Academic literature on the topic 'Operas Librettos'

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Dissertations / Theses on the topic "Operas Librettos"

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林鳳珊 and Fung-shan Lam. "A study of Cantonese opera scripts of the 1920s and1930s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31215452.

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Couvreur, Manuel. "Le livret d'opéra en France de Cadmus et Hermione de Quinault et Lully (1673) aux Boréades de Cahusac et Rameau (1763): essai de définition pluridisciplinaire d'un "genre d'écrire"." Doctoral thesis, Universite Libre de Bruxelles, 1989. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213232.

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Bergström, Gunnel. "In search of meaning in opera : an opera singer's approach to the dialetics of words, music, & myth in opera from Monteverdi to Verdi /." Online version, 2000. http://bibpurl.oclc.org/web/26209.

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Patino, Julio. "Matador." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc279182/.

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Matador is an opera scored for orchestra, mixed chorus and soloists (mezzosoprano, 3 tenors, 2 baritones). The work is in one act divided into two main sections. Each of these sections is divided into subsections. The libretto is aphoristic in nature and dictates the form of each of these subsections. The division into two parts also serves as a means to evoke a sense of hopelessness of emotions in the first and a transforming disposition that culminates in a jubilant song in the second.
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Miller, Robin A. (Robin Annette). "The Prologue in the Seventeenth-Century Venetian Operatic Libretto: its Dramatic Purpose and the Function of its Characters." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277705/.

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The Italian seicento has been considered a dead century by many literary scholars. As this study demonstrates, such a conclusion ignores important literary developments in the field of librettology. Indeed, the seventeenth-century operatic libretto stands as a monument to literary invention. Critical to the development of this new literary genre was the prologue, which provided writers with a context in which to experiment and achieve literary transcendence. This study identifies approximately 260 dramatic works written in Venice between the years 1637 and 1682, drawn together for the first time from three sources: librettos in the Drammaturgia di Leone Allacci accresciuta e continuata fino all'anno MCDDLV; the musical manuscripts listed in the Codici Musicali Contariniani; and a chronological list of seventeenth-century Venetian operas found in Cristoforo Ivanovich's Minerva al Tavolino. Of the 260 Venetian works identified, over 98 begin with self-contained prologues. This discovery alone warrants a reconsideration of the seventeenth-century Italian libretto and the emergence of the dramatic prologue as a new and important literary genre.
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Daly, Daniel. "The Banshee: A Chamber Opera in One Act." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22647.

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This opera is the composer’s fanciful speculation on the origin of the banshee, a character out of Irish legend whose keening is a herald of death. In three scenes, the opera tells the story of a witch whose quest for power leads her from one depravity to the next and ends with the destruction of her family. When the witch finally confronts the ruin she has caused, she wails with grief and transforms into the banshee. The work is scored for soprano, mezzo-soprano, baritone, dancer, and chamber orchestra, and it is approximately one hour in duration.
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Mai, Alex Chih-Yuan. "Sacrificial forms the libretti in English 1940-2000 /." Thesis restricted. Connect to e-thesis to view abstract, 2008. http://theses.gla.ac.uk/437/.

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Thesis (Ph.D.) - University of Glasgow, 2008.<br>Ph.D. thesis submitted to the Department of English Literature, University of Glasgow, 2008. Includes bibliographical references. Print version also available.
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Nelson, Sarah Patterson. "Costumes for "The Magic Flute", composed by W.A. Mozart, libretto by Emanuel Schikaneder." Connect to this title, 2008. http://scholarworks.umass.edu/theses/203/.

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Thomson, I. "Mozart's opera Die Zauberflote : an analysis of the historical and literary sources of the libretto." Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503064.

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This dissertation contains an analysis of the libretto of Mozart's Die Zauberflote. The analysis was contemplated with apprehension, given that so much has already been written about the opera. But the work was prompted by two factors. Firstly, by a longstanding concern that the libretto contains classical, literary, historical and philosophical references which have not been referred to in previous explanations of the opera. There was a sense in which the opera may have been well documented but perhaps not well understood. Secondly, and consequentially, the study was fuelled by the magnitude of the challenge to understand how these unacknowledged references fit together to create what the librettists considered to be their "purpose". This dissertation, then, develops many new analytical themes and throws fresh light on the purpose of the opera and the methods by which it was developed. Many people have helped me in a variety of ways during this study. I am particularly grateful to my Supervisor, David Chadd, Head of the School of Music at the University of East Anglia (UEA), Norwich, for his constant support and advice, and to my two examiners Professor Julian Rushton at Leeds University and Anthony Gritten at UEA. I am also grateful to Simon Waters at UEA and Ian Biddle (formerly UEA but now at Newcastle University) for their help during an earlier M.Mus. study which unexpectedly led to the research presented here. I am particularly grateful to Edvina Franceschini for her assistance, comments, encouragement and hospitality throughout the period of this study. And I am indebted to Prebendary Michael Moreton, for reading draft text and offering helpful comments on theological and other references, and to Angela Biston for helpfully commenting on several occasions on my draft text. I also wish to acknowledge the help of a number of people on whom I have relied for specific advice on a miscellany of subjects. Their contributions may have been partial, because none were aware of the objectives of my study, but their help was nevertheless important. I am particularly grateful to Anna Plattner and Bettina Kann, Osterreichische Nationalbibliothek, Vienna; Frieder Hepp, Director, KurpJiilzisches Museum, Heidelberg; Clare Rider, The Honourable Society of the Inner Temple, London; Diana Weber, Stadtarchive, Heidelberg; Daniel Pailthorpe, Principal Flautist, English National Opera, London; Cesare Poppi, Deputy Director, The Sainsbury Centre, UEA, Norwich: Joe Taylor, Head Ranger, Sports and Parks Division, City of Coventry; Ineke Fijan, the Erasmus University, Rotterdam; Anne Mitchell, Woburn Abbey; Catherine Baron, Assistant Curator ofthe Royal Collection; Bernhard Overbeck, Bayerische Staatsbibliothek, Munich; Claire Leach, Voltaire Foundation; Sylvia Morris, Shakespeare Memorial Library, Stratford-uponAvon; Richard Palmer, Lambeth Palace Library, London; Lynda McLoed, Sotherby's, London; Mr. Ellis, Astrological Association, London; The Astrology Shop, London; Clive Wilkins-Jones, Norfolk and Norwich Millenium Library, Norwich; Ingrid Lamey, Schwetzingen Castle; Lucia Underhill, Kimbolton School; Omar Samy, Al Ahram Newspaper, Cairo; Ingrid Horning, Utrecht; Julian Roberts; and Jean Rafferty. Finally, I am grateful for the unfailing assistance of countless anonymous staff in many libraries and museums. Staff at The British Library, where necessarily most of my research was undertaken, have been exceptionally helpful. But I have also received considerable help from staff at the UEA library; the Bodleian; the House of Lords Record Office; the Egypt Exploration Society; the National Portrait Gallery Heinz Archive; German Historical Institute, London; London University Library; the Wellcome Library; the Victoria and Albert Museum; the Warburg Institute Library; Christie's Images; Coventry City Library; Warwickshire Records Office; the Ashmolean Museum; Centraalmuseum, Utrecht; the National Maritime Museum; the Historische Museum, Berne; the Offentliche Kunstammlung, Basle; the London Park Lane Mosque Library and the Vatican State Library.
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Aguedo-Silva, Jose Luis. "Il Trovatore e o libreto belcantista." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270293.

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Orientador: Maria Betania Amoroso<br>Dissertação (mestrado) - Universidade EStadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-13T14:46:52Z (GMT). No. of bitstreams: 1 Aguedo-Silva_JoseLuis_M.pdf: 911871 bytes, checksum: 44097ad9cd9946bce1fdcec2925e4b07 (MD5) Previous issue date: 2009<br>Resumo: A ópera sempre teve, desde seus primórdios, uma grande importância para a sociedade, tanto como fonte de lazer como transmissora do pensamento de uma época. E era esta característica que Giuseppe Mazzini (1805-1872), o maior teórico do Risorgimento, considerava primordial: a ópera repassaria a seus ouvintes os ideais risorgimentali. Para isso, era necessário que sobretudo libretistas e compositores estivessem engajados nessa causa. Era o caso de um dos mais representativos libretistas do século XIX, Salvatore Cammarano (1801-1852), prolífico autor, que escreveu libretos para diversos compositores em quase vinte anos de carreira. Dada a sua importância para a História da ópera, enquanto um de seus criadores mais ativos, ele foi escolhido como o objeto principal de nossa pesquisa. Tomamos como objeto de estudo, entre os mais de trinta libretos que Cammarano escreveu, a obra que consideramos a síntese do período: Il Trovatore (1853), ópera em quatro partes com música de Giuseppe Verdi (1813-1901). Il Trovatore nos parece essencial para ir mais a fundo nas pesquisas sobre o Romantismo na Itália. Numa época em que o romance tentava se fixar, a ópera teve uma participação fundamental na divulgação não só dos ideais do Risorgimento, como já citado, mas também na propagação de elementos do movimento romântico, então em voga. Na ópera, o período que coincide com o Romantismo europeu costuma ser chamado Bel Canto tardio, e são consideradas suas datas limite os anos de 1823 (quando da première da Semiramide, de Gioacchino Rossini e Gaetano Rossi) e 1853 (justamente com a Il Trovatore - sendo este mais um motivo para a escolha dessa obra). Dentre os objetivos de nossa pesquisa está o de proporcionar um estudo em português sobre o libreto, uma vez que a literatura relacionada ao assunto é escassa em nossa língua. Além disso, quisemos fazer um panorama da evolução do texto operístico com o passar do tempo, mostrando diferenças e pontos de vista, culminando na última obra de Cammarano, analisada mais profundamente<br>Abstract: Opera has always had, since its first years, a great importance to society, as a source of leisure and as a transmitter of the thoughts of a time. And the last characteristic is the one which Giuseppe Mazzini (1805-1872), the most important theorist of Risorgimento, considered essential: opera would be able to pass to its listeners the risorgimentali ideals. In order to do that, it was necessary that librettists and composers were engaged in this cause. That was the case of one the most representatives librettists of the 19th century, Salvatore Cammarano (1801-1852), prolific author, who wrote librettos for several composers in almost twenty years of a career. Given his importance to opera history, as one of its most active creators, he was chosen as the main object of our research. We chose to study, among more than thirty librettos written by Cammarano, the work that we consider the synthesis of the period: Il Trovatore (1853), opera in four parts set to music by Giuseppe Verdi (1813-1901). Il Trovatore seems essential to us in order to go further in our understanding of Italian Romanticism. In a time when the novel tried to fix itself, opera had a fundamental participation in spreading not only the risorgimentali ideals, as already said, but also the Romantic elements present in the age. In opera, the period which coincides with the European Romanticism is usually called late Bel Canto, and its limit dates are 1823 (when Semiramide, by Gioacchino Rossini and Gaetano Rossi was premièred ) and 1853 (with Il Trovatore). Among the objectives of our research is to provide a study in Portuguese about libretto, since the literature related to this subject is scarce in our language. Besides, we wanted to make an overview of the evolution of operatic text over time, showing differences and points of view, culminating in the last work of Cammarano, which we analyzed more profoundly<br>Mestrado<br>Literatura e Outras Produções Culturais<br>Mestre em Teoria e História Literária
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