Log in

Relevant bibliographies by topics / Opera – Russia

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers

Academic literature on the topic 'Opera – Russia'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Opera – Russia.'

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.

Journal articles on the topic "Opera – Russia"

1

Babenko, Oksana Vasil'evna. "The origins of Russian Opera as the key to understanding modern opera art." Культура и искусство, no. 8 (August 2020): 76–86. http://dx.doi.org/10.7256/2454-0625.2020.8.33608.

Full text

Abstract:

The subject of this research is the origins of Russian Opera and its evolution. The grounds of Russian Opera can be observed in folk and Church rites of the Ancient Rus’. The origins of Russian Opera stem from the Middle Ages, when the cantatory tradition formed under the impact of Byzantine and Russian folk traditions. The folk-Church events of the XVI – XVII centuries contained the theatrical elements, which later on were incorporated by the professional musical theater. Until the XVIII century, theatrical performances were open only to royalty and upper class society. The first theatre in Russia was built in 1672 for the Tsar and received a name “The Comedy Mansion”. It staged operas on the Biblical themes. The first secular operas appeared in the second half of the XVIII century. In 1756, the Empress Elizabeth of Russia turned the theater into a state and public institution. Russian operas of that time mirrored the Western models to a large extent. The emergence of truly national operas is related to the name of M. I. Glinka (1804-1857). The conclusion is made that modern Opera borrowed the principles of nationalism and humanism from its precursors. The author draws parallels between the first operas, classical Russian Opera on the one hand, and modern Russian Opera on the other. Analysis is carried out on the origin of the plots and libretto of the operas. P. I. Tchaikovsky, M. P. Mussorgsky, A. P. Borodin, N. A. Rimsky-Korsakov, S. V. S. V. Rachmaninoff, S. S. Prokofiev, D. D. Shostakovich and others, same as the inventors of the opera, wrote their operas based on literary and historical storylines.

APA, Harvard, Vancouver, ISO, and other styles

2

Rice, John A. "The Staging of Salieri’s Les Danaïdes as Seen by a Cellist in the Orchestra." Cambridge Opera Journal 26, no. 1 (February 19, 2014): 65–82. http://dx.doi.org/10.1017/s0954586713000335.

Full text

Abstract:

AbstractDuring the 1780s a cellist in the orchestra of the Opéra, known only as Monsieur Hivart, served the Russian Count Nicholas Sheremetev as an operatic agent, sending scores, librettos, costume designs, stage designs and other materials related to opera in Paris, and advising the count on the production of French operas in Russia. Hivart was in contact with such composers as Grétry, Sacchini and Piccinni, and the stage machinist and ballet master of the Opéra, and from his place in the orchestra he could watch their work take shape on stage. This gives his letters to Sheremetev (published in Russian translation in 1944 but largely unknown in the West) significant value for historians of opera in eighteenth-century Paris. Especially extensive are Hivart’s reports on the first production of Salieri’s Les Danaïdes, which contain much information about the first production available nowhere else.

APA, Harvard, Vancouver, ISO, and other styles

3

Liu, Yawei. "XIX century in the history of European and Russian opera: points of intersection and differences." Философия и культура, no. 1 (January 2021): 54–64. http://dx.doi.org/10.7256/2454-0757.2021.1.34984.

Full text

Abstract:

The development of opera genre in Europe and Russia in the XIX century is of particular interest for the Chinese and Russian art historians. The subject of this article is the history of European and Russian opera in the XIX century. The object of this research is the works of the leading opera composers and the novelties introduced by each of them into the opera genre. The goal consists in examination of the following aspects of the topic: specificity of emergence of opera in Russia in the XVIII century, establishment of the national opera schools – Italian, French, German and their prominent representatives, as well as peculiarities of the Russian opera tradition of the XIX century. The novelty lies in determination of similarities and differences between the European and Russian opera in the XIX century from the perspective of of Chinese art history. The author's special contribution consists in the attempt to discuss the subject matter in the context of Chinese art historians who take interest in the peculiarities of opera of the XIX century. The acquired results demonstrate that the development of opera within the framework of the vocal and musical performance in the XIX century is a unique sociocultural phenomenon, which manifested through the system of spiritual values and spiritual life of the Russian and European nations.

APA, Harvard, Vancouver, ISO, and other styles

4

Berman, Anna A. "Competing Visions of Love and Brotherhood: RewritingWar and Peacefor the Soviet Opera Stage." Cambridge Opera Journal 26, no. 3 (October 13, 2014): 215–38. http://dx.doi.org/10.1017/s095458671400007x.

Full text

Abstract:

AbstractWhen Sergei Prokofiev chose to adaptWar and Peacefor the Soviet opera stage in the 1940s, he faced both operatic conventions and Soviet ideological demands that ran counter to the philosophy and structure of Tolstoy’s sprawling masterpiece. Prokofiev’s early decision to split his opera intoPeaceandWar, making the first a romantic love story of individuals and the second a collective story of the people’s love for Mother Russia, marked a major divergence from Tolstoy. This article explores how Prokofiev reworked Tolstoy’s philosophy of love and human connection to make his opera acceptable for the Soviet stage. Moving away from Tolstoy’s family ideal inPeace, with its basis on intimate sibling bonds, Prokofiev shifted the family toWar, turning it into a national Russian family of Father Kutuzov, Mother Russia and their children – the Russian people. The opera uses choral glorification of these heroic parents to foster on a national scale the type of intimacy Tolstoy had advocated in the home.

APA, Harvard, Vancouver, ISO, and other styles

5

Koter, Darja. "The Impact of Russian Emigration on the Ljubljana Opera House between the Two World Wars." Monitor ISH 18, no. 1 (November 3, 2016): 47–68. http://dx.doi.org/10.33700/1580-7118.18.1.47-68(2016).

Full text

Abstract:

One of the consequences of the socio-political situation in Russia between 1917 and 1921 was the heavy emigration of artists. Some of them sought employment at the Ljubljana and Maribor opera houses, where most of the artists hailed from Belgrade. The article describes the dynamics and extent of Russian emigration as well as the variety of artistic profiles and individuals employed at the Ljubljana Opera, focusing primarily on the opera singers. Although the vast majority worked in Ljubljana only for a season or two, rarely longer, the Russian arrivals played the leading roles in opera performances and made a significant contribution to the Opera’s artistic development. The article suggests further possible studies on the history of performance at the Ljubljana Opera and its dependence on general cultural, and in particular Russian, emigration between the two World Wars.

APA, Harvard, Vancouver, ISO, and other styles

6

Wiley, Roland John. "Dances in Opera: St. Petersburg." Dance Research 33, no. 2 (November 2015): 227–57. http://dx.doi.org/10.3366/drs.2015.0139.

Full text

Abstract:

In Russia opera dances emerged in the eighteenth century, distinguishing themselves from other theatre works that included dance; the most important works and composers of this period will be summarized. As a repertoire of continuing interest, opera dances began with those of Mikhail Glinka in 1836 and 1842. Problems of studying the opera dances since then, including local practice, faulty scholarship and press criticism, will be identified. The principal makers of opera dances in Russia are introduced next together with their accomplishments, not least in light of so-called theatre reforms of the early 1880s, which favored opera over ballet proper. Finally, selected opera dances from Glinka to Tchaikovsky are analysed, with elaborations from historical records and the contemporary press.

APA, Harvard, Vancouver, ISO, and other styles

7

Garzonio, Stefano. "Механизмы переложения "на наши (русские) нравы" итальянских оперных либретто [Mechanisms of adaptation “to our (Russian) customs” of Italian opera librettos]." Sign Systems Studies 30, no. 2 (December 31, 2002): 629–44. http://dx.doi.org/10.12697/sss.2002.30.2.16.

Full text

Abstract:

Mechanisms of adaptation “to our (Russian) customs” of Italian opera librettos. The paper deals with the history of poetical translation of Italian musical poetry in the 18th century Russia. In particular, it is focused on the question of pereloženie na russkie nravy, the adaptation to national Russian customs, of Italian opera librettos, cantatas, arias, songs and so on. The author points out three different phases of this process. The first phase, in the 1730s, coincides with the reign of Anna Ioannovna and it is linked to Trediakovsky’s translations of Italian intermezzos, comedies and to the first opera seria, La forza dell’amore e dell’odio (‘The force of love and hate’, 1736) by F. Araja and F. Prata; the second phase, in the period 1740–1770s, is characterized by a very varied production of translations and imitations, which undoubtedly influenced the general developing of Russian musical and dramatic poetry. It is during this period that pereloženie na russkie nravy is introduced into dramatic genres and sometimes it is findable in musical poetry as well. The third phase, in the 1780–1790s, is linked with the activity of such poets-translators as Ivan Dmitrevskij, Michail Popov, Vasilij Levšin and is characterized by the new practice of performing operas in Russian translations. In the paper the different forms of pereloženie na russkie nravy are pointed out, starting from the formal niveau of metrics and stylistics up to the adaptation of themes, places and realia.

APA, Harvard, Vancouver, ISO, and other styles

8

MÓRICZ, KLÁRA. "Decadent truncation: liberated Eros in Arthur Vincent Lourié's The Blackamoor of Peter the Great." Cambridge Opera Journal 20, no. 2 (July 2008): 181–213. http://dx.doi.org/10.1017/s0954586709002468.

Full text

Abstract:

AbstractRussian composer Arthur Vincent Lourié (1881/2–1966) dedicated his The Blackamoor of Peter the Great (1948–1961), an opera based on Pushkin's story about the poet's African great-grandfather, to ‘Russian culture, the Russian people and Russian history.’ Neoclassical in its subject matter, reliance on conventional musical forms, and adherence to tonality, Lourié's Blackamoor is nevertheless also an exemplary symbolist opera. This article explains three symbolist aspects of the work: the sources of its libretto (Lourié's librettist Irina Graham interspersed the libretto with symbolist texts), its multi-layered cultural associations, and Lourié's decision to liberate and embody the erotic drive of the main character Ibrahim by representing it as the figure of Eros. Eradicated during the years of Stalinist terror, the culture of Silver Age Russia thus continued to find a voice in the emigrant Lourié's last opera.

APA, Harvard, Vancouver, ISO, and other styles

9

Ming, Li, and Anna Boiko. "Special things of mutual reception of Russian and Chinese opera art at the end of the 20th and the beginning of 21st centuries." OOO "Zhurnal "Voprosy Istorii" 2020, no. 12-2 (December 1, 2020): 166–74. http://dx.doi.org/10.31166/voprosyistorii202012statyi44.

Full text

Abstract:

The article is devoted to the study of the special things of the mutual reception of Russian and Chinese opera cultures in the late of the 20th and early 21st centuries. The essential role of historical, political and cultural events is noted. Those events took place during the period, that had a significant impact on the interaction between China and Russia in the field of operatic art. It was found that a similar interaction is manifested first of all, in holding different events (forums, festivals, concerts) in organization the opera performances with the participation of Russian and Chinese artists and establishing interuniversity cooperation.

APA, Harvard, Vancouver, ISO, and other styles

10

Nelson, John. "Opposing Official Nationality." Experiment 25, no. 1 (September 30, 2019): 115–29. http://dx.doi.org/10.1163/2211730x-12341333.

Full text

Abstract:

Abstract It was political turmoil in Russia that brought Savva Mamontov and his Abramtsevo circle together with Nikolai Rimsky-Korsakov. The composer questioned whether the “Official Nationality” decree of Tsar Nicholas I, with its emphasis on autocracy, Orthodoxy, and nationality—which together asserted despotic rule—truly represented the values of a changing Russian society. In addition, his operas found little favor within the Imperial theater directorate. This changed, however, when the Imperial theater monopoly was abolished, allowing private theaters to operate freely. Mamontov opened his Private Opera in 1885 at Abramtsevo and in 1895 in Moscow. His aim was to demonstrate that a private opera house could compete with the Imperial theaters, in addition to giving Moscow the opportunity to see Russian-themed operas. It was Mamontov’s new approach to stage direction, including the incorporation of fine artists in the creative process, that attracted the composer. Harassment by the Tsar, the bureaucracy of the Imperial theaters, and the western-orientated repertoire committee, had all alienated the composer. Mamontov’s dedication to filling a gap in the Russian music world, as well as his challenge to the Imperial theaters, caught Rimsky-Korsakov’s attention. Through their collaboration they questioned the bureaucracy and publicly registered their protest against Nicholas II. Together, they challenged the foundations of the “Official Nationality” doctrine propounded by the tsars since the rule of Nicholas I, which in a changing Russian society had acquired a new meaning.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Opera – Russia"

1

Alexander, Rachel Tamsin Ruth. "Tales of cultural transfer : Russian opera abroad, 1866-1906." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708685.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Bikkenin, Oskar. "Nikolai Tscherepnins Svat [Der Heiratsvermittler]." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221319.

Full text

Abstract:

Unter den Genres des russischen Musiktheaters hat die komische Oper die längste Tradition. Entstanden in den siebziger Jahren des 18. Jahrhunderts, blieb sie bis ins erste Drittel des 19. Jahrhunderts hinein die einzige professionelle musiktheatralische Gattung. Nationale Genrekennzeichen sind das Lyrische, das Phantastische und das Satirische sowie die Vermischung dieser Züge, wie man sie beispielsweise in der Mainacht von Rimski-Korsakow, in Wakula der Schmied von Tschaikowsky und in der Hochzeit von Mussorgski findet, um nur einige herausragende Beispiele des 19. Jahrhunderts zu nennen. Diese genrespezifischen Eigenschaften wurden im 20. Jahrhundert größtenteils beibehalten. Neben den bekannten Werken Igor Strawinskys, Sergei Prokofjews und Dmitri Schostakowitschs stellen die Opern Nikolai Tscherepnins in der ersten Jahrhunderthälfte einen interessanten Sonderweg dar.

APA, Harvard, Vancouver, ISO, and other styles

3

Kim, Svetlana. "L’Opéra-comique en Russie dans le dernier tiers du XVIIIe siècle : présence et influence du modèle français." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2064.

Full text

Abstract:

À la fin du XVIIIe siècle, dans la vie musicale en Russie on constate un phénomène intéressant : l’essor du genre de l’opéra-comique français. En effet, pendant le dernier quart du XVIIIe siècle, ce genre est très présent sur certaines scènes–du théâtre populaire jusqu’au théâtre impérial. Ainsi, d’après différentes sources, entre 1764 et 1800 de nombreuses œuvres de compositeurs français, notamment celles de Duni, Dalayrac, Monsigny, Dezède, Philidor et Grétry y connaissent le succès. Pour quelle raison ce nouveau genre devient-il tellement populaire en Russie à cette époque ? Quellesprémisses socio-culturelles suscitent l’intérêt du public d’un pays profondément féodal pour les idées des Lumières ; idées qui aboutissent à la représentation réaliste de sentiments forts, voire des souffrances du peuple dans le nouveau genre ?La présence constante des œuvres françaises sur les scènes de Russie prédétermine l’émergence des premiers opéras-comiques russes. Bien qu’ils n’échappent pas à l’influence de l’opera buffa italien, joué abondamment sur les scènes russes, ces premiers opéras-comiques nationaux mettent en évidence des traits spécifiquement français, empruntés par certains compositeurs russes. Sans oublier pour autant l’influence italienne, il paraît important d’étudier le rôle déterminant de l’opéra-comique français, pris comme modèle par des compositeurs tels Pachkevitch, Fomine et Sokolovsky. Il s’agitdonc de se demander : comment ces compositeurs utilisent le modèle français et l’adaptent aux conditions et à la mentalité de leur pays ? Dans cette perspective, outre l’observation des conditions historiques et socio-culturelles présidant à l’apparition du nouveau genre en Russie au XVIIIe siècle, on procèdera à une comparaison des plus remarquables des opéras-comiques russes avec leurs prédécesseurs français, aux niveaux formel, musical et poétique
In the late 18th century there was an interesting phenomenon in the musical life in Russia : the rise of the genre of the French comic opera. Indeed, during the last quarter of the 18th century this kind of opera invaded theatrical scenes–from the popular theatre to the imperial court. Thus, according to different sources, between 1764 and 1800, approximately 100 opéras-comiques written by French composers, notably those by Duni, Grétry, Dalayrac, Monsigny, Dezède, Philidor were successfully represented there. Why did this new genre become so popular in Russia at this time? What sociocultural premises aroused the public interest of a deeply feudal country for Enlightenment ideas; ideas that led to the realistic representation of strong feelings, even sufferings of the third estate?The constant presence of French works on Russian stages predetermined the emergence of the first Russian comic operas. Although they did not escape the Italian opera buffa influence, played extensively on Russian stages, these first national comic operas highlighted specific French features, borrowed by some Russian composers. Without forgetting the Italian influence, it seems important to us to study the determining role of the French comic opera, taken as a model by composers such as Pashkevich, Fomin and Sokolovsky. So, it will be asked : how did these composers use the Frenchmodel and adapt it to the conditions and mentality of their country? In addition to the historical and socio-cultural conditions observing, who governed the new opera genre emergence in the eighteenth century Russia, we will compare the most remarkable Russian comic operas with their French predecessors at the formal, musical and poetic levels

APA, Harvard, Vancouver, ISO, and other styles

4

Bikkenin, Oskar. "Nikolai Tscherepnins Svat [Der Heiratsvermittler]: Möglichkeiten der komischen Oper im 20. Jahrhundert." Musikgeschichte in Mittel- und Osteuropa ; 3 (1998), S. 74-77, 1998. https://ul.qucosa.de/id/qucosa%3A15453.

Full text

Abstract:

Unter den Genres des russischen Musiktheaters hat die komische Oper die längste Tradition. Entstanden in den siebziger Jahren des 18. Jahrhunderts, blieb sie bis ins erste Drittel des 19. Jahrhunderts hinein die einzige professionelle musiktheatralische Gattung. Nationale Genrekennzeichen sind das Lyrische, das Phantastische und das Satirische sowie die Vermischung dieser Züge, wie man sie beispielsweise in der Mainacht von Rimski-Korsakow, in Wakula der Schmied von Tschaikowsky und in der Hochzeit von Mussorgski findet, um nur einige herausragende Beispiele des 19. Jahrhunderts zu nennen. Diese genrespezifischen Eigenschaften wurden im 20. Jahrhundert größtenteils beibehalten. Neben den bekannten Werken Igor Strawinskys, Sergei Prokofjews und Dmitri Schostakowitschs stellen die Opern Nikolai Tscherepnins in der ersten Jahrhunderthälfte einen interessanten Sonderweg dar.

APA, Harvard, Vancouver, ISO, and other styles

5

Butler, Jennifer. "Ambiguity in nineteenth-century russian literature and opera." Online version, 2004. http://bibpurl.oclc.org/web/30681.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Sirotina, T. I. "Russian opera (1901-1936) : musical experiments and paths of development." Thesis, University of Manchester, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.526764.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Manukyan, Kathleen L. "The Russian Word in Song: Cultural and Linguistic Issues of Classical Singing in the Russian Language." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308311801.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Zhiltsova, Maria. "Le transfert des ballets de Paris à Saint-Pétersbourg au milieu du XIXe siècle, entre copie et création : le cas de Jules Perrot (1810-1892), chorégraphe français dans l'Empire russe." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H054.

Full text

Abstract:

Cette thèse cherche à comprendre le phénomène de la circulation des spectacles chorégraphiques de Paris à Saint-Pétersbourg au milieu du XIXe siècle et relève de l’histoire des relations culturelles internationales. La recherche se focalise sur les ballets créés à l’Opéra de Paris et remontés au Grand théâtre de Saint-Pétersbourg par Jules Perrot (1810-1892), danseur et chorégraphe français qui travaille en Russie de 1848 à 1861, et vise à montrer dans quelle mesure les ballets parisiens donnés à Saint-Pétersbourg correspondent à leurs versions originales. Le problème du transfert des spectacles est abordé sous des angles différents, inscrit dans son double contexte exportation-réception et dans la longue tradition des échanges culturels franco-russes. Nous éclairons d’abord le mécanisme des échanges dans le ballet entre la France et la Russie, qui comprend les circulations humaines, les importations en danse et le transport des objets. Ensuite les spectacles sont étudiés dans le processus de leur réalisation des points de vue chorégraphique, musical et scénographique. Nous examinons la réception des ballets dans les deux pays. Les ballets présentés à Saint-Pétersbourg dans des conditions artistiques, intellectuelles et techniques similaires de celles de leur création à Paris s’avèrent proches de leurs versions originales mais revisités pour le meilleur par Perrot : en tant que maître de ballet qui possède une forte personnalité artistique, un grand talent et beaucoup d’expérience, Perrot influence et coordonne différentes parties des spectacles. La tradition du transfert des ballets de la France en Russie au milieu du XIXe siècle permet de conserver les œuvres mais également de les enrichir grâce à la contribution de meilleurs artistes russes et européens, notamment français, présents constamment en Russie dans la cadre d’échanges culturels développés entre les deux pays
This thesis intends to understand the phenomenon of the circulation of choreographic performances from Paris to St. Petersburg in the middle of the 19th century and is part of the history of international cultural relations. The research focuses on ballets created at the Paris Opera and returned to the Grand Theater of St. Petersburg by Jules Perrot (1810-1892), a French dancer and choreographer who worked in Russia from 1848 to 1861, and aims to explain in what measure the Parisian ballets performed in St. Petersburg correspond to their original versions. The problem of transferring shows is approached from different angles, in its dual export-reception context and a long tradition of Franco-Russian cultural exchanges. First, we shed light on the mechanism of ballet exchanges between France and Russia, which includes human movements, dance imports and the transportation of objects. Then the shows are studied in the process of their realization from the choreographic, musical and scenographic points of view. Finally, we examine the ballet reception in both countries. The ballets performed in St. Petersburg under artistic, intellectual and technical conditions similar to those of their creation in Paris are close to their original versions but revisited for the better by Perrot: as a ballet master with a strong artistic personality, a great talent and a lot of experience, Perrot influences and coordinates different parts of the shows. The tradition of transferring ballets from France to Russia in the mid-nineteenth century makes it possible to preserve the works but also to enrich them thanks to the contribution of better Russian and European artists, particularly French, constantly present in Russia in the context of cultural exchanges developed between the two countries

APA, Harvard, Vancouver, ISO, and other styles

9

Alston, Ray S. ""Singing the Myths of the Nation: Historical Themes in Russian Nineteenth-Century Opera"." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524176697602489.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Zidarič, Walter. "Aleksandr S. Dargomyžskij et son opéra La Rusalka." Paris, INALCO, 1996. http://www.theses.fr/1996INAL0011.

Full text

Abstract:

Cette thèse retrace la vie et la carrière du compositeur Alexandre Dargomyzskij (1813-1869) à une époque de profondes transformations pour la société russe. Sous le règne de Nicolas Ier, d'abord, il fut partie prenante du combat mené par la censure tsariste, le snobisme malveillant des aristocrates et l'hégémonie des modèles occidentaux. Le climat d'ouverture qui caractérisa, ensuite, le règne d'Alexandre II permit l'éclosion d'une culture musicale nationale qui joua un rôle de premier plan dans la société russe et devint, de plus en plus, un terrain de combat idéologique contrel'ingérence étrangère. C'est dans ce contexte qu'eut lieu la création de la Roussalka (1856), troisième opéra national, après ceux de Glinka, oeuvre emblématique de cette époque, inspirée du drame de Pouchkine, qui passait à tort pour inachevé, et dont le compositeur fut aussi l'auteur du livret
This dissertation focuses on the life and career of composer Alexander Dargomizhsky (1813-1869) at a time when Russian society was experiencing drastic changes. In the reign of Nicholas I, firstly, he participated in the fight led by Russian artists to give birth to a national music, thwarted by the tsarist censorship, the malevolent snobbery of the aristocracy, and the hegemony of western models. Then Alexander II's reign, characterised by its more conciliatory climate, enabled the emergence of a national musical culture which was to play a major role in Russian society and to trigger little by little an ideological battle against foreign interference. Rusalka (1856), third national opera after those by Glinka, was created in such a context. This opera, wrongly regarded as incomplete for so long, based upon one of Pushkin's plays, and whose libretto was written by the composer himself, is emblematic of the period

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Opera – Russia"

1

Buckler, Julie A. The literary lorgnette: Attending opera in imperial Russia. Stanford, Calif: Stanford University Press, 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Taruskin, Richard. Opera and drama in Russia as preached and practiced in the 1860s. Rochester, N.Y: University of Rochester Press, 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Bewitching Russian opera: Tsarinas from state to stage. Oxford: Oxford University Press, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

"Chaos statt Musik": Dimitri Schostakowitsch, die Prawda-Kampagne von 1936 bis 1938 und der Sozialistische Realismus. Saarbrücken: Pfau, 2006.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Mikhaĭlovskiĭ teatr: Si︠u︡zhety, imena. Sankt-Peterburg: LIK, 2008.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

A triptych from the Russian theatre: An artistic biography of the Komissarzhevskys. London: Hurst & Company, 2001.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Borovsky, Victor. A triptych from the Russian theatre: An artistic biography of the Komissarzhevskys. Iowa City: University of Iowa Press, 2001.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Imperatorskiĭ Mikhaĭlovskiĭ teatr =: Mikhailovsky theatre = Théâtre Michel = Michael-Theater. Sankt-Peterburg: LIK, 2001.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Vishnevskaya, Galina. Galina: A Russian story. London: Hodder & Stoughton, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Petropolitana, Bibliotheca classica, ed. Opera philologica. Sankt-Peterburg: Bibliotheca classica Petropolitana, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Opera – Russia"

1

Fishzon, Anna. "Entrepreneurs and the Public Mission of the Russian Private Opera." In Fandom, Authenticity, and Opera, 19–46. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137023452_2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Fishzon, Anna. "Russia’s New Celebrities: Offstage Narrative and Performance." In Fandom, Authenticity, and Opera, 47–78. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137023452_3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Frymoyer, Johanna. "Topics and stylistic register in Russian opera, 1775–1800." In The Routledge Handbook of Music Signification, 127–41. [1.] | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351237536-11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Frolova-Walker, Marina. "Grand opera in Russia: fragments of an unwritten history." In The Cambridge Companion to Grand Opera, 344–65. Cambridge University Press, 2003. http://dx.doi.org/10.1017/ccol9780521641180.018.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Beasley, Rebecca. "‘The New Spirit’ in Theatre." In Russomania, 213–40. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198802129.003.0005.

Full text

Abstract:

The second interchapter examines discussions of Russian theatre in Britain. In a period of transition for British theatre, there was a call to look abroad for inspiration. This interchapter reviews the obstacles to the development of an art theatre movement in Britain, and details three potential conduits of Russian innovations in staging and design: Edward Gordon Craig’s collaboration with the Moscow Art Theatre, the staging of Russian symbolist plays by Edith Craig’s Pioneer Players, and the journalism of Huntly Carter, whose many articles on theatre, opera, art, ballet, and—after the war—film, promoted a ‘new spirit’ in the avant-garde, which he increasingly located in Russia.

APA, Harvard, Vancouver, ISO, and other styles

6

"Chapter 27. National Opera in Russia and Neighboring Countries Central and Eastern Europe Greece and Turkey the Netherlands! Denmark! Sweden, and England Spain, Portugal, and Latin America." In A Short History of Opera, 662–707. Columbia University Press, 2003. http://dx.doi.org/10.7312/grou11958-028.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Heyman, Barbara B. "Lincoln Center Commissions." In Samuel Barber, 451–69. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0017.

Full text

Abstract:

For the opening week of the new Philharmonic Hall at New York’s Lincoln Center for the Performing Arts in 1962, Barber composed a piano concerto in honor of the 100th anniversary of his publisher. The concerto was tailored to the technical prowess and individual style of John Browning, reflecting the Russian influence of his piano teacher Rosina Lhévinne. The second movement was a reworking of an earlier piece, Elegy, written for Manfred Ibel, a young art student and amateur flute player, to whom Barber dedicated his piano concerto. This chapter details Barber’s compositional process and influences for each movement of the concerto and describes the enthusiastic reception of the debut performance. Nearing completion of the concerto, Barber was invited to Russia as the first American composer ever to attend the biennial Congress of Soviet Composers, where he freely discussed his compositional philosophy and methods. For the concerto, Barber won his second Pulitzer Prize and the Annual Award of the Music Critics Circle of New York. His second composition for the opening season of Lincoln Center was Andromache’s Farewell, for soprano and orchestra. Based on a scene from Euripides’s The Trojan Women, the piece displayed deep emotional expression and striking imagery. With a superior opera singer, Martina Arroyo, singing the solo part, the success of Andromache’s Farewell presaged Barber’s opera Antony and Cleopatra.

APA, Harvard, Vancouver, ISO, and other styles

8

"New ideas about opera." In Russians on Russian Music, 1830–1880, 94–140. Cambridge University Press, 1994. http://dx.doi.org/10.1017/cbo9780511597282.006.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

"The 1860s, opera apart." In Russians on Russian Music, 1830–1880, 178–206. Cambridge University Press, 1994. http://dx.doi.org/10.1017/cbo9780511597282.008.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

"Opera in the 1870s." In Russians on Russian Music, 1830–1880, 207–54. Cambridge University Press, 1994. http://dx.doi.org/10.1017/cbo9780511597282.009.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Opera – Russia"

1

Yu, Hongyan, and Peiyan Cai. "Study on the External Communication Strategy of Chinese Opera A Case Study of the Return of Classic Intellectual Property “The Dawns Here Are Quiet” to Russia." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.211.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Van, Kesin. "Bel Canto's Influence on the Development of Modern Chinese Opera Singing." In All-Russian Scientific Conference with International Participation. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-98545.

Full text

Abstract:

Since the emergence of bel canto in China, traditional Chinese singing has been greatly influenced. Modern Chinese opera not only inherits the essence of Chinese national music, but also includes the unique vocal abilities of bel canto. It is thanks to Chinese national music and bel canto, which give Chinese opera singing in modern opera a whole new artistic experience that makes contemporary Chinese opera singing aimed at diversified development. The article analyzes the direction of development of bel canto in the field of Chinese art and the influence of bel canto on the direction of development of Chinese opera singing. Clarify the direction of development of the Chinese operatic art.

APA, Harvard, Vancouver, ISO, and other styles

3

Raku, Marina. "Reception of G. Rossini's Opera “Guglielmo Tell” in Russian and Soviet Musical Culture." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.130.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!