To see the other types of publications on this topic, follow the link: Opera, Italian.
Dissertations / Theses on the topic 'Opera, Italian'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Opera, Italian.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Willaert, Saskia. "Italian comic opera in London, 1760-1770." Thesis, King's College London (University of London), 1999. https://kclpure.kcl.ac.uk/portal/en/theses/italian-comic-opera-in-london-17601770(8800738e-5dee-43c6-85b7-bea0594f8aed).html.
Full text
2
Bellini, Alice. "Aspects of metatheatre in eighteenth-century Italian opera." Thesis, University of Cambridge, 2009. https://www.repository.cam.ac.uk/handle/1810/252140.
Full text
3
Brezler, Tyler. "Criticism of Italian opera in early 18th century England." Thesis, Boston University, 2002. https://hdl.handle.net/2144/27605.
Full textAbstract:
Boston University. University Professors Program Senior theses.<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>2031-01-02
4
Bucciarelli, Melania. "Italian opera and European theatre, 1680-1720 : plots, performers, dramaturgies." Thesis, King's College London (University of London), 1998. https://kclpure.kcl.ac.uk/portal/en/theses/italian-opera-and-european-theatre-16801720--plots-performers-dramaturgies(c1235462-b549-497d-aff7-34b0658ea912).html.
Full text
5
Traupman, Carol A. "I dimenticati : Italian comic opera in the mid-nineteenth century /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb400428151.
Full text
6
Becker, Rachel Nicole. ""Trash music" : valuing nineteenth-century Italian opera fantasias for woodwinds." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/279018.
Full textAbstract:
Opera fantasias have been denigrated as insufficiently intellectual or serious, as derivative, as merely popular or sentimental. However, many of the perceived flaws were, if not hallmarks, at least accepted realities of Italian opera composing. Like opera itself, the opera fantasia is a popular art form, stylistically predictable yet formally flexible, based heavily on past operatic tradition and prefabricated materials. I approach opera fantasias, instrumental works that use themes from a single opera as the body of their virtuosic and flamboyant material, both historically and theoretically, concentrating on compositions written for and by woodwind-instrument performers in Italy in the second half of the nineteenth century. Important overlapping strands in my theoretical framework include the concept of virtuosity and its gradual demonization, the strong gendered overtones of individual woodwind instruments and of virtuosity, the distinct Italian context of these fantasias, the presentation and alteration of opera narratives in opera fantasias, and the technical and social development of woodwind instruments. I have uncovered a large body of compositions and composers, many of whom have not been written about in English, through archival research in Milan, Naples, Parma, Bologna, and Palermo. This reveals trends in operas used for fantasias, temporally, spatially, and between instruments, as well as further trends in the use of specific melodies. I use contemporary reviews of performances and compositions to attest to the popularity of the opera fantasia throughout the second half of the nineteenth century in Italy, including oboist Antonio Pasculli as a case study. This often overlooked genre is intimately tied to the central canon and deeply connected to its social and musical contexts. Approaching the opera fantasia as a coherent and meaningful group of works clarifies a genre that has been consciously stifled and cultural resonances that still impact music reception and performance today.
7
Lenar, Richard E. "The Figure of Mary in Italian Opera: Theological Foundations and Technical Analysis." IMRI - Marian Library / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=udmarian1557504767565933.
Full text
8
Hiller, Jonathan Robert. "Bodies that tell physiognomy, criminology, race and gender in late nineteenth- and early twentieth-century Italian literature and opera /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835144651&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
9
Ekstrum, Dave. "Naples and the Emergence of the Tenor as Hero in Italian Serious Opera." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157563/.
Full textAbstract:
The dwindling supply of castrati created a crisis in the opera world in the early 19th century. Castrati had dominated opera seria throughout the 18th century, but by the early 1800s their numbers were in decline. Impresarios and composers explored two voice types as substitutes for the castrato in male leading roles in serious operas: the contralto and the tenor. The study includes data from 242 serious operas that premiered in Italy between 1800 and 1840, noting the casting of the male leading role for each opera. At least 67 roles were created for contraltos as male heroes between 1800 and 1834. More roles were created for tenors in that period (at least 105), but until 1825 there is no clear preference for tenors over contraltos except in Naples. The Neapolitan preference for tenors is most likely due to the influence of Bourbon Kings who sought to bring Enlightenment values to Naples. After the last castrato retired in 1830 and the casting of contraltos as male heroic leads falls out of favor by the mid-1830s, the tenor, aided by a new chest-voice dominant style of singing, becomes the inheritor of the castrato's former role as leading man in serious Italian opera.
10
Smith, Jacob H. "Maretzek, Verdi, and the Adoring Public: Reception History and Production of Italian Opera in America, 1849-1878." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1462983831.
Full text
11
Harinen, Armi. "Ritorna vincitor! : Interpretation of an aria in the opera Aida by Verdi." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1838.
Full textAbstract:
This examination essay is a study of the aria Ritorna vincitor! from the opera Aida by composer Giuseppe Verdi. The aim of this study is to address the vocal and interpretational questions that may arise while learning the aria. My work with this essay has included searching for information about Verdi, the opera Aida and the cultural, political and musical climate wherein the opera was born. I have also watched the opera and listened to several versions of the aria. I concentrated especially on the interpretations of Mirella Freni, Leontyne Price and Maria Callas. I also created a musical analysis of the aria. Throughout the process of writing this essay I have kept in my mind my own perspective as a singer. I have formed my study from the information I find useful in the process of approaching a new piece of music. The process of writing this essay has provided me with a lot of insight into the musical ideals and ideas behind Verdi’s work. Writing this essay made me aware of the dilemma of fulfilling the vocal expectations of the tradition and at the same time interpreting the drama convincingly. I have found a lot of useful material for a singer’s artistic development and all that I have learned will certainly come into use in my future vocal studies.
12
Niubo, Marc. "The Italian Opera between Prague and Dresden in the Second Half of the Eighteenth Century." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-88258.
Full text
13
Senici, Emanuele. "Virgins of the rocks : alpine landscape and female purity in early nineteenth-century Italian opera /." Ann Arbor (Mich.) : UMI, 1998. http://catalogue.bnf.fr/ark:/12148/cb39143376d.
Full text
14
Niubo, Marc. "The Italian Opera between Prague and Dresden in the Second Half of the Eighteenth Century." Institut zur Erforschung und Erschließung der Alten Musik in Dresden, 2012. https://slub.qucosa.de/id/qucosa%3A2188.
Full text
15
Chacon, Victor. "Verismo in the works of Gian Carlo Menotti : a comparison with late nineteenth-century Italian opera /." Thesis, Connect to this title online; UW restricted, 1991. http://hdl.handle.net/1773/11394.
Full text
16
Faust, Veronica T. "'Music has learn'd the discords of the state' the cultural politics of British opposition to Italian Opera, 1706-1711 /." Diss., Connect to the thesis, 2006. http://hdl.handle.net/10066/664.
Full text
17
Furlong, Alison Marie. "Georg Wildhagen's Figaros Hochzeit: How an Italian Opera Based on a French Play Became a German Socialist Film." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1269535387.
Full text
18
De, Cesaris Simona <1985>. "A new method for the estimation of the reverberation time from measured room impulse responses with application to Italian opera houses." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6410/.
Full textAbstract:
The Schroeder's backward integration method is the most used method to extract the decay curve of an acoustic impulse response and to calculate the reverberation time from this curve. In the literature the limits and the possible improvements of this method are widely discussed.
In this work a new method is proposed for the evaluation of the energy decay curve.
The new method has been implemented in a Matlab toolbox. Its performance has been tested versus the most accredited literature method.
The values of EDT and reverberation time extracted from the energy decay curves calculated with both methods have been compared in terms of the values themselves and in terms of their statistical representativeness.
The main case study consists of nine Italian historical theatres in which acoustical measurements were performed.
The comparison of the two extraction methods has also been applied to a critical case, i.e. the structural impulse responses of some building elements.
The comparison underlines that both methods return a comparable value of the T30. Decreasing the range of evaluation, they reveal increasing differences; in particular, the main differences are in the first part of the decay, where the EDT is evaluated.
This is a consequence of the fact that the new method returns a “locally" defined energy decay curve, whereas the Schroeder's method accumulates energy from the tail to the beginning of the impulse response.
Another characteristic of the new method for the energy decay extraction curve is its independence on the background noise estimation.
Finally, a statistical analysis is performed on the T30 and EDT values calculated from the impulse responses measurements in the Italian historical theatres.
The aim of this evaluation is to know whether a subset of measurements could be considered representative for a complete characterization of these opera houses.
19
Garst, John. "The Recorded Legacy of Enrico Caruso and its Influence on the Italian Vocal Tradition." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849763/.
Full textAbstract:
This dissertation presents evidence for the influence which tenor Enrico Caruso had on the Italian Vocal Tradition. This impact was clearly boosted by the revolution realized in the fledgling recording industry, and the recordable disc. In the years of 1902-1920 gramophones became commonplace, and collecting recordings became an interest for many. This new technology required specialized skills, and was especially suited to certain qualities of voice. Caruso enjoyed immense success in this medium, in recording over 250 records.
Italian vocal style at the turn of the century was changing, and Caruso employed a new "modern" style in his singing. His interpretive decisions, vocal method, and repertoire which he championed had an impact on the vocal tradition of future generations. Comparison of his recordings with tenors Fernando de Lucia, Giuseppe Anselmi, and Alessandro Bonci shows a marked contrast in styles of "the old school" and Caruso's "more straightforward" approach. A collection of historical documents for those who succeeded him include many biographies, reviews, and quotes to demonstrate the extent of his influence. Recordings also show a movement toward "the Caruso Sound." Jussi Bjoerling, Franco Corelli, Richard Tucker, Mario Lanza, and Luciano Pavarotti were all influenced by the great Caruso. Almost 100 years have passed since he sang his last performance. He continues to inspire singers to this day, through his recordings and legacy passed on by many generations. He is the ideal, the measuring stick for all tenors to follow, and continues even to today.
20
BIANCHI, KORNER ALESSANDRA. "L'INSEGNAMENTO DELL'ITALIANO A CANTANTI D'OPERA INTERNAZIONALI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6167.
Full textAbstract:
L’elaborato indaga le modalità di insegnamento della lingua e della dizione italiana ai cantanti d’opera internazionali. Dopo una breve cronistoria dell’opera lirica, si analizza la figura del librettista e in particolare di Lorenzo Da Ponte, insegnante ante litteram della lingua e della cultura italiana. Segue una disamina dei corsi di canto degli albori, dalla quale emerge quanto il problema di una corretta pronuncia fosse cruciale nell’educazione dei cantanti già nel Settecento.
Si indagano le metodologie di insegnamento della fonetica e della prosodia nella storia della glottodidattica, i fattori biologici e psico-sociali determinanti nell’apprendimento di una L2/LS e le principali difficoltà linguistiche incontrate dai discenti stranieri che si accingono ad apprendere la lingua italiana.
Si presentano i dati di una ricerca condotta su dieci istituzioni musicali tra i quali il Conservatorio di Milano, la Juilliard School of Music di New York e la Washington State University di Seattle. Si analizzano le metodologie di insegnamento e i manuali adottati e si espongono i dati emersi da un questionario rivolto ai docenti e ai discenti delle suddette scuole.
Si procede esponendo un sillabo ideato per i cantanti che permetta uno studio più proficuo della lingua e della dizione italiana.<br>The research investigates the teaching procedures of Italian language and diction to international opera singers. After a brief digression on the lyric opera, we analyze the figure of librettista and in particular of Lorenzo Da Ponte, a forerunner of the Italian language and culture teaching. An examination of the first singing courses shows how teaching a impeccable pronunciation was already crucial in the XVIII century. The phonetics and prosody teaching procedures in the history of glottodidactics are then examined, as well as the biological and psycho-social factors critical while learning a foreign language and the main linguistic difficulties faced by foreign students approaching the Italian language.
We present the data of a survey conducted on ten musical institutions like the Milan Conservatory, the Julliard School of Music of New York and the Washington State University of Seattle. We analyze the teaching procedures and the textbooks adopted and the results of a questionnaire addressed to the teachers and students of these schools. Finally we display a syllabus for international opera singers to profitably approach the Italian language.
21
Spagnolo, Simone. "Each tale chases another : metaphorical representations, non-linearity and openness of narrative structure in Italian opera from post-WWII to 'It makes no difference'." Thesis, City University London, 2015. http://openaccess.city.ac.uk/13570/.
Full textAbstract:
This work addresses the demands of framing a theoretical problem and practice-based research and it therefore comprises two parts: a thesis and a composition. The thesis discusses the narrative structure of post-WWII Italian avant-garde opera in conceptual terms and demonstrates how it develops on three principal features: the metaphorical representation of socio-political conditions, the non-linearity of the dramaturgy, and openness to a plurality of interpretations. My composition It makes no difference contributes both as a new musico-theatrical work and an outcome of the discussion presented in the thesis. The main text is composed of three main chapters, each respectively dedicated to the features of socio-political representation, non-linearity and openness. Each chapter is in turn divided into two sub-chapters: the first presents the contextualisation and analysis of post-WWII Italian experimental operas, the second explores It makes no difference in relation to both these operas and the above three features. The discussion examines those works that have most significantly experimented with socio-political representations, non-linearity and openness. These include Luigi Nono’s Intolleranza 1960 (1961), Sylvano Bussotti’s La Passion selon Sade (1966) and Luciano Berio’s Opera (1977). At the same time, it omits both those operas relying on traditional operatic principles and those others that, although being experimental, do not focus on the three features this thesis puts forward. This study considers post-WWII Italian avant-garde opera in cross-disciplinary terms and highlights the necessity of discussing it in relation to disciplines other than those proper to the genre of opera, including prose-theatre, literature, politics and philosophy. The composition, on the other hand, provides a synthesis of the above three features: It makes no difference develops a multi-narrative structure whilst providing a representation of contemporary Italian socio-political life and epitomising the concept of openness. At the same time, it integrates theatrical and literary elements and combines traditional notation and graphic scores.
22
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.
Full text
23
Antunes, Eduardo Francisco Durão. "Ópera do Tejo : investigação e reconstituição tridimensional." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2015. http://hdl.handle.net/10400.5/8909.
Full textAbstract:
Dissertação para obtenção do grau de Mestre em Arquitetura, apresentada na Universidade de Lisboa - Faculdade de Arquitetura.<br>Este trabalho tem como objecto de estudo o Teatro real da Ópera do Tejo, o qual foi concebido pelo arquitecto Giovanni Carlo Sicinio Galli Bibiena, inaugurado a 31 de Março de 1755 e destruído pelo terramoto a 1 de Novembro desse mesmo ano.
Caso único no panorama português de edifícios teatrais, este foi o resultado de uma política iniciada exclusivamente com D. José I, com o intuito de materializar o gosto pelos espectáculos de ópera à italiana em Portugal.
Com este trabalho, os objectivos que nos propusemos a atingir consistem na construção de uma visão unificadora da historiografia da Ópera do Tejo; na elaboração de um modelo tridimensional representativo do teatro na sua configuração original efectivamente construída através da utilização de ferramentas digitais contemporâneas; e, finalmente, na apresentação da proposta de uma metodologia de trabalho no estudo de edifícios históricos dos quais se conhecem pouca ou nenhuma informação.
Como resultado, gerou-se uma historiografia sobre o Teatro real da Ópera do Tejo e um estudo sobre como poderá ter sido concebido e edificado este teatro. A partir deste passo, lográmos criar um modelo tridimensional do que terá sido o teatro segundo as nossas análises, abarcando aspectos estruturais, arquitectónicos e ornamentais.
Por fim, este trabalho contribuiu para um alargamento da visão historiográfica do teatro, através da identificação de relações proporcionais e eventualmente estilísticas entre este projecto e o projecto de Francesco Bibiena para o teatro de Ópera de Nancy (1704), para uma renovada interpretação e visualização gráfico-descritiva do que poderá ter sido a Ópera do Tejo, assim como para uma proposta de metodologia mais concreta para este género de trabalhos.<br>ABSTRACT:The work object of this study is the Lisbon Royal Opera House of Tagus, conceived by the Italian architect Giovanni Carlo Sicinio Galli Bibiena, inaugurated on the 31st of March of 1755, and destroyed at the 1st of November earthquake on that same year.
Unique case in the Portuguese panorama of theatre buildings, this was the result of a policy initiated exclusively with José I of Portugal, in order to materialize the taste for Italian opera in Portugal.
With this work, the objectives we set out to achieve were to build a unifying vision of the historiography of the Tagus Opera; to draw up a representative three-dimensional model of the theatre as it may have been built, through the use of contemporary digital tools; and finally to propose a work methodology for studies of historic buildings of which is known little or no information.
As a result, we generated a historiography of the Opera House of Tagus and a study on how this theatre may have been designed and built. From this, we were able to create a three-dimensional model of what the theatre might have been according to our analysis, covering structural, architectural and ornamental aspects.
Finally, this work contributed to a broadening of the historiographical view of the theatre, through the identification of proportional and eventually stylistic relations between this project and the project by Francesco Bibiena for the Nancy Royal Opera House (1704). It also contributed to a renewed graphical and descriptive interpretation of what could have been the Opera House of Tagus, as well as a more concrete methodology proposal for this type of work.
24
Sullivan, Ryan W. "A Performance Edition of the Vespers Settings in Sacri E Festivi Concenti, Opera Nona by Giovanni Legrenzi." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505211/.
Full textAbstract:
Giovanni Legrenzi was a prolific composer of vocal music and maestro di cappella at the Basilica di San Marco but his vocal works are not often studied as a part of the Venetian lineage with composers such as Willaert, de Rore, Zarlino, Monteverdi, Cavalli, and Vivaldi. Despite his being a prolific composer who had significant influence on the work of other musicians in the traditional canon, references to Legrenzi in standard music publications (Grout, Taruskin, Grove Music Online, etc.) are at best sparse, and largely biographical. This dissertation is one step to correct that pattern by creating a performance edition of Sacri e festivi concenti, Opera nona, one of Legrenzi's significant works near the beginning of his Venetian period. This collection of sacred music was published on 12 June 1667 in Venice though Legrenzi's exact whereabouts at the time remain uncertain. This phase of his career can be defined by his having sought more prestigious and lucrative employment. Having lived and worked in rural Lombardy and Ferrara, he made unsuccessful overtures in places such as Milan, Bologna, Vienna, and Paris. A full score has been produced by transcribing from the part books of the Bologna Museo copy, which will allow consumers to have insight into Legrenzi's music. A performance edition of these Vespers settings is important because it would increase access to, and understanding of, Giovanni Legrenzi's music. This era of Italian music between Monteverdi and Vivaldi is often underperformed by practitioners. One goal of this project is to broaden the work's circulation through a music publisher that would be willing to include portions of the chapters outlined in this proposal. Doing so would offer the work as a good specimen of the period to a wider audience of performers and scholars alike.
25
Pitarello, Adriana de Oliveira. "A ópera lírica como instrumento de ensino de italiano LE: teorias e práticas." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-06052010-132158/.
Full textAbstract:
A ópera lírica pode constituir um excelente material didático a ser trabalhado em todos os níveis da educação linguística, não apenas devido ao seu irrefutável valor cultural, histórico e social, mas, principalmente, por sincretizar as linguagens musical, teatral e literária, transformando-se, assim, em um fecundo instrumento de ensino da língua italiana. A partir dos preceitos semióticos de análise, sobretudo no que concerne aos estudos sobre a Semiótica das Paixões, a ópera lírica pode ser didatizada e apresentada aos alunos no seu formato autêntico, visando à formação e autonomia discente. De fato, o percurso adotado simula a passagem pelos três níveis de análise textuais, partindo dos afetos da música para chegar às ações do enredo. A parte prática deste trabalho é dedicada ao curso Rigoletto: per gli amanti della lingua e della cultura italiana, elaborado especialmente para legitimar a proposta de se trabalhar a ópera lírica nas aulas de italiano LE. Trata-se de uma unidade didática sobre Rigoletto, uma importante produção de Giuseppe Verdi e Francesco Maria Piave, de 1851. Em síntese, neste trabalho, pretendo discorrer sobre as teorias que envolvem a didatização da ópera lírica e ilustrar a sua aplicação a partir das atividades do referido curso. Finalmente, os resultados obtidos durante a fase de avaliação serão utilizados para comprovar a sua eficácia.<br>Lyrical opera can be an excellent teaching material for use at all levels of language education, not only because of its unquestionable cultural, historical and social value, but mainly for amalgamating musical, theatrical and literary languages, thereby forming a productive tool for teaching the Italian language. Based on the precepts of semiotic analysis, especially with regard to studies of the Semiotics of Passions, lyrical opera can be taught and presented to students in its authentic format, aimed at student training and autonomy. Indeed, the route adopted simulates the passage through the three levels of textual analysis, starting from the musical moods to arrive at the actions of the plot. The practical part of this work is dedicated to the course \"Rigoletto: per gli amanti della lingua e della cultura italiana\", especially designed to legitimize the proposal to employ lyrical opera in Italian lessons for foreign learners. This is a teaching unit about Rigoletto, an important work by Giuseppe Verdi and Francesco Maria Piave, 1851. In summary, in this work I intend to discuss theories involving the teaching use of lyrical opera and illustrate its application based on the activities of that course. Finally, the results obtained during the assessment phase will be used to prove its effectiveness.
26
Tsai, Meng-Jung. "Così fan tutte? A Study of Character Development through Key Characteristics in the Prima Donna and Soubrette Roles from Four of W.A. Mozart's Late Italian Operas." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707355/.
Full textAbstract:
This dissertation investigates how W. A. Mozart applies the concept of key characteristics—the affective properties of each tonality—as discussed by three of his contemporaries, Johann Mattheson, C.F.D. Schubart and G.J. Vogler, to four soubrette and four prima donna characters from four of his late Italian operas: La Contessa and Susanna in Le nozze di Figaro; Donna Anna and Zerlina in Don Giovanni; Fiordiligi and Despina in Così fan tutte; Vitellia and Servilia in La clemenza di Tito. The analytical method of this dissertation provides a hermeneutical tool to search for meanings in Mozart's music. The application compares the libretto text and its corresponding tonal center with the description of key characteristics on a micro level, to reveal significant dramatic and practical implications from Mozart's key usage in his operas.
27
Ackermann, Peter. "Zur Aufführungsgeschichte italienischer Opern am städtischen Theater in Frankfurt am Main während des 19. Jahrhunderts." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-219305.
Full textAbstract:
Als spezielles Korpus innerhalb des umfangreichen Gesamtbestands
an Werken des Musiktheaters der Stadt- und Universitätsbibliothek
Frankfurt am Main umfaßt die sogenannte \"Frankfurter
Opernsammlung\" die erhaltenen Aufführungsmaterialien des Frankfurter
Stadttheaters aus einem Zeitraum von mehr als anderthalb
Jahrhunderten, der von der Eröffnung des "Comödienhauses" im Jahre 1782 bis zur Zerstörung des Opernhauses im März 1944 reicht.
28
Hartgraves, Youna Jang. "Understanding the Lirico-Spinto Soprano Voice through the Repertoire of Giovane Scuola Composers." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011843/.
Full textAbstract:
As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.' This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices. These giovane scuola composers include Alfredo Catalani (1854 –1893), Umberto Giordano (1867 –1948), Pietro Mascagni (1863 –1945), Giacomo Puccini (1858 –1924), and Riccardo Zandonai (1883 –1944). Descriptions of the soprano voices that premiered these roles are included in this document to determine the suitability of the lirico-spinto soprano voice for each role.
29
Werr, Sebastian. "Musikalisches Drama und Boulevard : französische Einflüsse auf die italienische Oper im 19. Jahrhundert /." Stuttgart : J. B. Metzler, 2002. http://catalogue.bnf.fr/ark:/12148/cb38866929r.
Full textAbstract:
Texte remanié de: Diss.--Sprach- und Literaturwissenschaftliche Fakultät--Universität Bayreuth, 2001. Titre de soutenance : Studien zum französischen Einfluss auf die italienische Oper in der Mitte des 19. Jahrhunderts.<br>Bibliogr. p. 218-235. Index.
30
Ensslin, Wolfram. "Die italienischen Opern Ferdinando Paërs." Hildesheim : Olms, 2003. http://catalog.hathitrust.org/api/volumes/oclc/53289573.html.
Full text
31
McCleave, S. Y. "Dance in Handel's Italian Operas: the collaboration with Marie Salle." Thesis, King's College London (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268244.
Full text
32
Perici, Gian Luca. "L'istruzione religiosa nelle scuole pubbliche italiana dal Concordato del 1929 e la successiva opera della conferenza episcopale italiana /." Roma : Pontificia studiorum universitas a S.Thoma Aq. in urbe, 2002. http://catalogue.bnf.fr/ark:/12148/cb402250907.
Full text
33
Cailliez, Matthieu. "La diffusion du comique en Europe à travers les productions d’opere buffe, d’opéras-comiques et de komische Opern (France - Allemagne - Italie, 1800-1850)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040110/document.
Full textAbstract:
Cette étude de la diffusion du comique en Europe, à travers les productions d’opere buffe, d’opéras-comiques et de komische Opern dans la première moitié du XIXe siècle, porte dans un premier temps sur les livrets et leur circulation, puis sur la diffusion des œuvres, enfin sur les modèles structurels musicaux du comique et leurs transferts. Entré le premier dans l’ère de la « littérature industrielle », le théâtre français s’impose à l’échelle du continent et les librettistes français bénéficient du système avantageux du droit d’auteur. Déconsidérés et mal rémunérés, les librettistes italiens et allemands traduisent et adaptent en grande quantité des pièces françaises. Tandis que l’opera buffa connaît une incroyable diffusion en France et en Allemagne entre 1800 et 1850, aussi bien en langue originale qu’en traduction, et que l’opéra-comique suit son exemple en Allemagne en traduction, la komische Oper est rarement jouée en France, et les genres français et allemand restent inconnus en Italie. Les modèles structurels du comique italien, dont les opere buffe de Rossini constituent la plus célèbre expression, sont repris par les compositeurs français et allemands dans leurs propres ouvrages. Les compositeurs allemands empruntent également aux modèles structurels du comique français, si bien que le genre de la komische Oper consiste principalement en une synthèse franco-italienne. Dans une période caractérisée par l’essor des nationalismes, la circulation des œuvres, des librettistes et des compositeurs favorise paradoxalement la construction d’une unité de l’Europe par le rire<br>This study of the diffusion of comic in Europe, through the productions of opere buffe, opéras-comiques and komische Opern during the first half of the 19th century, firstly examines the libretti and their circulation, then the diffusion of comic operas, and lastly the musical structural models of comic and their transfers. The French theatre inaugurates the age of « industrial literature » imposing itself on the whole continent, and the French librettists benefit from the profitable system of royalties. Discredited and badly payed, the Italian and German librettists translate and adapt a great number of French plays. While the opera buffa enjoys an incredible diffusion in France and in Germany between 1800 and 1850, as well in the original language as in translation, and while the opéra-comique follows suit in Germany (but always in translation), the komische Oper is rarely played in France, and the French and German genres remain unknown in Italy. The structural models of Italian comic, of which Rossini’s opere buffe are the most famous expression, are taken up by French and German composers in their own works. The German composers also borrow from the structural models of French comic, so much so that the genre of the komische Oper ends up consisting principally of a synthesis of French and Italian elements. During a period characterised by the rise of nationalisms, the circulation of the works, the librettists and the composers paradoxically favours the construction of a European unity through laughter
34
Romagnoli, Angela. ""Fra catene, fra stili, e fra veleni..." ossia Della scena di prigione nell'opera italiana (1690-1724) /." Lucca : Libreria musicale italiana, 1995. http://catalogue.bnf.fr/ark:/12148/cb37001006n.
Full textAbstract:
Tesi--Philologie mus.--Cremone--Scuola di paleografia e filologia musicale, 1992.<br>Contient la liste par titre des opéras représentant des scènes de prison p. 303-407 et la liste des personnages p. 409-426. Bibliogr. p. 427-436. Index.
35
Johnson, Janet Lynn. "The Theatre italien and opera and theatrical life in Restoration Paris : 1818-1827 /." Chicago : Ill. : [J.L. Johnson], 1988. http://catalogue.bnf.fr/ark:/12148/cb36954757n.
Full text
36
Barbaresi, Luca <1977>. "Valutazione in opera ed in laboratorio della trasmissione laterale nelle tipologie edilizie italiane." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/882/.
Full textAbstract:
L’attività di ricerca del dottorando è stata rivolta allo studio della trasmissione del rumore per
via strutturale negli edifici. Questo argomento e' di notevole interesse sia fondamentale che
applicativo. Il fenomeno e le problematiche ad essa connesse contribuiscono alla diminuzione
delle prestazioni fonoisolanti, sia per le strutture verticali (usualmente valutate rispetto al
rumore aereo), sia per quelle orizzontali (valutate anche rispetto al rumore impattivo) ed è
tipico degli edifici con struttura portante a telaio e tamponatura in laterizi. Si tratta delle
tipiche tipologie edilizie italiane, per le quali il problema risulta amplificato rispetto ad altre
tipologie.
La metodologia di studio è stata di tipo sperimentale. La scelta è dettata sia dall’insufficiente
avanzamento dello stato dell’arte dei metodi di calcolo teorici, o delle loro versioni numeriche,
sia dalla necessità di disporre di dati certi da confrontare con i valori forniti dai metodi
previsionali semplificati indicati nelle norme UNI (modello CEN); infatti queste ultime sono un
recepimento letterale di quelle europee, sebbene esse si basino su tipologie costruttive,
materiali e tecniche di realizzazione differenti da quelle comunemente in uso in Italia; da qui la
difformità di risultati tra formule previsionali e misurazioni sperimentali.
Al fine di realizzare uno studio completo delle principali casistiche della trasmissione laterale
sono state utilizzate 6 configurazioni in scala reale, con elementi edilizi diversamente collegati
fra loro in modo da simulare i nodi strutturali comunemente realizzati negli edifici. La parte
sperimentale della ricerca è stata svolta presso le “Camere Acustiche di Prova” del Laboratorio
del Lazzaretto “R. Alessi” del DIENCA.
Oltre alle usuali misurazioni di isolamento acustico, sono state eseguite numerose misurazioni
di vibrazione. Infatti, dal confronto dei livelli di velocità di vibrazione dei diversi elementi di una
struttura, rigidamente connessi, è possibile determinare l’indice di riduzione delle vibrazioni Kij
che è la grandezza chiave per modellizzare il fenomeno della trasmissione laterale.
La possibilità di determinare sperimentalmente tali valori nel contesto di un lavoro di ricerca
finalizzato a determinare i meccanismi di propagazione delle vibrazioni nelle strutture,
permette di valutare la precisione delle formule previsionali del modello CEN e di proporne
varianti e integrazioni. I valori di Kij così determinati assumono grande importanza anche in
fase di progetto, fornendo dati attendibili da utilizzare per la progettazione acustica degli
edifici.
37
Vignali, Elisa <1981>. "L' "opera mondo" di Paolo Volponi fra satira e morale." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3094/.
Full textAbstract:
Nella mia tesi di dottorato mi propongo di indagare la metamorfosi del romanzo nella letteratura italiana contemporanea attraverso il lavoro di Paolo Volponi, che può essere descritto come un’«opera mondo», in accordo con la formula critica coniata da Franco Moretti. Volponi intende superare il divario fra l’io e il mondo e ricomporre il corpo come una mediazione umanistica di ragione e sensi. La sua opera può essere definita ‘epica’ perché recupera la tradizione del romanzo cavalleresco e la parodia esercitata su questa tradizione letteraria da Cervantes nel Don Chisciotte. Ma, come l’Ulysses di Joyce, è un’epica «moderna» perché fondata su una totalità disgiunta e sul conflitto dialogico, in una linea che accomuna la moltiplicazione dei punti di vista, propria del romanzo polifonico secondo Bachtin, alla pluralità di prospettive del discorso scientifico. Dopo un primo capitolo teorico, nel secondo e nel terzo capitolo della tesi i romanzi di Volponi vengono studiati in rapporto al filone dell’«epica moderna» e al genere satirico, che ha un suo modello fondativo nell’opera di Giacomo Leopardi. Il quarto capitolo si focalizza sulle ultime raccolte poetiche, che mostrano la tendenza a recuperare il linguaggio formulare e la matrice orale della poesia delle origini, servendosene per rappresentare in funzione contrappuntistica l’universo globale dell’età contemporanea.<br>In my doctoral dissertation I investigate the metamorphosis of the genre of novel in Contemporary Italian Literature analysing Paolo Volponi’s literary works. I borrow the critical category invented by Franco Moretti to describe Volponi’s books as “opera mondo.” Volponi wants to overcome the gap between the self and the world, and compose the body as a humanistic mediation between reason and senses. His work is ‘epic’ because it refers to the tradition of the romance and to its parody in Cervantes’ Don Chisciotte. However, Volponi’s work is a modern epic because, not differently from Joyce’s Ulysses, it is based on disjointed totality and dialogic conflict. Modern epic associates the multiplication of points of view, typical of the polyphonic novel theorized by Bachtin, with the plural perspective of the scientific subject. After a theoretical preface, in the second and third chapters of my dissertation, I study Volponi’s novels in relation to the modern epic and the satiric genre, which has its foundational model in Giacomo Leopardi’s work. The fourth chapter focuses on Volponi’s latest collections of poetry, which recall the matrix of oral origins of poetry and represent in counterpoint the contemporary universe of global age.
38
Schleimer, Ute. "Die Opera Nazionale Balilla bzw. Gioventù Italiana del Littorio und die Hitlerjugend : eine vergleichende Darstellung /." Münster, München [u.a.] : Waxmann, 2004. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=012981114&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
Full text
39
Martinez, Yseult. "De la puissance des femmes : réflexion autour de cinq personnages d’opéra créés par G. F. Handel pour Londres entre 1730 et 1737." Electronic Thesis or Diss., Sorbonne université, 2020. http://www.theses.fr/2020SORUL119.
Full textAbstract:
Le livret d’opéra est un support privilégié, mais trop souvent ignoré, pour sonder la psyché collective d’une époque et de sa société. À l’instar d’autres créations humaines, qu’elles soient purement intellectuelles et/ou manuelles, il s’apparente à une fenêtre ouvrant une perspective inédite sur un monde révolu et qui lorsqu’elle est ouverte laisse s’échapper les clameurs venues d’un autre siècle. Il s’agira donc de réinstaller les drammi per musica de George Frideric Handel dans leur contexte culturel et social. Ceci pour en restituer la réception la plus complète et fidèle possible et avoir une chance de s’approcher de l’expérience du public original. Face au mutisme des sources indirectes, il devient indispensable de se plonger au cœur des livrets, de s’intéresser aux mots et aux images, avant de donner la parole à la musique, en se donnant pour but d’expliciter tout ce que le texte implique, suggère, signifie, déclenche chez le spectateur.trice et tenter de reconstituer un corpus de références culturelles (littéraires, morales, religieuses, etc.), lesquelles colorent le texte de multiples et précieuses nuances, mais sont bien souvent perdus pour le public d’aujourd’hui. À travers cinq rôles féminins (Partenope, Berenice, Bradamante, Rosmira et Alcina), nous interrogerons la représentation de la femme et de la « féminité » à l’aune de la notion d’une puissance féminine et de ses implications sur la scène de l’opéra italien à Londres entre 1730 et 1737. Nous tenterons également d’apporter un éclairage supplémentaire sur cette période de transition dans la carrière du compositeur, lequel abandonne progressivement l’opéra italien pour se consacrer à l’oratorio anglais<br>The opera libretto is a privileged, though often ignored, medium for probing the collective psyche of an era and its society. Like other human creations, be they purely intellectual and/or manual, it offers a window, opening a new perspective on a bygone world, and once cleansed of the dirt deposited by the centuries and open, it lets out the light and clamour of another century. The aim will be to reinstall the drammi per musica of George Frideric Handel (1685-1759) in their cultural and social context, to recreate the fullest possible reception of the work and have a chance to get as close as possible to the experience of the original audience. Faced with the silence of the indirect sources, it becomes essential to plunge into the heart of the booklets, to take an interest in the words and images, to give the music its true voice, trying to clarify all that the text implies, suggests, signifies, triggers in the spectator and to try to reconstruct a corpus of cultural references (literary, moral, religious, etc.), that colour the text with multiple nuances, but are often lost to today’s audience. Through five female roles (Partenope, Berenice, Bradamante, Rosmira and Alcina), we will question the representation of women, femaleness and femininity in the light of the notion of female power and its implications on the Italian opera scene in London between 1730 and 1737. We will also attempt to shed further light on this transitional period in the career of the composer, who gradually abandoned Italian opera to devote himself to English oratorio
40
Piffaut, Ludovic. "L'univers médiéval et ses figures de représentations dans l'opéra italien (1690-1730)." Thesis, Tours, 2012. http://www.theses.fr/2012TOUR2006.
Full textAbstract:
L’univers médiéval tient une place importante dans la culture poétique italienne du XVème au XVIIIème siècle. Emblèmes de cet univers, les poèmes épiques de l’Arioste et du Tasse, imités de ceux d’Homère, promeuvent les histoires les plus populaires des théâtres italiens des XVIIème et XVIIIème siècles. L’écriture du Moyen Âge dans l’opéra, entre 1690 et 1730, montre une diversité des esthétiques et des figures poétiques et dramatiques. Grâce à l’Accademia dell’Arcadia, la rénovation du livret ouvre de nouvelles perspectives à son exploitation, que développera Zeno contrairement à Metastasio. En s’appuyant sur la tragédie française, celle-ci lie étroitement art poétique et musical. L’air symbolise ce point de rencontre des affects et de leur représentation musicale. Il contribue à la célébrité de l’Artaserse (1730) de Vinci et celui de Hasse. Ces opéras précipitent le déclin des sujets médiévaux et laissent la place à un nouveau modèle lyrique<br>Medieval universe took an important place in the Italian poetic culture from the 16th to the 18th century. Emblems of this universe, Ariosto and Tasso’s epic poems, imitated of Homer’s, upgraded to most popular histories of the Italians theatres of the 17th and 18th centuries. The Middle Ages’ representation in Opera between 1690 and 1730, showed a diversity of esthetics but dramatic and poetic figures too. Thanks to the Accademia dell’Arcadia, the renovation of the libretto led to consider new prospects of its exploitation. Zeno developed the new vision of Middle Ages contrary to Metastasio. Supporting by French tragedy, this renovation unified with strength poetical and musical art. The aria symbolized the meeting point of affects and their musical representations. It contributed to the celebrity of Vinci’s and Hasse’s Artaserse (1730). These two operas hastened the decline of medieval subjects and installed a new lyric model
41
Barba, Sevillano Arturo. "La acústica virtual como herramienta arqueológica. Historia y sonido en el Teatro Principal de Valencia." Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/62687.
Full textAbstract:
[EN] This thesis takes the Teatro Principal Valencia as a sample of study and raises questions to deepen the awareness of its history, architecture and acoustics. Our final objective has been to analyse and reconstruct the acoustic conditions of our theatre in different historical moments, providing a new way of approaching the Valencian architectural heritage with it. In addition to this, we intend to show the potentiality of our current tools of acoustic simulation and auralization for the study of the most widely deployed theatrical architectural typology in Europe in the seventeenth century: Italian baroque theatre.
The Teatro Principal Valencia is a representative example of an Italian-style theatre because of meeting each and every formal characteristic that define this building typology. Inaugurated in the year 1832, it is the oldest theatre in Valencia and one of Spain's oldest Italian-style venues, prior even to pioneer projects of the Teatro Real de Madrid (1850), and the Gran Teatre del Liceu de Barcelona (1847).
We have carried out archive research data, the screening of press, bibliographical research, as well as document consultation and compilation, planimetry and images (many of them unpublished), which have made the recovery of the history of the Valencian theatrical venue possible, blurred with the passing of time. That represented in itself an objective of this thesis, and as such it is presented in the section on results. This detailed historical study of our theatre has allowed us to select five moments in which its morphological differences could manifest changes in its acoustics: 1832, 1859, 1928, 1968, and 2015.
Normalised acoustic measures have been carried out in the Teatro Principal, and we have developed three-dimensional computer models of the five selected morphologies. The current acoustic model has been adjusted with measures on-site. From the aforementioned model, volumetric, geometric measurements and absorption and/or diffusion coefficients have been introduced with the object of virtually revert each architectural intervention that our theatre has experienced, always basing ourselves on documented historical criteria. All of this has allowed us to rebuild the sonic history of the Teatro Principal Valencia, being able to compare the changes that its acoustic parameters have experienced in more than 180 years of its life.
As a key outcome to this thesis, the geometrical model of the Teatro Principal has been studied thoroughly on its graphics realism through the use of texturization techniques and virtual photorealistic rendering, achieving a model that can experiment on auralizations in a striking immersive graphic environment (CAVE, PowerWall, etc.), opening the door to new lines of research.<br>[ES] Este trabajo toma el Teatro Principal de Valencia como materia de estudio y plantea profundizar en el conocimiento de su historia, arquitectura y acústica. Nuestro objetivo final ha sido analizar y reconstruir las condiciones acústicas del teatro en diversos momentos históricos, aportando con ello una novedosa forma de acercamiento al patrimonio arquitectónico valenciano. Pretendemos, además, mostrar la potencialidad de las actuales herramientas de simulación acústica y auralización para el estudio de la tipología arquitectónica teatral más extendida en Europa desde el siglo XVII: el teatro barroco a la italiana.
El Teatro Principal de Valencia es un ejemplo paradigmático de teatro a la italiana al reunir todas y cada una de las características formales que definen esta tipología edilicia. Inaugurado en el año 1832, es el decano de los teatros valencianos y uno de los recintos a la italiana en activo más antiguos de España, anterior incluso a los proyectos pioneros del Teatro Real de Madrid (1850) y del Gran Teatre del Liceu de Barcelona (1847).
Hemos llevado a cabo trabajos de búsqueda en archivo, vaciados de prensa, investigación bibliográfica, así como consulta y recopilación de documentos, planimetría e imágenes (inéditas muchas de ellas) que han hecho posible la recuperación de la historia del recinto teatral valenciano, desdibujada en gran medida por el paso del tiempo. Todo ello ha constituido en sí mismo un objetivo de esta tesis, y como tal se presenta en el apartado de resultados. Este estudio histórico pormenorizado del teatro nos ha permitido seleccionar cinco momentos en los que sus diferencias morfológicas podrían poner de manifiesto cambios en su acústica: 1832, 1859, 1928, 1968 y 2015.
Se han realizado medidas acústicas normalizadas en el teatro y hemos desarrollado modelos informáticos tridimensionales de las cinco morfologías seleccionadas. El modelo acústico actual ha sido ajustado con las medidas in situ. A partir de dicho modelo, se han introducido modificaciones volumétricas, geométricas y de coeficientes de absorción y/o difusión con objeto de revertir virtualmente cada una de las intervenciones arquitectónicas que ha experimentado la sala teatral, siempre basándonos en criterios históricos documentados. Todo ello nos ha permitido reconstruir la historia sonora del Teatro Principal de Valencia, pudiendo comparar los cambios que sus parámetros acústicos han experimentado en sus más de 180 años de vida.
Como colofón a la tesis, se ha profundizado en el realismo gráfico del modelo geométrico del Teatro Principal actual mediante el empleo de técnicas de texturización y realidad virtual fotorrealística, habiendo conseguido un modelo que permite experimentar auralizaciones del Teatro Principal en un impactante entorno gráfico inmersivo (CAVE, ProwerWall, etc.) que abre la puerta a nuevas líneas de investigación.<br>[CAT] Aquest treball pren el Teatre Principal de València com a matèria d'estudi i planteja aprofundir en el coneixement de la seua història, arquitectura i acústica. El nostre objectiu final ha estat analitzar i reconstruir les condicions acústiques del teatre en diversos moments històrics, aportant amb això una nova forma d' apropar-nos al patrimoni arquitectònic valencià. Pretenem, a més, mostrar la potencialitat de les actuals eines de simulació acústica i auralització per a l' estudi de la tipologia arquitectònica teatral més estesa a Europa des del segle XVII: el teatre barroc a la italiana.
El Teatre Principal de València és un exemple paradigmàtic de teatre a la italiana ja que reuneix totes i cadascuna de les característiques formals que defineixen aquesta tipologia edilícia. Inaugurat l 'any 1832, es tracta del degà dels teatres valencians i un dels més antics d'Espanya, anterior fins i tot als projectes pioners del Teatro Real de Madrid (1850) i del Gran Teatre del Liceu de Barcelona (1847).
Hem dut a terme treballs de recerca en arxiu, buidats de premsa, recerca bibliogràfica, així com consulta i recopilació de documents, planimetria i imatges (moltes inèdites) que han fet possible la recuperació de la història del recinte teatral valencià, desdibuixada en gran mesura pel pas del temps. Tot això ha constituït en si mateix un objectiu d' aquesta tesi, i com a tal l' hem presentat en l' apartat de resultats. Aquest estudi històric del teatre ens ha permès seleccionar cinc moments en què les seues diferències morfològiques podrien posar de manifest canvis en la seua acústica: 1832, 1859, 1928, 1968 i 2015.
S'han realitzat mesures acústiques normalitzades al teatre i hem desenvolupat models informàtics tridimensionals de les cinc morfologies seleccionades. El model acústic actual ha estat ajustat amb les mesures in situ. A partir d'aquest model, s'han introduït modificacions volumètriques, geomètriques i de coeficients d'absorció i / o difusió a fi de revertir virtualment cadascuna de les intervencions arquitectòniques que ha experimentat la sala teatral, sempre basant-nos en criteris històrics documentats. Així hem pogut reconstruir la història sonora del Teatre Principal de València i comparar els canvis que els seus paràmetres acústics han experimentat al llarg de la seua vida.
Com a colofó de la tesi, hem aprofundit en el realisme gràfic del model geomètric del Teatre Principal actual mitjançant l' ús de tècniques de texturització i realitat virtual fotorealística, havent desenvolupat un model que permet experimentar auralitzacions del Teatre Principal en un impactant entorn gràfic immersiu (CAVE, ProwerWall, etc.) que ens obri la porta a noves línies d' investigació.<br>Barba Sevillano, A. (2016). La acústica virtual como herramienta arqueológica. Historia y sonido en el Teatro Principal de Valencia [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62687<br>TESIS
42
Penni, Serena. "Studio dell' opera narrativa di Goffredo Parise." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015PA030001.
Full textAbstract:
Goffredo Parise (1929-1986) est désormais reconnu comme l'un des auteurs capitaux de la littérature italienne dans la deuxième moitié du xxe siècle. cependant, la critique (jamais indifférente face à son œuvre) n'a pas toujours su, selon nous, prendre l'exacte mesure du caractère profondément singulier et souvent fortement novateur du travail littéraire de cet écrivain (peut-être parce que sa très grande notoriété comme journaliste et, notamment, grand reporter a gêné la perception d'ensemble). Aussi, estimons-nous qu'il serait utile de tenter d'approfondir la connaissance que nous avons des composantes et des caractéristiques d'une écriture qui n'a pas d'équivalent dans le panorama de la littérature européenne contemporaine (et alors même que l'intertextualité de l'œuvre est considérable et dépasse largement le cadre de cette littérature). notre étude examinera, diachroniquement, les structures narratives mises en place de façon très élaborée par l'auteur tandis que des analyses approfondies des principaux textes devront mettre en lumière, à la fois, les récurrences thématiques, narratives et stylistiques (sur un plan synchronique, en l'occurrence) et les mouvements de fond, parfois les bouleversements, que l'écrivain, très sévère avec lui-même et souvent insatisfait des résultats obtenus, apporta à la qualité de son travail au fil des années, de la publication de nouveaux livres et de la réécriture de certains. notre recherche devrait donc contribuer à mieux définir le parcours d'un écrivain que son remarquable talent, sa formation culturelle au sens large et ses choix aussi bien idéologiques qu'artistiques ont amené à composer, en un espace de temps relativement bref, une œuvre authentique et spécifique qui correspond pleinement à la rencontre unique d'un projet et d'une écriture au sein d'une époque jamais oubliée mais toujours tenue très consciemment à distance<br>The aim of this research is to offer an analysis of Goffredo Parise's narrative work which focuses on the elements of continuity and, at the same time, of rupture characterizing his literary career. Indeed, Goffredo Parise was a writer who seemed endowed with a singular capacity of innovation as well as a deep desire to apply self-analysis, whether with reference to the style, the narrative techniques or the contents of his work. It is thus our aim to demonstrate that Parise was capable of constantly renewing himself, with no fear of facing either the historic and cultural alterations of his time or the — internal and external — upheavals that marked-his life. Parise was continuously striving, through his research, to identify the best style to express the multiple meanings that the circumstances imposed upon his writer’s consciousness. His work thus seems, in our opinion, marked by immensely creative dynamics. However, some features accompanied him throughout the years and are thus recurrent in his books. In our view, the continuous presence of weighty structural elements in Parise’s writing as well as the constant renewal of forms and contents are the fundamental facts that allowed the author to find a singular, disturbing and often completely happy balance in his work as a writer. This balance helped Parise to become a leading figure on the 20th-century literary scene. Taking his kind of approach into account, to us the chronological criterion seemed most suited to gain an insight into the author’s rich textual production
43
Huck, Oliver. "Oper in den Villen der Republik Venedig und Villeggiatura in der Oper." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71938.
Full text
44
Costal, i. Fornells Anna. "Les sardanes de Pep Ventura i la música popular a Catalunya entre la restauració dels Jocs Florals i la Primera República (1859-1874)." Doctoral thesis, Universitat Autònoma de Barcelona, 2014. http://hdl.handle.net/10803/283433.
Full textAbstract:
Al segle XIX neix un nou concepte de música popular, estretament relacionat amb el final de l'Antic Règim i amb l'obertura d'Europa i dels territoris colonials a diverses possibilitats econòmiques, polítiques, socials i culturals. Aquesta tesi estudia la importància que va tenir la música popular a Catalunya en l'època de construcció de les bases del nacionalisme ideològic, especialment entre la restauració dels Jocs Florals i el final de la Primera República a través d'un estudi de cas: les sardanes de Pep Ventura (1817-1875).
La irrupció de la societat de l'espectacle va ser una veritable revolució, especialment a les grans metròpolis com París, Londres, Viena o Nova York. Però també es va produir en viles i ciutats més petites que, com Figueres, van tenir capacitat per urbanitzar espais a l'aire lliure, impulsar el mecenatge de les arts i de les ciències, construir un teatre públic i organitzar un teixit associatiu sòlid. Una conseqüència immediata d'aquest procés va ser l'increment de la demanda musical en l'àmbit públic i privat, que va consolidar l'ofici d'una generació d'intèrprets i de compositors nascuts en les primeres dècades del Vuit-cents.
Pep Ventura —igual com Philippe Musard o Johann Strauss— va haver d'enfrontar-se a un món musical nou que, d'una banda, li permetia viure amb els avantatges de llibertat i d'autonomia de l'artista romàntic però que, de l'altra, l'obligava a dependre de l'aplaudiment d'un públic que cada vegada n'esperava més de l'intèrpret i de la seva capacitat de sorprendre.
Les sardanes llargues de mitjan segle XIX contenen les característiques d'aquesta nova relació, trencant amb l'estructura musical i coreogràfica més previsible i monòtona de les sardanes d'Antic Règim: el músic-compositor guanya un espai per al lluïment, amb la inclusió d'una melodia significativa que els balladors poden identificar —cançons populars, temes d'òpera o sarsuela, himnes— alhora que, just després, el líder de la plaça pren la responsabilitat de finalitzar correctament el ball amb l'aplicació del nou sistema de comptar i repartir.
A la dècada de 1860, a més de gaudir d'una gran rellevància social, les sardanes van incorporar elements de reivindicació ideològica, gràcies a la força visual, corporal i sonora que exercien en espais públics a l'aire lliure. A l'Empordà, durant el Sexenni Revolucionari, van esdevenir un manifest actiu de les tesis del republicanisme federal, incorporant cançons revolucionàries i provocant més d'un aldarull al crit de «Visca la República!».
A Barcelona, Josep Anselm Clavé va ser el primer en interessar-se pel cant coral, els castells i les sardanes, tres expressions populars imaginades com un conjunt simbòlic de l'ideari republicà federal. Tanmateix, el catalanisme conservador, especialment a l'inici de la dècada de 1870, també va observar el potencial de les sardanes com a símbol, atribuint al ball i als instruments de plaça unes connotacions d'antiguitat que xocaven frontalment amb les sardanes bèl·liques de la Tercera Carlinada; o, encara més, amb les sardanes a ritme d'havanera del mateix Ventura, que podien vincular-se fàcilment amb l'inici, a Cuba, de la Guerra dels Deu Anys (1868-1878) —l'avantsala de la independència definitiva de la província d'ultramar.
A final de segle XIX, per tant, el catalanisme conservador va haver d'absorbir i neutralitzar els emblemes dels republicans i transformar-los en símbols nacionals. No fer-ho hagués estat un error estratègic, el perill que en algun moment del Nou-cents el ball de les sardanes revifés l'esperit revolucionari. Per aquest motiu, el procés de construcció del mite de Pep Ventura va haver d'incloure, necessàriament, una depuració de títols, com La Sonanbula, Quiéreme niña hermosa o El diablo en el poder.<br>The 19th century saw the birth of a new concept in popular music, closely related to the end of the Ancien Régime and to the opening up of Europe and its colonies to diverse economic, political, social and cultural possibilities. This thesis seeks to investigate the importance held by popular music in Catalonia, in an age when the bases of ideological nationalism were being formalised, especially between the restoration of the 'Jocs Florals' (Floral Games) and the end of the First Spanish Republic, by means of a case study: the sardanes of Pep Ventura (1817-1875).
The rise of the society of spectacle was a revolution in itself, especially in large metropolis like Paris, London, Vienna or New York. However, this was also manifested in smaller towns that, like Figueres, had the capacity to urbanize open spaces, promote the patronage of the arts and sciences, build a public theatre and organize a solid associative fabric. A direct consequence of this process was the public as well as private increase in demand for music, which consolidated the profession of a whole generation of musicians and composers born in the first decades of that century.
Pep Ventura, – like Philippe Musard or Johann Strauss – had to face a new reality in the world of music which, on the one hand, allowed him to the life of an artist of the Romantic Period, with all the advantages of freedom and autonomy that this implied, but which on the other hand obliged him to rely on the acclaim of a public which expected more and more from the artist and his ability to surprise.
The Sardanes of the middle of the 19th century contain the characteristics of this new relationship, cutting with the more predictable and monotonous musical structure and choreography of those of the Ancien Régime: the musician-composer gained the necessary space to stand out by the inclusion of a significant melody that the dancers could identify – taken from popular songs, arias from operas or zarzuelas, hymns – whilst the leader of the dance, just after this, would take it upon himself to end the dance correctly.
In the 1860s, on top of enjoying great social relevance, the sardanes began taking on elements of ideological revindication, thanks to their resonance and their great visual and corporal impact, witnessed in public spaces in the open air. In the Empordà, they became an active manifestation of the theses of Federal Republicanism, incorporating revolutionary songs.
In Barcelona, Josep Anselm Clavé was the first to become interested in choral singing, in castells and in sardanes; three expressive mediums seen a symbolic whole that embodied the ideals of Federal Republicanism. However, Catalan Conservatism, especially at the beginning of the 1870s, also became aware of the symbolic potential of the sardanes, attributing to the dances and the instruments of the bands certain connotations of age which came into direct conflict with the war-like sardanes of the Third Carlist War. Or, perhaps even more, with the sardanes to the rhythm of the Habanera of the aforementioned Ventura, which could easily be linked with the start, in Cuba, of the Ten Years War – the prelude to the definitive Cuban independence.
At the end of the 19th century, therefore, Catalan Conservatism was obliged to absorb and neutralize these emblems of the republicans and transform them into national symbols. Not doing so would have been a strategic error; the danger being that at some point in the 20th century dancing the sardana might revive the revolutionary spirit. For this reason, the process of construction of the myth of Pep Ventura had to include, necessarily, a purging of certain titles, such as La Sonanbula, Quiéreme niña hermosa or El diablo en el poder.
45
Bousquet, Emmanuelle. "Quête identitaire et dramaturgie de l'intime dans les drames lyriques de Riccardo Zandonai (1883-1944)." Paris 8, 2001. http://www.theses.fr/2001PA082052.
Full textAbstract:
Riccardo Zandonai, compositeur, est né en 1883 à Sacco di Rovereto dans le Trentin, région de l'empire austro-hongrois devenue italienne après la Première Guerre mondiale (Traité de Saint Germain-en-Laye, 1919). Il meurt à Pesaro (Italie), en 1944. Cette étude porte sur ce compositeur de frontière. . .
46
Consolo, Salvatore. "Lo specchio infedele : teoria e storia di adattamenti cinematografici da opere letterarie italiane." Thesis, University of Birmingham, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435399.
Full text
47
Costa, Araújo Ligiania. "Non per tutto l'età m'aggrinza : Le vecchie comiche nell'opera veneziana del seicento." Thesis, Tours, 2008. http://www.theses.fr/2008TOUR2028/document.
Full textAbstract:
Les rôles des vieilles comiques appartiennent aux conventions dramaturgiques établies par les nouvelles règles de l’opéra vénitien payant du Seicento. Entre 1638, date de la première apparition d’un râle de vieille comique sur les scènes vénitiennes, et la fin du siècle, cent quatorze personnages de cette typologie ont habité les trames crées par les librettistes vénitiens. La typologie à laquelle cette étude s’intéresse se caractérise par un comique poussé et ironique, par un fort appétit sexuel, par des idées proto-féministes sur la vie amoureuse mais également par un discours moral sur la caducité de la vie avec un fond extrêmement optimiste qui reprend la maxime horatienne du carpe diem. D’un point de vue purement dramaturgique, ces rôles, en tant que doubles des serviteurs, sont responsables des liaisons entre les scènes, des commentaires sur les évènements de l’intrigue ainsi que du comic relief. Dans un premier temps, il s’agit d’établir une généalogie de ces rôles, et de déterminer quelles caractéristiques les vieilles nourrices de l’opéra italien ont hérité de leurs prédécesseurs du théâtre improvisé et savant, ainsi que de la littérature. Une fois établies les particularités littéraires et musicales les plus récurrentes, celles-ci sont prises en examen par rapport à la trame d’une part, et en tant que topoi isolés d’autre part. L’intention de cette étude est de mener une réflexion globale qui ne soit ni étroitement musicologique, ni spécifiquement littéraire. Celle-ci veut interroger les rapports intimes bien souvent masqués entre culture populaire et culture savante, entre place publique et théâtre, entre improvisation et écriture<br>The role of the old comic nurse pertains to the dramaturgic conventions established in the new rules of the Venetian Seicento public opera. Between 1683, when the first old comic nurse appears on Venetian scenes, and the end of the century, one hundred and fourteen characters of this kind have thickened the plots created by the Venetian librettists. The character at the core of this research presents an exaggerated and ironic humor, a great sexual appetite, some proto-feminist ideas on love, but also a moral discourse on the caducity of life which usually has a very optimistic side to it and finds its main argument in the Horatian motto of the carpe diem. From a purely dramaturgic point of view these roles work as doubles to those of the servants, are used to connect successive scenes, to comment on the plot and to offer some comic relief. It is important to establish a genealogy of these robes, and to determine what characteristics the old nurses of Italian opera have inherited from their predecessors in the improvised and written theatre, and also in literature. After having determined the most recurring textual and musical elements, these are examined against the plot but also as isolated topoi. The aim of this study is to carry out a general reflection which is neither narrowly musicological, nor specifically literary, and to inspect die intimate and often concealed relationships between popular and high culture, public square and theatre, improvisation and writing<br>I ruoli di vecchie donne comiche appartengono alle convenzioni drammaturgiche stabilite fra le nuove regole dell’pera commerciale veneziana del Seicento. Fra 1638, data della prima apparizione di un ruolo di vecchia comica sulle scene veneziane, e la fine del secolo, cento quattordici personaggi di questa tipologia hanno abitato gli intrecci creati dai librettisti veneziani. La tipologia alla quale questo studio s’interessa si caratterizza per una comicità spinta e ironica, un forte appetito sessuale, idee proto-feministe sulla vita amorosa ma anche per un discorso morale sulla caducità della vita con uno sfondo estremamente ottimista che riprende la massima oraziana del carpe diem. Da un punto di vista puramente drammaturgico, questi ruoli, in quanto doppi dei servi, svolgono funzioni di legame fra le scene, commento sugli eventi dell’intreccio e offrono momenti di comic relief. In un primo tempo abbiamo cercato di stabilire una genealogia di questi ruoli e di determinare quali sono le caratteristiche che le vecchie nuttici dell’opera veneziana hanno ereditato dalle loro precorritrici del teatro improvvisato ed erudito, e dalla letteratura. Una volta stabilite le particolarità letterarie e musicali più ricorrenti le abbiamo analizzate in rapporto agli intrecci ed in quanto topoi a parte. Lo scopo di questo studio è di realizzare una riflessione globale non strettamente musicologica, né specificamente letteraria al fine di interrogarsi sui rapporti intimi e spesso nascosti tra culture popolari ed erudite, piazza pubblica e teatro, improvvisazione e scrittura
48
Colas, Damien. "Opéra italien et français au XIXe siècle. Études de philologie et de dramaturgie musicale." Habilitation à diriger des recherches, Université François Rabelais - Tours, 2009. http://tel.archives-ouvertes.fr/tel-00455352.
Full textAbstract:
Après une formation en biochimie, puis en musicologie, j'ai commencé la recherche au début des années 1990, tout en enseignant l'histoire de la musique à l'Université Paris-IV, et je suis entré au CNRS en 1995. Mes travaux portent sur l'opéra du XIXe siècle, et plus particulièrement sur l'opéra italien et français. Ils s'inscrivent aujourd'hui dans quatre directions : – la philologie musicale, en particulier l'analyse de la mélodie, sa grammaire, sa génétique, – l'histoire de l'orchestre et de l'orchestration d'opéra, – les échanges culturels franco-italiens, – la dramaturgie musicale. 1. Pendant ma thèse de doctorat, à partir de 1990, je me suis penché sur les matériels d'exécution des compositeurs italiens de la première moitié du XIXe siècle conservés à Paris, afin d'y collecter les annotations des chanteurs relatives au travail de variation et d'ornementation de leurs parties. Cette recherche, conduite sous la direction de Jean-Michel Vaccaro (CESR, Université François-Rabelais) et de Philip Gossett (University of Chicago), m'a permis d'acquérir des compétences quant à l'état des sources, la notation de la musique de cette époque, sa performance practice et sa grammaire. 2. Lors de mon affectation au Centre d'études franco-italiennes (CNRS, Chambéry) en 1995, j'ai été invité à donner en DEA des séminaires de recherche sur les échanges culturels franco-italiens. Cette approche interdisciplinaire m'a amené, dans le domaine de l'opéra, à me tourner vers les principales tensions entre les systèmes poétiques en vigueur sur les scènes italienne et française, du XVIIe au XIXe siècle. 3. Un programme européen de recherches sur les orchestres d'opéra aux XVIIIe et XIXe siècles a été constitué en 1998, sous l'égide de l'European Science Foundation, dans le cadre du projet Musical life in Europe (1600-1900). J'y ai été chargé de diriger la recherche sur les orchestres parisiens. Les investigations ont porté autant sur les aspects institutionnels du fonctionnement des orchestres que sur les aspects artistiques (répétitions, évolution de la constitution et de l'organologie, orchestration et réorchestrations). 4. Dans le cadre de la convention passée entre mon laboratoire actuel, l'IRPMF (UMR 200) et le département de musique et musicologie de l'Université François-Rabelais (Tours), j'enseigne depuis 2003 un cours d'initiation aux écrits de Carl Dahlhaus sur la dramaturgie musicale. Ces écrits, qui constituent le socle de la formation des étudiants en matière d'opéra dans les universités européennes, restent peu étudiés en France, sans doute en raison du rôle central qu'a joué la littérature comparée dans ce domaine. Ces quatre directions se rattachent toutes à mon objet premier d'étude, les matériels d'exécution d'opéra, et c'est à l'occasion d'enseignements universitaires et de participations à des programmes de recherches internationaux que j'ai été amené à diversifier mon activité de recherche. Les deux parties de la synthèse, bilan et perspectives, sont constituées de travaux réalisés dans les quatre domaines présentés ici, au cours des années 1997-2009. La partie « bilan » (pp. 1-530) contient les études déjà publiées : 1.1. Analyse de la mélodie dans sa composante ornementale Melody and ornamentation (2004) Revisioni delle parti vocali di Bellini (2004) Colas, Di Profio ⋅ Rondò de Sarti et variations de Sarti (2009) 1.2. Analyse de la mélodie dans sa composante prosodique Alexandrin dans Les vêpres siciliennes (2000) Prosodie et mélodie dans Dom Sébastien (2000) 2. Échanges culturels franco-italiens Le duc d'Albe und Les vêpres siciliennes (2001) Terminologia dei critici francesi (2002) Victor Hugo e l'estetica del melodramma (2003) Duetto e dialogo in Bellini (2004) Heldenportraits in den französischen Opern von Verdi (2006) Théophile Gautier critique au Théâtre italien (2007) Perspectives (D'une scène à l'aute, vol. II, 2009) 3. Orchestres d'opéra Audéon, Colas, Di Profio ⋅ Orchestras of the Paris opera theatres (2007) Halévy and the orchestra (2007) 4. Dramaturgie musicale Roman de Tatiana (2002) Immagini infernali in Berlioz (2009) La partie « perspectives » (pp. 531-751) contient les travaux en cours et sous presse : 1. Édition critique du Comte Ory 2. Rossini et les critiques musicaux français 2. Isouard et le modèle italien 4. Berlioz et l'imitation
49
Cvetko, Nicolas. "Impuretés et résonances esthétiques dans les oeuvres cinématographiques de Mario Bava et de Dario Argento – ainsi qu’entre elles – des Vampires (1956) à Opéra (1987)." Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080018.
Full textAbstract:
Mario Bava et Dario Argento sont étroitement associés au genre cinématographique du giallo, genre qu’ils ont largement contribué à inventer et à renouveler. Demeurés en marge de l’histoire du cinéma, les deux réalisateurs ont pourtant élaboré des œuvres complexes à la modernité double : singulières par leurs styles, elles n’en participant pas moins à et de l’esprit du temps. Particulièrement riches d’expérimentations plastiques, leurs films sont abordés ici dans leurs rapports avec les autres arts. La notion d’impureté, telle qu’initiée par André Bazin, convoquée à sa suite par Guy Scarpetta puis affinée par Denis Lévy (qui pose deux catégories d’impuretés : locale et globale), constitue le principal opérateur permettant de lier la création cinématographique à son hors-champ artistique, recouvrant les pratiques les plus diverses. Ces rapprochements sensibles mettent au jour un véritable jeu de résonances esthétiques dans les œuvres des deux cinéastes. En quatre grands axes (mouvements, figurations, matières, espaces), ce travail se donne pour but de révéler des aspects encore méconnus de leurs films réalisés entre 1956 et 1987. Dans cette optique, ils sont confrontés aux domaines littéraire et scénique, mais aussi aux musiques contemporaines, à l’architecture et à tout le champ des arts plastiques. L’enjeu essentiel de cette thèse est ainsi de démontrer qu’au-delà de l’intérêt commun et concomitant qu’elles manifestent pour les correspondances, les croisements, les rencontres entres les arts, les œuvres de Bava et Argento, par leur propension à toujours se situer « au carrefour », témoignent paradoxalement d’une pensée proprement cinématographique<br>Mario Bava and Dario Argento are closely associated with the giallo movie genre which they have contributed to invent and renew. Thoug they have been kept in the margins of Cinema history, these two directors have elaborated complex works of art : these creations bring up a double modernity : singular by their styles, they also participate to and from the spirit of their time. Particularly rich of visual arts experimentations, their movies are considered here for their links with other arts. The notion of impurity, as risen by André Bazin, then refined by Guy Scarpetta and also by Denis Lévy when he distinguishes two categories of impurity : local and global, as the main operator able to link the cinematographic creation to its artistical off-camera, including the most diverse approaches of art creation. Esatblishing these sensible proximities bring out a true game of esthetical resonances between the works of both directors. Within four great axes (movement,figuration, materials, spaces), this work aims to reveal little known aspects of their movies directed between 1956 and 1987. Within this approach, they face litterary and scenical domains but also contemporary music, architecture and the whole field of the visual arts. Therefore the main point of this thesis is to demonstrate that beyond the mutual and concomitent interest theses works of art show for the correspondences, the junctions and encounters between artistical practices, the worksof Mario Bava and Dario Argento , by their tendancy to keep situating in « crossroads », paradoxicaly attest of a properly cinematographic thinking
50
Wiesend, Reinhard. "Zur Edierbarkeit italienischer Opern des 18. Jahrhunderts." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A36839.
Full text