : Routledge, 2019. | Series: Ashgate interdisciplinary studies in opera: Routledge, 2019. http://dx.doi.org/10.4324/9781315524214-7.

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Walkling, Andrew R. "Introduction." In English Dramatick Opera, 1661–1706, 1–37. London and New York : Routledge, 2019. | Series: Ashgate interdisciplinary studies in opera: Routledge, 2019. http://dx.doi.org/10.4324/9781315524214-1.

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Walkling, Andrew R. "Machine technology and diegetic supernaturalism on the English public stage, 1661–71." In English Dramatick Opera, 1661–1706, 38–81. London and New York : Routledge, 2019. | Series: Ashgate interdisciplinary studies in opera: Routledge, 2019. http://dx.doi.org/10.4324/9781315524214-2.

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Walkling, Andrew R. "“Spectacle-tragedy” and the shifting fortunes of the patent theatres." In English Dramatick Opera, 1661–1706, 82–116. London and New York : Routledge, 2019. | Series: Ashgate interdisciplinary studies in opera: Routledge, 2019. http://dx.doi.org/10.4324/9781315524214-3.

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Nolasco, Rob. "We Could See the Phantom of the Opera." In Mastering English as a Foreign Language, 81–90. London: Macmillan Education UK, 1990. http://dx.doi.org/10.1007/978-1-349-20872-2_9.

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Conference papers on the topic "Opera, English"

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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.

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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.
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