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Journal articles on the topic 'Opera, English'
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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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Saylor, Eric. "Dramatic Applications of Folksong in Vaughan Williams's Operas Hugh the Drover and Sir John in Love." Journal of the Royal Musical Association 134, no. 1 (2009): 37–83. http://dx.doi.org/10.1080/14716930902756844.
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Although Ralph Vaughan Williams's operas Hugh the Drover (1924) and Sir John in Love (1929) both prominently feature English folk and traditional tunes, the dramatic ends such music serves differ significantly between the two works. This article compares the ways in which Vaughan Williams uses folk music in both operas, with the larger aim of providing a more nuanced perspective on the changing musical and dramatic potential the composer saw for indigenous English music within the context of opera.77
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Thorp, Jennifer. "Dance in Opera in London, 1673–1685." Dance Research 33, no. 2 (November 2015): 93–123. http://dx.doi.org/10.3366/drs.2015.0134.
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This article looks at the extent to which French styles of theatrical dancing influenced opera in London during the years 1673–1685. In the 1670s the emergence of opera in London owed much to Stuart Court culture and its interest in French ballets de cour and English masques. Meanwhile on the London stage in the 1670s, English theatrical dance was now enhanced by the ability of the Duke of York's new theatre at Dorset Garden to offer the sort of spectacular staging already known in Paris and which suited opera so well. These influences – the love of French music and dancing as balanced by the continued interest in vernacular theatre and its new capacity for spectacle – resulted in an English approach to opera in which the dancing and scenography rarely remained completely French or completely English. This article considers opera dancing in London, from the addition of dance to a reworked Shakespeare play in 1673, followed the next year by the first opera sung in French to be staged in London, and the sometimes hybrid applications of English and French dance in opera thereafter. That the fascination with French opera had diminished after 1685 is reinforced by the unsuccessful attempt to stage one of Lully's tragédies-en-musique in a London theatre the following year.
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Thompson, Brian C. "Henri Drayton, English Opera and Anglo-American Relations, 1850–72." Journal of the Royal Musical Association 136, no. 2 (2011): 247–303. http://dx.doi.org/10.1080/02690403.2011.618722.
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AbstractThis article explores aspects of transatlantic culture through the career and works of the baritone, librettist and impresario Henri Drayton (1822–72). Using the published operas as well as reviews from period newspapers, the author retraces the events of the Philadelphia-born Drayton's professional life. Concentrating on the creative works, the author shows how Drayton went from playing stock roles at London's Drury Lane Theatre to collaborating with composers such as Joseph Duggan and Edward James Loder. With his wife, the soprano Susanna Lowe, Drayton performed in what he termed ‘drawing-room’ operas. Their popularity attracted the attention of visiting US impresario P. T. Barnum, who brought Drayton to New York in 1859. When his success in the USA was cut short by the outbreak of the Civil War, Drayton returned to London and created a one-man ‘entertainment’, Federals and Confederates. Spending what would be his final years as a member of the Richings English Opera Company, Drayton returned to New York in 1869.
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Cruz, Gabriela. "The Flying Dutchman, English Spectacle and the Remediation of Grand Opera." Cambridge Opera Journal 29, no. 1 (March 2017): 5–32. http://dx.doi.org/10.1017/s0954586717000027.
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AbstractRichard Wagner wrote in 1852 that in settling on the theme of the phantom ship he had entered ‘upon a new path, that of Revolution against our modern Public Art’, that is,grand opéra. Wagner’s revolution has often been described in light of the poetics of return and homecoming that contributed a new sense of identity to (German) opera. The present article is written against the grain of this conviction, and highlights the cosmopolitan career of the phantom ship and of the vernacular art forms – the nautical theatre and the phantasmagoria – that maintained the seafaring image at the forefront of the liberal imagination, first in Britain, and then in Paris, where Wagner arguably seized on it. Specifically, it explores the significance of ‘apparitional images’ to mid-nineteenth-century opera and Wagner’s turn to a regime of modern spectacle, inspired by the art of phantasmagoria, inDer fliegende Holländer.
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Kuzmenko, A. O., and V. E. Railianova. "Lingvuistic features of the English language opera aria." Bulletin of Luhansk Taras Shevchenko National University, no. 3 (341) (2021): 76–85. http://dx.doi.org/10.12958/2227-2844-2021-3(341)-76-85.
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The article deals with the relationship between discourse and text, as well as song discourse and song text. The place and role of the style of the opera aria in the world culture (musical culture) has been determined. The object of the study is the English-language song texts of opera arias, and the subject is their stylistic arrangement. The signs of dialogism in the English-language song texts of opera arias are clarified: the use of interjections, the first and second person of pronouns and verbs, imperative constructions and addresses. It has been proven that stylistic means of addition and substitution play a significant role in style. The stylistic addition is aimed at depicting the magical and mystical with a breath of the imaginary. On the other hand, vernacular using interjections, imperatives, abbreviated forms reinforce the ordinariness of life. All stylistic techniques of addition are aimed at more emotional saturation of the realities of human existence in the English-language song texts of opera arias. Personification is perhaps the main technique of opera arias, because everything that is sung about the feeling of love is filled with human skills and capabilities. Stylistic figures of addition and substitution in the English-language opera arias emphasize the emphatic nature of thought and the acuteness of the speaker's perception of the world around him.
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Anderson, Martin. "London, English national Opera: ‘The Handmaid's Tale’." Tempo 57, no. 225 (July 2003): 39. http://dx.doi.org/10.1017/s0040298203220246.
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Poul Ruders's opera The Handmaid's Tale is hardly an unknown quantity: its world-première production in Copenhagen in 2000 was recorded by da capo (8.224165–66) in a three-CD set that received justly loud encomia. But the UK stage première, transferring the Danish production for a run at the English National Opera that began on 3 April, revealed – in a way that the recording obviously could not – what a superior piece of theatre it is: music, libretto, direction, stage design, costumes and lighting all coalesce to thrilling effect. A depressing number of operatic productions sacrifice musical integrity to directorial whim, so it's deeply heartening to report that, for once, everything pulled dedicatedly in the same direction, with outstanding results: it has been years since I've seen something this good.
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TURNER, KRISTEN M. "“A Joyous Star-Spangled-Bannerism”: Emma Juch, Opera in English Translation, and the American Cultural Landscape in the Gilded Age." Journal of the Society for American Music 8, no. 2 (May 2014): 219–52. http://dx.doi.org/10.1017/s175219631400008x.
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AbstractSoprano Emma Juch (1860–1939), famous in the 1880s and 1890s, combined singing in concerts and festivals with a short English-language operatic career. Because Juch exemplifies a typical prima donna of the late nineteenth century, her life provides a perspective on the American cultural landscape that a focus on star performers cannot capture. Like all female singers, she had to negotiate between competing stereotypes about divas and the nineteenth-century distrust of women who led public lives. In response to these pressures, she constructed an image of a vigorous American singer who nevertheless understood her expected role in society. During the Gilded Age, opera's place in American culture was changing. Foreign-language opera became increasingly associated with wealth, the highest performance quality, and sometimes even cultural and moral uplift, whereas English-language opera suggested popular entertainment for the middle class and mediocre performance standards. The American Opera Company and Juch's own Emma Juch English Grand Opera Company attempted to fight against these assumptions and center opera in English performed by native singers as an important component of a distinctly American musical tradition. She was unsuccessful, however, and Juch's career, which began with great promise, lost momentum after her opera troupe folded and she slid into obscurity.
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Hume, Robert D. "The politics of opera in late seventeenth-century London." Cambridge Opera Journal 10, no. 1 (March 1998): 15–43. http://dx.doi.org/10.1017/s0954586700005310.
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To what degree does late seventeenth-century English opera contain politics? Some recent critics have assumed that political commentary conveyed by allegory is a pervasive feature of ‘Restoration’ masques and operas. Is this true? Quite a few political interpretations of particular works have been published but no one has systematically enquired to what extent allegory and/or ideology was presumed to be built into operas mounted in late seventeenth-century London. Theoretical statements of the time about opera are scant and contradictory, their authors disinclined to take up political issues. Some of the political content is glaringly obvious (the allegory in Dryde'ns and Grabu's Albion and Albanius); some of it is sharply disputed. How should we read a work like Dryden's and Purcell's King Arthur? Is it essentially a muddled adventure story? An expression of British nationalism rising above current politics? A piece of covert Jacobite propaganda?
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Citron, Marcia J. "Opera-Film as Television: Remediation in Tony Britten's Falstaff." Journal of the American Musicological Society 70, no. 2 (2017): 475–522. http://dx.doi.org/10.1525/jams.2017.70.2.475.
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Tony Britten's film Falstaff (2008) is an unusual, even radical opera-film. An updated treatment with a colloquial English translation and a chamber arrangement, and lacking many operatic elements, the film enacts a remediation of opera-film through the medium of television. Remediation, as conceived by Jay Bolter and Richard Grusin, refers to “the representation of one medium in another,” and its goal “is to refashion or rehabilitate other media.” Britten's Falstaff is strongly influenced by British popular television, especially British situation comedy. Sitcoms that emphasize working-class culture and “lads’ humor”—such as Only Fools and Horses and Men Behaving Badly respectively—resonate conspicuously with this Falstaff. In addition, television features prominently in it by virtue of the fact that protagonist John Falstaff is a former television star. The implications of this remediated opera-film for Verdi and Boito's opera are also of considerable interest. In critical ways associated with music, text, and narrative, the opera is highly suited to Britten's conception. Building on the work of Denise Gallo, I propose that Britten's film marks another moment in the struggle for national ownership of the Merry Wives material. In this sense the film articulates an “Englishizing” of Verdi and Boito's opera. The new kind of opera-film represented by Britten's Falstaff reinforces the idea of “television opera” as a genre that takes advantage of television's medial and aesthetic capabilities, and expands its purview to adaptations as well as new operas.
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ROGERS, VANESSA L. "John Gay, Ballad Opera and theThéâtres de la foire." Eighteenth Century Music 11, no. 2 (August 7, 2014): 173–213. http://dx.doi.org/10.1017/s1478570614000049.
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ABSTRACTDaniel Heartz was the first musicologist to link John Gay'sThe Beggar's Opera(1728) withopéras comiques en vaudevilles, light musical theatre entertainments popular at the annual Paris fairs. Other scholars such as Edmond Gagey and Calhoun Winton had also suggested that Frenchcomédies en vaudevillesmight have been models for Gay's ‘original’ new genre of the ballad opera, but were unable to find compelling evidence for their suspicions. This article shows that the music ofPolly(1729), Gay's sequel toThe Beggar's Opera, can finally provide a link between ballad operas and thecomédies en vaudevilles, as four of the unidentified French airs in the opera can now be identified as popular Frenchvaudevilles. I investigate the fruitful exchange between Paris and London in the early eighteenth century (despite prevailing anti-French sentiment in Britain), focusing on musical borrowings, translations and the performers who worked in both cities. We shall see that ballad opera and thecomédies en vaudevillesshare common ground, includingvaudevilles finals, common tunes sung by actor-singers and the use of musical parody and double entendre. A closer examination of Gay's (and his contemporaries') knowledge of thecomédies en vaudevillesilluminates previously unknown French contributions to eighteenth-century English popular musical theatre, and demonstrates the unique way in which French practices were appropriated in early eighteenth-century England.
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Holman, Anna. "Interlingual = Intercultural in Kayoi Komachi/Komachi Visited: A Noh Chamber Opera." TDR/The Drama Review 63, no. 3 (September 2019): 164–71. http://dx.doi.org/10.1162/dram_a_00863.
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In their intercultural production Kayoi Komachi/Komachi Visited, creators Colleen Lanki and Farshid Samandari experimented with mixing Japanese noh and Western chamber opera, blending noh and opera music, classical Japanese and English. For this noh opera, which hybridized theatrical styles through language, interlingualism was key to its interculturality.
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Gilman, Todd S. "Augustan Criticism and Changing Conceptions of English Opera." Theatre Survey 36, no. 2 (November 1995): 1–35. http://dx.doi.org/10.1017/s0040557400001186.
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The love-hate nature of the relations between England and Italy in the seventeenth and eighteenth centuries is well known. Ever since Henry VIII broke with Rome after Pope Clement VII refused to allow his divorce, things Italian were a popular object of satire and general disdain. An ever-increasing British nationalism founded on political, religious, and aesthetic principles during the seventeenth century fanned the flames of anti-Italian sentiment. This nationalism, newly consolidated in the seventeenth century by the ambitions of the Stuart monarchs to destroy Parliament, was intimately connected with English Protestantism. As Samuel Kliger has argued, the triumph of the Goths—Protestant Englishmen's Germanic ancestors—over Roman tyranny in antiquity became for seventeenth-century England a symbol of democratic success. Moreover, observes Kliger, an influential theory rooted in the Reformation, the “translatio imperii ad Teutonicos,” emphasized traditional German racial qualities—youth, vigor, manliness, and moral purity—over those of Latin culture—torpor, decadence, effeminacy, and immorality—and contributed to the modern constitution of the supreme role of the Goths in history. The German translatio implied an analogy between the conquest of the Roman Empire by the Goths (under Charlemagne) and the rallying of the humanist-reformers of northern Europe (e.g., Luther) for religious freedom, understood as liberation from Roman priestcraft; that is, “the translatio crystallized the idea that humanity was twice ransomed from Roman tyranny and depravity—in antiquity by the Goths, in modern times by their descendants, the German reformers…the epithet ‘Gothic’ became not only a polar term in political discussion, a trope for the ‘free,’ but also in religious discussion a trope for all those spiritual, moral, and cultural values contained for the eighteenth century in the single word ‘enlightenment.’”
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Apter, Ronnie, and Mark Herman. "The Worst Translations: Almost any Opera in English." Translation Review 48-49, no. 1 (September 1995): 26–32. http://dx.doi.org/10.1080/07374836.1995.10523661.
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Hale, Frederick. "Opera through Varying Theological Lenses." Religion & Theology 22, no. 3-4 (2015): 301–27. http://dx.doi.org/10.1163/15743012-02203008.
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Although a great deal of scholarly attention has been devoted to Richard Wagner and his renowned works since the nineteenth century, and considerable attention has been given to Christian interpretations of them from continental European perspectives, many theological perspectives on the man and his operas in the English-speaking world have remained unilluminated. The present article seeks to redress aspects of that neglect by examining how two theologically educated British Nonconformists, namely P.T. Forsyth and Ramsden Balmforth (the latter of whose ministerial career was in Cape Town from 1897 until 1937) understood Wagner’s opera about the Holy Grail, Parsifal. It is argued that Forsyth’s interpretation was informed in large measure by his evolving understanding of the meaning of the Atonement and redemption, while Balmforth’s was shaped to a considerable degree by his Fabian socialism.
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He, Chengzhou. "‘The Most Traditional and the Most Pioneering’: New Concept Kun Opera." New Theatre Quarterly 36, no. 3 (August 2020): 223–36. http://dx.doi.org/10.1017/s0266464x20000469.
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Featuring hybridity, transgression, and improvisation, New Concept Kun Opera refers to experimental performances by Ke Jun and other Kun Opera performers since the beginning of the twenty-first century. From telling the ancient stories to expressing the modern self, this new form marks the awakening of the performer’s subjectivity and develops a contemporary outlook by rebuilding close connections between Kun Opera and modern life. A synthetic use of intermedial resources contributes to its appeal to today’s audiences. Its experimentation succeeds in maintaining the most traditional while exploring the most pioneering, thus providing Kun Opera with the potential for renewal, as well as an alternative future for Chinese opera in general. Chengzhou He is a Yangtze River Distinguished Professor of English and Drama at the School of Foreign Studies and the School of Arts at Nanjing University. He has published widely on Western drama, intercultural theatre, and critical theory in both Chinese and English. Currently, he is the principal investigator for a national key-research project, ‘Theories in European and American Theatre and Performance Studies’.
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He, Rong, and Linxin Liang. "The Peking Opera or the Beijing Opera? An International Usage Frequency Analysis Based on the Corpus of Global Web-based English (GLoWbE)." IRA International Journal of Education and Multidisciplinary Studies 17, no. 2 (July 9, 2021): 108. http://dx.doi.org/10.21013/jems.v17.n2.p10.
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The regional differences in the frequency of synonym use reflect the social cognition of various speech groups. Both Peking opera and Beijing opera refer to an identical Chinese cultural entity, but they differ considerably in international usage frequency in the GLoWbE where disparity can be manifested among 20 English-speaking communities. Beijing opera enjoys a slightly higher frequency than Peking opera in total, and several Asian and African countries even have no relevant data concerning this art. Besides, we explore some potential reasons for interpreting these phenomena.
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Jones, Mark. "Verdi's Macbeth." Psychiatric Bulletin 14, no. 12 (December 1990): 735–37. http://dx.doi.org/10.1192/pb.14.12.735.
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Mark Jones continues this occasional series by examining Verdi's Macbeth of 1847 in the light of David Pountney's new production for the English National Opera premiered at the London Coliseum in April.The ten year period 1840–1850 saw the appearance of ten operas by the young Giuseppe Verdi which now constitute his ‘early’ musical output. Not all the operas were equally successful and Verdi later acknowledged their inconsistencies; but here was the work of a genius who was to become the greatest composer in the Italian tradition, and at this time was thought of as a worthy successor to Rossini, Donizetti and Bellini.
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Rushton, Julian, Haydn, London Classical Players, Roger Norrington, Concentus Musicus Wien, Nikolaus Harnoncourt, Mozart, Anthony Halstead, Academy of Ancient Music, and Christopher Hogwood. "Symphonies Nos. 99-102; Overture to an English Opera." Musical Times 136, no. 1824 (February 1995): 103. http://dx.doi.org/10.2307/1193639.
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Zheng, Da. "A Peking Opera, English Play and Hong Kong Film." Film International 17, no. 3 (September 1, 2019): 37–48. http://dx.doi.org/10.1386/fiin.17.3.37_1.
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Collins, Aletta. "A Choreographer's Approach to Opera." Dance Research 33, no. 2 (November 2015): 269–72. http://dx.doi.org/10.3366/drs.2015.0141.
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My first professional commission as a choreographer was not for a dance company but for an opera company, for the Bregenz Festival in Austria. In 1988, while I was still a student at London Contemporary Dance School, I was approached to choreograph Camille Saint-Saëns's Samson et Dalila; the commission also included giving ‘movement’ to the chorus (a group of 120 singers) and directing the dancers when they were not dancing. The dancers were a classical company from Sofia, Bulgaria, a company of thirty none of whom spoke English.
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Warnaby, John. "Maxwell Davies's ‘Resurrection’: Origins, Themes, Symbolism." Tempo, no. 191 (December 1994): 6–13. http://dx.doi.org/10.1017/s0040298200003855.
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Peter Maxwell Davies originally conceived the opera Resurrection in 1963, in response to the commercialism he encountered while studying in the United States. He regarded it as a sequel to Taverner, even before the completion of his first opera. Despite the intervention of two important chamber operas (The Martyrdom of St. Magnus and The Lighthouse), his decision to settle in the Orkney Islands, and the various changes in his compositional style – encouraged by his involvement with the writings ot George Mackay Brown – Maxwell Davies has retained the main elements of his inspiration. There appear to have been several attempts to complete the opera in response to the prospect of its reaching the stage, but the final impetus came from an increasing awareness, during the 1980s, of the corrosive effects of Thatcherism on British culture and society. Consequently, Resurrection became the focus of 25 years of endeavour, all the changes contributing to its ultimate fruition. It extends the philosophical and theological ideas adumbrated in Taverner, but explores these themes in the context of contemporary society, as opposed to the earlier opera's concern with events surrounding the English Reformation.
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Till, Nicholas. "‘First-Class Evening Entertainments’: Spectacle and Social Control in a Mid-Victorian Music Hall." New Theatre Quarterly 20, no. 1 (January 5, 2004): 3–18. http://dx.doi.org/10.1017/s0266464x03000289.
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First-Class Evening Entertainments was the title given to a variety programme presented at Hoxton Hall in East London when it first opened in 1863. In 2000 Nicholas Till and Kandis Cook were commissioned by Hoxton Hall and the English National Opera Studio to make a new music theatre piece for the Hall, which led to an investigation of the content and context of the original programme. In the following article Nicholas Till offers a reading of the 1863 programme as an example of the mid-Victorian project to exercise social control over the urban working classes. Nicholas Till is Senior Lecturer in Theatre at Wimbledon School of Art, and co-artistic director of the experimental music theatre company Post-Operative Productions. He is the author of Mozart and the Enlightenment: Truth, Virtue, and Beauty in Mozart's Operas (Faber, 1992), and is currently editing The Cambridge Companion to Opera.
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Mottershead, Tim. "Salvatore Sciarrino The Killing Flower Music Theatre Wales, Buxton Opera House." Tempo 68, no. 267 (January 2014): 67–68. http://dx.doi.org/10.1017/s0040298213001411.
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Sciarrino's two-act chamber opera Luci mie traditrici is based on the true story of Renaissance composer Carlo Gesualdo's brutal murder of his wife and her lover. Numerous composers in the last 50 years or so have been sufficiently fascinated by Gesualdo to write works based on his life or music, including seven operas appearing in the last two decades. Sciarrino based his libretto on a drama written only 50 years after Gesualdo's death by Giacinto Andrea Cicognini. This UK premiere conducted by Michael Rafferty was given at the Buxton Festival by Music Theatre Wales, translated into English by Paola Loreto (and set to the music by Kit Hesketh-Harvey) as The Killing Flower.
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Yanko, Yu V. "Performing interpretation of the opera in the spectacles of the Opera Studio of the Kharkiv National I. P. Kotlyarevsky University of Arts in the late 20th – the early 21st century." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 92–107. http://dx.doi.org/10.34064/khnum2-14.07.
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Problem statement. Musical director’s activity of an opera performance is a complex phenomenon and largely unexplored, in particular, the theoretical aspects of the conductor’s interpretation of the opera have not received a sufficient development in domestic musicology yet. In the theoretical aspect not only the role of the conductor-director, but also co-directors of an opera performance – a director, a choirmaster and others who in cooperation create an artistic image of an opera spectacle is insufficiently investigated. The necessity of exploration of practical issues of the opera’s interpretation for further theoretical generalizations, awareness of specifics of the various performing interpretations determines the relevance of the topic of the offered article. The recent researches and publications by O. Menkov, P. Lando, G. Tkachenko and V. Makarenko emphasize the need of creation of the theory of collective performing, in particular, of the opera works, as well as the conductor’s role as a head of staging process. Admitting all the above, we insist also the necessity of developing a shared position by the all co-creators of the performance (a conductor, a stage director, a choirmaster, a ballet master, a painter and others). The purpose of the study – to reveal the specifics of the creation of the performing interpretation in student’s opera theater on the example of the work of opera studio of the Kharkiv National University of Arts named after I. P. Kotlyarevsky. The methodology of the research includes the interpretive analysis, chosen for understanding and explanation the specifics of the opera performance, as well as retrospective historical observations over the working process in Opera Studio of Kharkiv University of Art on the cusp of the 20th and 21st centuries with followed by generalization. Results. As the research material, the creative activity of the opera studio’s team under the leadership of the People’s Artist of Ukraine, professor of Solo Singing and Opera Training Department of Kharkiv National University of Arts was chosen. During the period since 1989 year to present time about 30 operas were staged in Opera Studio under the leadership of the Maestro. Co-organization persons of the opera studio’s performances were the stage directors I. Ryvina, O. Kolomiytsev, A. Kaloyan, the choirmasters – Honored Arts Workers of Ukraine professor N. Byelik-Zolotaryova (in performances 1989–2008, from 2013 and to present day) and associate professor I. Verbitska (during the period from 2009 to 2012), which also was executed the functions of the conductor of performances of student’s opera theater. The concertmasters headed by professor L. Kucher carried out studying the musical material of operas by students. According to our explorations, the principles of selection of operas for production in the Opera Studio became: art value of the chosen sample; presence of performance stuff among undergraduates of Department of the Solo Singing to create the main and secondary characters; vocal possibilities of young performers (because the opera studio is the student’s opera theater); the material base for creation of sceneries, tailoring the costumes etc.; demand of the chosen sample in opera theaters. For identification of the specifics of production process in student’s opera theater two representative samples were chosen: the production versions of the operas “The love for three oranges” by S. Prokofiev (18.12.1989, the stage director I. Ryvina, the choirmaster N. Byelik-Zolotaryova, the painter T. Medvid) and “Dido and Aeneas” by H. Purcell (19.11.2001, the stage director O. Kolomiytsev, the head of the opera’s staging I. Ryvina, the choirmaster N. Byelik-Zolotaryova, the painter K. Kolesnichenko), under maestro A. V. Kalabukhin’s conducting. The choice of these opera samples by Kharkiv University Opera Studio brightly demonstrates the essence of its repertoire policy, which is concluded in selection for staging the operas of different styles and directions. The performing conception of the opera “The love for three oranges” was built, on the one hand, on the understanding of this musically-scenic opus as the embodiment of the forms of “conditional theater”, on the other hand – as solution to the problem about essence of art, the theatricalized answer to the question, which it should be. The staging of the first English opera “Dido and Aeneas” by H. Purcell was directed on comprehension and acquisition by students of Baroque stylistics in an opera genre. Conclusions. As features of the staging process in the opera studio, it should be noted, at first, the synthesis of creative and pedagogical orientation in the activities of the producers of performances. So, in the student opera the conductor on rehearsals not only builds the structure of the opera whole, seeking an ensemble between performers-soloists, chorus and orchestra, but also is at work with students upon the technique of sound articulation (breathing, diction, phrasing), upon the emotional and meaning content of music. The rehearsals of young singers with stage directors also have a clear pedagogical orientation, presupposing detailed explanations of both the general line of development of the image and the specific situational details of the behavior of the character in different stages of the opera. An integral part of the artistic and pedagogical process, when creating the performance of the opera studio, the work of professional collectives is: choir and orchestra, which helps the student to enter the atmosphere of a real opera art. In the above successful performances of the Opera Studio of Kharkiv National University of Arts, the choir sound (choirmaster N. Byelik-Zolotaryova) featured a magnificent ensemble, a variety of dynamics, expressiveness of the word, intelligent emotionality, spirituality. Under the direction of A. Kalabukhin and I. Verbitska, the orchestra supported young performers by naturally way, and in solo instrumental episodes it showed the timbre saturation and completeness of expression of a musical thought. In the process of ground work on the performance, one should pay attention to certain organizational moments on which its success depends, namely, the drawing up of a clear schedule of rehearsals depending on the employment of students at lectures and the availability of the own premises for orchestral and stage rehearsals and performances. Given the sufficiently limited number of such rehearsals before the premiere, as well as the pedagogic orientation of student opera performance, it is extremely important to coordinate the actions of all the co-directors of the performances. A conductor, a director, a choirmaster, a painter, a costume designer and others have to adhere to the general artistic idea of the work, which clarified by the way of preliminary joint discussion.
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CROZIER, ERIC, and NANCY EVANS. "After Long Pursuit The English Opera Group and Albert Herring." Opera Quarterly 11, no. 3 (1995): 3–16. http://dx.doi.org/10.1093/oq/11.3.3.
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Edgecombe, R. S. "The Mountain Sylph: A Forgotten Exemplar of English Romantic Opera." Opera Quarterly 18, no. 1 (January 1, 2002): 26–39. http://dx.doi.org/10.1093/oq/18.1.26.
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Apter, Ronnie. "The Impossible Takes a Little Longer: Translating Opera into English." Translation Review 30-31, no. 1 (September 1989): 27–37. http://dx.doi.org/10.1080/07374836.1989.10523462.
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Porter, James. "An English Composer and Her Opera: Harriet Wainewright’s Comàla (1792)." Journal of Musicological Research 40, no. 2 (February 16, 2021): 126–44. http://dx.doi.org/10.1080/01411896.2021.1872378.
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Burke, Tony, and Gregory Peter Fewster. "Opera Evangelica: A Lost Collection of Christian Apocrypha." New Testament Studies 67, no. 3 (June 3, 2021): 356–87. http://dx.doi.org/10.1017/s0028688521000096.
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Within the holdings of the Thomas Fisher Rare Book Library at the University of Toronto there is a curious, rarely examined handwritten book entitled Opera Evangelica, containing translations of several apocryphal works in English. It opens with a lengthy Preface that provides an antiquarian account of Christian apocrypha along with a justification for translating the texts. Unfortunately, the book's title page gives little indication of its authorship or date of composition, apart from an oblique reference to the translator as ‘I. B.’ But citations in the Preface to contemporary scholarship place the volume around the turn of the eighteenth century, predating the first published English-language compendium of Christian apocrypha in print by Jeremiah Jones (1726). A second copy of the book has been found in the Cambridge University Library, though its selection of texts and material form diverges from the Toronto volume in some notable respects. This article presents Opera Evangelica to a modern audience for the first time. It examines various aspects of the work: the material features and history of the two manuscripts; the editions of apocryphal texts that lie behind its translations; the views expressed on Christian apocrypha by its mysterious author; and its place within manuscript publication and English scholarship around the turn of the eighteenth century. Scholars of Christian apocrypha delight in finding ‘lost gospels’ but in Opera Evangelica we have something truly unique: a long-lost collection of Christian apocrypha.
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Ramialison, Ifaliantsoa. "L’identité anglaise dans Dr Dee: An English Opera de Damon Albarn." Volume !, no. 11 : 2 (June 15, 2015): 85–99. http://dx.doi.org/10.4000/volume.4525.
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Aspden, Suzanne. "Ballads and Britons: Imagined Community and the Continuity of ‘English’ Opera." Journal of the Royal Musical Association 122, no. 1 (1997): 24–51. http://dx.doi.org/10.1093/jrma/122.1.24.
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Joseph Addison's Spectator is perhaps the best-known early eighteenth-century periodical, its title a byword for the period's acute critical sensibility, its pages of enthusiastic enquiry a fitting monument to what we like to call the ‘Age of Reason’. Of the many commentaries on opera included in its pages, Spectator no. 5 (6 March 1711), critiquing the inadequacy of attempts at scenic verisimilitude on London's operatic stage, is justly renowned. Addison's tale of the undesirable (and wholly unmusical) results of releasing quantities of sparrows inside a theatre derives much of its pungency from the consequences of what Addison feels to be an improper juxtaposition of 'shadows and realities': sparrows and castrati alike escape pastoral fantasy to invade more sordid reality, penetrating ‘a lady's bed-chamber’ or perching ‘upon a king's throne’.
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Alpysbayeva, Venera, Togzhan Ospanova, Beishenaliev Almazbek, Tony Dimitrova Shekerdzhieva-Novak, and Begalinova Gulnar. "Compositional content of English musical and rock opera texts: linguistic aspect." XLinguae 14, no. 2 (April 2021): 52–59. http://dx.doi.org/10.18355/xl.2021.14.02.04.
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Every day, every active member of society deals with various types of media, interacts with other people, is engaged in cognitive activities while falling under the influence of external factors that influence a person’s consciousness, thinking, and behavior. All these processes take place in a communication situation, in which the individual inevitably becomes a participant when interacting with the outside world. One of the goals of research in the field of communicative linguistics is to identify and formulate criteria for ensuring the success (consistency) of speech interaction. Our research is devoted to the study of the linguistic problem of the text, which is proposed to be considered on the example of a musical and rock opera text as an element of a particular communicative phenomenon - musical and poetic discourse. The relevance of the work is based on the importance of the role of the linguistic component in the process of creating and perceiving the lyrics of a number of modern musical styles, which are currently one of the actively used tools for conveying information to the mass audience and influencing both the communicative activity of an everyday person and his worldview. The scientific novelty of this research lies in the fact that for the first time, it analyzes a previously unexplored linguistic phenomenon - the linguistic, musical, and rock opera texts. The uniqueness of the study lies in the fact that the theoretical and practical aspects of the functioning of texts are analyzed, the previously existing interpretations of this concept are systematically considered and based on our interpretation of this term, for the first time, an analysis is carried out concerning the corresponding type of discourse
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Robinson, Anne. "Penelope Spencer (1901–93) Dancer and Choreographer: A Chronicle." Dance Research 28, no. 1 (May 2010): 36–89. http://dx.doi.org/10.3366/drs.2010.0004.
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The career of the English dancer, choreographer, teacher and dance writer, Penelope Spencer (1901–93), primarily spanned the twenty-year period between the First and Second World Wars (1919–39). Spencer's versatile dance training and career encompassed diverse British theatre genres of the period, including ballet, drama, mime, modern dance, musical comedy, opera, pantomime and revue. It was common practice during the inter-war period for English dancers to disguise their British origins by ‘Russianising’ their names. Spencer, however, maintained her English name throughout her career. She practised consecutively both as a freelance artiste and also under the auspices of important cultural institutions, including the British National Opera Company [BNOC], the Camargo Society, the Cremorne Company, the Dancer's Circle Dinners, the Glastonbury Festival, the Imperial Society for Teachers of Dancing [ISTD], the League of Arts, the London Opera Syndicate Limited, the Margaret Morris Movement, the One Hundred Club, the Royal Academy of Dancing [RAD], the Royal Academy of Dramatic Art [RADA], the Royal College of Music [RCM], and the Sunshine Matinées. Spencer's significant contribution to British theatre dance and wider cultural heritage, is largely forgotten. Since no major study of her work has been published, 1 and because not one of her creations survives in performance, the importance of her wide-ranging, and often pioneering achievements, is not fully recognised.
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Lynch, Christopher. "Opera for the People: English-Language Opera and Women Managers in Late 19th-Century America by Katherine K. Preston." Notes 75, no. 4 (2019): 675–77. http://dx.doi.org/10.1353/not.2019.0045.
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Frantzen, Allen J. "The Handsome Sailor and the Man of Sorrows: Billy Budd and the Modernism of Benjamin Britten." Modernist Cultures 3, no. 1 (October 2007): 57–70. http://dx.doi.org/10.3366/e2041102209000318.
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Allen Frantzen's essay examines Benjamin Britten's “Billy Budd” (1951) in relation to the Festival of Britain, treating the opera as an example of a more conservative “mid-century modernism.” Frantzen analyzes in depth the changes Britten's librettists, E. M. Forster and Eric Crozier, made to the novella by Melville, in order to conclude that Britten's opera offers an art that seeks to establish itself within English society and culture, but that nevertheless makes clear, both in its music and text, that change is on its way.
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Burden, Michael. "Dancers at London's Italian Opera Houses as Recorded in the Libretti." Dance Research 33, no. 2 (November 2015): 159–211. http://dx.doi.org/10.3366/drs.2015.0137.
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For the audience, the purchase of a libretto when attending the King's Theatre, London's elite house for foreign opera and dance, was a commonplace. It offered the text of the opera, and a parallel English translation; it could also contain an argument for the opera, and other material relevant to the performance. A dramatis personae was nearly always included, together with a cast list, and after the mid-century, the libretti often contained the names of the dancers and choreographers. This article sets out to document the mentions of these names, and to chart their inclusion in the context of the history of the libretto. It identifies the first inclusion of a choreographer's name (in Antigono, in May 1746), the first dancers (in Ipermestra, in November 1754), and the first leader of the dancers (in the libretti for the 1790–1791 season), and identifies the inexplicable tailing off, and then total omission, of dancer personnel from the London Italian opera libretti.
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Price, Curtis, Judith Milhous, and Robert D. Hume. "A plan of the Pantheon Opera House (1790–92)." Cambridge Opera Journal 3, no. 3 (November 1991): 213–46. http://dx.doi.org/10.1017/s0954586700003517.
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The Pantheon Opera remains among the least known of the major theatrical ventures in eighteenth-century London. It came into being amidst the conspiracies that flourished after the King's Theatre, Haymarket, was destroyed by fire in June 1789. Conceived as a kind of English Court Opera, the Pantheon was backed at enormous expense by the Duke of Bedford and the Marquis of Salisbury. It struggled through the 1790–91 season, accumulating ruinous debts, and then on 14 January 1792 it too burned to the ground, just four nights into its second season.
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Bailey, Candace. "Review: Opera for the People: English-Language Opera and Women Managers in Late 19th-Century America, by Katherine K. Preston." Journal of the American Musicological Society 72, no. 2 (2019): 581–85. http://dx.doi.org/10.1525/jams.2019.72.2.581.
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Yushkova, Elena V. "From Gordon Craig to Mark Morris and Sasha Waltz: Stage design of opera / ballet “Dido and Aeneas”." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 100–117. http://dx.doi.org/10.18522/2415-8852-2020-1-100-117.
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The article deals with the impact of the English theatre director Edward Gordon Craig’s innovations in the dance theatre of the end of the 20th to the beginning of the 21st century. We consider one of Craig’s earliest performances in the opera “Dido and Aeneas” by the well-known English composer of the 17th century Henry Purcell., This was first staged in 1900 in London, and we focus on the selected methods and techniques associated with the reforming of theatre language, which were used by choreographers, such as the American Mark Morris and the German Sasha Waltz several decades later. Dance-operas by Morris (staged in 1989 in Belgium), and by Waltz (staged in 2005 in Berlin), despite their completely different approaches to the material, undoubtedly used Craig’s inventions, consciously or unconsciously entering into a dialogue with his experimental performance. Both Morris’s minimalism and Waltz’s baroque abundance stem from English director’s work, although the choreographers do not refer to it directly, since Craig’s innovations have become an inalienable part of theatrical practice in the 20th century. Comparative analysis allows us to discover how the English director’s ideas aimed at the creation of a theatre based on such components as motion, line, colour and rhythm and of a powerful affect on the audience, similar to how it was in ancient theatre, and how this was successfully realized in the work of postmodern choreographers. Special attention is paid to the stage design of performances and to the formation of a visual image and atmosphere of the performance
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Fischler, Alan. "The Modern Major Remodelling of the Gilbert and Sullivan Operas." New Theatre Quarterly 34, no. 1 (January 10, 2018): 35–46. http://dx.doi.org/10.1017/s0266464x17000665.
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Following the success of The Gondoliers (1889), Gilbert wrote to Sullivan: ‘It gives one the chance of shining right through the twentieth century.’ However, while this prophecy was largely fulfilled, clouds of cultural disapproval have darkened over the Savoy operas since the start of the present century, especially with regard to the mockery of women's education at the heart of Princess Ida (1884) and, most pointedly, the demeaning and ostensibly racist depiction of the Japanese in The Mikado (1885). On the other hand, the largely overlooked Utopia, Limited (1893) has experienced a boom in productions over the last decade, seemingly due to its subject matter, which, as one recent critic put it, make it ‘an anti-colonialist, anti-capitalist comic opera’. He also argues that, while some of the traditional performance practices associated with The Mikado ought to be re-evaluated, recent objections to the spirit of the opera as a whole are not entirely justified, and that a re-evaluation of the validity of some (but not all) of the performance practices traditionally associated with The Mikado is both just and timely. Alan Fischler is a Professor of English at Le Moyne College, Syracuse. He is the author of Modified Rapture: Comedy in W. S. Gilbert's Savoy Operas (University of Virginia Press, 1991) and ‘Drama’ in the Blackwell Companion to Victorian Literature and Culture (2014), among many other articles on Gilbert and nineteenth-century theatre.