Academic literature on the topic 'Operas Librettos'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Operas Librettos.'
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 "Operas Librettos"
1
Krejčová, Kristýna, and Jana Spáčilová. "Dittersovy italské opery z Jánského Vrchu : současný stav pramenů." Musicologica Brunensia, no. 1 (2023): 47–71. http://dx.doi.org/10.5817/mb2023-1-4.
Full textAbstract:
During his stay at the castle Jánský Vrch near Javorník between 1771 and 1776, Carl Ditters von Dittersdorf composed at least twelve Italian operas for the Bishop of Wrocław, Philip Gotthard Schaffgotsch. Four of these operas were later performed in Esterházy under the direction of Joseph Haydn. Information on Ditters' operas is incomplete or erroneous in the existing literature; the purpose of this study is therefore to present the current state of the sources – libretti and scores. Most of the librettos are stored in the Department of Music History of the Moravian Museum in Brno, two librettos considered lost were newly found in the Scientific Library in Olomouc. All librettos from Esterházy have also been identified. The sheet music for eight operas is stored in Budapest, one score is in Vienna. The work La poesia e la musica in gara belongs to the genre of serenata, the opera I visionari is known only by name. This study reestablishes the chronology of Ditters' operas, identifying the authors of the libretti and the names of the performers. Haydn's settings for Esterháza are also briefly discussed. The most important outcome of the research was the identification of two arias from the lost opera Il viaggiatore americano in Joannesberg.
2
[方博], Fang Bo. "The Transtextual Gender Construction in the Opera Madame White Snake." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 1–18. http://dx.doi.org/10.30819/aemr.7-1.
Full textAbstract:
The opera Madame White Snake (hereafter Madame), co-commissioned by Opera Boston and Beijing Music Festival, premiered at Boston Cutler Majestic Theater in February 2010. It was the first commissioned opera by Opera Boston.1 Based on the story from the famous Chinese ancient myth Bai She Zhuan 2 (in Chinese: 白蛇传), this opera’s libretto was created by a Singaporean American librettist, who has shed the story’s “traditional skin and taking on modern trappings” (Smith, 2019: 27) on purpose. When sniffing at male librettists’ discourses about female characters’ vulnerable and tragic lives in their operas, opera Madame’s initiator and librettist Cerise Lim Jacobs argues that women should seize the initiative to make their own decisions in life. The white snake, in her mind, ought to be a whole woman who is powerful and demonic, and yet, is also nurturing and caring, is capable of deep and intense love. In the first section of this article, I introduce the original legend’s background and the story outline in its operatic adaptation; I also trace back the opera’s commissioning process. After providing the background information of the story and the operatic version, then, in the second section I analyze the opera in terms of its transtextual figural gender construction in her characterization through comparative studies of the white and green snakes’ images from the sources of literary works, traditional xiqu scripts and operatic librettos. Referring to Lim’s personal growth and migrating history, as well as she and her husband co-founded charitable foundation’s missions and its recent IDEA (Inclusion, Diversity, Equity, and Access) opera grant program partnering with Opera America, I aim to examine her gender construction of the “female” roles in the opera from the perspectives of feminism, interracial marriage; and heterosexual, transsexual, and homosexual relationships.
3
Parker, Mary Ann, Ellen T. Harris, and Handel. "The Librettos of Handel's Operas." Notes 47, no. 4 (June 1991): 1120. http://dx.doi.org/10.2307/941628.
Full text
4
Spáčilová, Jana. "Zpracování pověsti o Libuši v italské barokní opeře." Musicologica Brunensia, no. 1 (2022): 89–113. http://dx.doi.org/10.5817/mb2022-1-6.
Full textAbstract:
The study deals with four Italian operas created in the Baroque period on the theme of the legend of Libuše and Přemysl. The first of these was La Libussa (libretto by Flaminio Parisetti, music by Clemente Monari, Wolfenbüttel 1692), reprised in Prague c. 1702 in the musical setting of Bartolomeo Bernardi. The next was Primislao primo re di Boemia (libretto by Giulio Cesare Corradi, music by Tomaso Albinoni, Venice 1697). Last was the pasticcio Praga nascente da Libussa, e Primislao (libretto by Antonio Denzio), performed in Prague 1734. The study discusses the historical circumstances of the creation of these operas, selected issues of libretto analysis, and a hypothetical identification of their music. The appendices contain selected excerpts from both Prague librettos.
5
Yazar, İlhan Uğur. "The Influence of Orientalism in the 18th and 19th Century Opera Librettos." Journal of Human Sciences 19, no. 2 (June 21, 2022): 300–310. http://dx.doi.org/10.14687/jhs.v19i2.6283.
Full textAbstract:
This study aims to trace the change and transformation of meaning and influence of orientalism and in the West from the 18th century through the 19th century in the operas where both content and visual codes were penetrated in the subtlest way, which first evolved geographically and politically, then diplomatically and culturally, and finally the purpose of domination by the West. While opera librettos embodied orientalism visually, the evolving content of orientalism shaped the operas. From this viewpoint, this study discusses the interaction between the East and the West in the 18th century, and the reflection of the historical memory in the performing arts in the 19th century, in which the attempts for domination emerged. In this context, ‘Tamerlano’ Opera by George Frederick Händel and the ‘Abduction from the Seraglio’ Opera by Wolfgang Amadeus Mozart in the 18th century are looked through, and ‘Aida’ Opera by Giuseppe Verdi in the 19th century is construed subsequently.
6
Miklaszewska, Joanna. "Inspiracje Moniuszkowskie w muzyce XX wieku. Opera Pomsta Jontkowa Bolesława Wallek Walewskiego." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 1 (December 8, 2017): 59. http://dx.doi.org/10.17951/l.2017.15.1.59.
Full textAbstract:
<p>Bolesław Wallek Walewski był jedną z czołowych postaci krakowskiego życia muzycznego w okresie międzywojennym. Do jego najwybitniejszych dzieł należy opera <em>Pomsta Jontkowa</em>, której libretto jest kontynuacją <em>Halki</em> Stanisława Moniuszki. W artykule scharakteryzowano muzyczne związki pomiędzy obu operami, widoczne m.in. we wprowadzeniu przez Wallek Walewskiego cytatów motywów z <em>Halki</em>, a także wskazano różnice stylistyczne między obydwoma dziełami. Wyznaczają je trzy elementy: warstwa językowa librett, główne założenia dramaturgiczne oraz styl muzyczny. Libretto <em>Halki</em> napisane zostało przez W. Wolskiego bez aluzji do elementów gwarowych, natomiast B. Wallek Walewski w libretcie <em>Pomsty Jontkowej</em> wykorzystał w szerokim zakresie gwarę podhalańską. W przeciwieństwie do <em>Halki</em>, osią dramatu Wallek Walewskiego jest motyw zemsty górala na możnych panach. Styl muzyczny opery Walewskiego wykazuje pokrewieństwo z muzyką Wagnera, z nurtem muzycznego folkloryzmu (poprzez nawiązanie do folkloru podhalańskiego), oraz impresjonizmu. W artykule poruszono ponadto problem recepcji dzieła. <em>Pomsta Jontkowa</em> była najbardziej znanym i często wystawianym w Polsce dziełem operowym krakowskiego kompozytora. Jej prapremiera odbyła się w Teatrze Wielkim w Poznaniu w 1926 roku. Na przełomie lat dwudziestych i trzydziestych opera ta cieszyła się w Polsce dużą popularnością, wystawiły ją także inne teatry operowe w kraju (z wyjątkiem sceny warszawskiej). Po II wojnie światowej <em>Pomstę Jontkową</em> wystawiła Opera Wrocławska.</p><p>SUMMARY</p><p>Born in Lvov but fi rst of all associated with the musical circles in Krakow, Bolesław Wallek Walewski (1885-1944) referred to one of Stanisław Moniuszko’s most famous operas – <em>Halka</em> [Helen] – when composing his own opera Pomsta Jontkowa [Jontek’s Vengeance] (1924). The contemporaries regarded Halka and Pomsta Jontkowa as a series. Both operas share common elements: <em>Halka</em> (Warsaw version) and <em>Pomsta Jontkowa</em> are four-act operas, the same characters appear in their librettos (Jontek, Zofia), and in both works the confl icts between the gentry and the peasants are highly important. The musical connections between the operas are evidenced by Walewski’s use of the leading motifs. Moreover, both in <em>Halka</em> and in <em>Pomsta Jontkowa</em>, there are highlanders’ dances. Walewski also includes melodies from Halka into his work.</p><p>The principal difference between the two operas is determined by three elements: the language of the librettos, the main dramatic assumptions, and the musical style. The libretto of <em>Halka</em> was written by Włodzimierz Wolski (1824-1882) without references to dialectal elements whereas Walewski liberally used the Podhale highlanders’ dialect in his libretto. Moreover, unlike <em>Halka</em>, which emphasizes the personal experiences of the main heroine and social confl icts, the axis of Walewski’s drama is the motif of the highlander’s revenge on the wealthy lords. The musical style of <em>Pomsta Jontkowa</em> shows, on the one hand, a similarity with Richard Wagner’s music (harmony, instrumentation, and the way of treatment of leitmotifs), while on the other – a similarity to the trend of musical folklorism and impressionism. An innovative idea is the combination of impressionist features with the stylization of highlanders’ folklore.</p><p><em>Pomsta Jontkowa</em> was the best known opera of the Krakow composer in Poland in the nineteen-twenties and thirties, and at the same time it was one of the most original Polish operas of the interwar period. It combines traditional elements with modern ones, and it is an expression of the late inspirations by Wagnerian music and esthetics in Polish music, as well as referring to the best traditions of the Polish national opera.</p>
7
Sparti, Barbara. "HERCULES DANCING IN THEBES, IN PICTURES AND MUSIC." Early Music History 26 (October 2007): 219–70. http://dx.doi.org/10.1017/s0261127907000253.
Full textAbstract:
A general assumption persists among musicologists and dance historians that dance in seventeenth-century operas was a French phenomenon, with Italians only occasionally staging a final ballo. In large part the assumption is the result of lack of information concerning dance in seventeenth-century opera, due, particularly in comparison with other periods, to limited source material and limited research. The situation is exacerbated by the fact that when Italian operas included balli at the end of one or more acts, dance indications in the librettos tended to be brief, and the dance music appeared only rarely in scores.
8
Hume, Robert D. "The Morphology of Handel's Operas." Eighteenth-Century Life 46, no. 3 (September 1, 2022): 52–82. http://dx.doi.org/10.1215/00982601-9955324.
Full textAbstract:
Little scholarly attention has been devoted to the dramaturgy of Handel's operas, which seems secondary to musical and circumstantial matters of venue and performers. This article argues that important things can be learned by attempting to categorize, analyze, and assess the librettos in strictly dramaturgical terms. We need to ask whether there is coherence or development, and what Handel wanted in the librettos he set. Handel's operas have generally been categorized by date and/or venue. Winton Dean categorized them by “dominant temper,” characterized as “heroic or dynastic,” “magic operas,” and “antiheroic.” By implication, Handel approached each opera on a case-by-case basis, not much concerned with generic form. Ellen T. Harris critiqued Dean and offered a dialectical model, dividing the operas into “pastoral” and “heroic” groups. But if we ask “What is the ‘source of action’ within each plot?,” we find four largely distinct groups: (1) villain or villainess; (2) intrigue complexities; (3) situational donné; and (4) character display. After nearly fifteen years of plot structures driven by villains, Handel began to experiment with quite different plot designs (though he did not change librettists). Handel's operas comprise, structurally, a series of mostly static scenes in which intense feelings (ambition, lust, hope, fear, doubt, pain, remorse, etc.) are expressed. The happy-ending convention in opera seria renders plot resolution secondary. Handel's operas are essentially situational rather than plot driven. They use dramatic situations over and over (e.g., supplication, deliverance, abduction, remorse, enmity of kinsmen, self-sacrifice). Handel is far more concerned with intense expression of emotion than with telling a story. In all four types of Handelian opera, quasi-ideal heroes or heroines are featured. In (1) they are threatened by the machinations of a villain; in (2) they find themselves entangled in intrigue; in (3) they are caught in the toils of fate or circumstances; and in (4) the aim is mostly just display of heroic character. Handel's bent was for situation and emotion rather than narrative and resolution. Great and stageable as the best of Handel's operas are, the English oratorio offered him a genre ultimately more congenial to his talents and inclinations.
9
Власова, Н. О. "In Search of a Libretto. Anton Rubinstein’s Two Operas That Were Never Composed." Научный вестник Московской консерватории, no. 2(33) (June 22, 2018): 38–65. http://dx.doi.org/10.26176/mosconsv.2018.33.2.02.
Full textAbstract:
В статье прослеживается история двух неосуществленных оперных замыслов А. Г. Рубинштейна конца 1850 — начала 1860-х годов: оперы «Бросок камня, или Жертва за жертвой» на либретто, специально заказанное композитором Ф. Геббелю, и оперы «Росвита», над которой Рубинштейн начал работать совместно с либреттистом М. Гартманом. Важнейшим источником для статьи послужили неопубликованные письма Рубинштейна и рукописные варианты либретто «Росвиты», хранящиеся в Венской библиотеке в Ратуше и в Кабинете рукописей Российского института истории искусств (Санкт-Петербург). В статье раскрываются особенности работы композитора над оперным текстом, причины того, почему оба сочинения так и не были написаны, а также значение двух этих проектов в контексте эволюции оперного творчества Рубинштейна. This article is devoted to two opera projects conceived by Anton Rubinstein in late 1850s — early 1860s: “Ein Steinwurf oder Opfer um Opfer” and “Roswitha”, the librettos for which were commissioned to F. Hebbel and M. Hartmann, respectively. Our research is based on unpublished letters by Rubinstein and draft manuscripts of the libretto for “Roswitha” from Vienna Rathaus library (Wienbibliothek im Rathaus) and Manuscript Cabinet of Russian Art History Institute (Saint-Petersburg). In the article, we show how Rubinstein worked on operas’ texts and why both operas were never actually composed, as well as what role the two unrealized projects played in the artist’s evolution as an opera composer.
10
BELLINI, ALICE. "MUSIC AND ‘MUSIC’ IN EIGHTEENTH-CENTURY META-OPERATIC SCORES." Eighteenth Century Music 6, no. 2 (August 3, 2009): 183–207. http://dx.doi.org/10.1017/s1478570609990030.
Full textAbstract:
ABSTRACT‘Meta-operas’, that is, operas portraying the world of opera and its protagonists (such as impresarios, music directors, librettists and virtuosi), became increasingly common during the eighteenth century. Most of the scholarly literature on meta-opera, however, concentrates on the operas' poetic texts, their librettos. Scholars have dealt with these operas about operas almost as though they were spoken dramas, without taking into account the many ways in which metatheatrical practices and conventions are made more complex by the presence of music.What do meta-operatic scores look like? Are they similar to other ‘ordinary’ scores of the same time, or do their metatheatrical techniques set them aside as special? Considering a number of eighteenth-century works, this article points out how specific musical means can contribute to the overall effect of meta-operatic plots: the stratified nature of meta-narratives is, in fact, mirrored in the scores when realistic music is performed on stage. On these occasions, the presence of more than one layer of musical performance (of music and ‘music’) can be detected in the score. Furthermore, the presence of realistic music allows for a highly flexible treatment of standard operatic practices, and a number of passages work across conventional oppositions such as recitative/closed number, ‘real-life’/‘performed’ and ‘spoken’/‘sung’. Meta-operas, therefore, offer a special perspective on the presence of realistic music in opera.
Dissertations / Theses on the topic "Operas Librettos"
1
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.
Full text
2
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.
Full text
3
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.
Full text
4
Patino, Julio. "Matador." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc279182/.
Full textAbstract:
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.
5
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/.
Full textAbstract:
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.
6
Daly, Daniel. "The Banshee: A Chamber Opera in One Act." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22647.
Full textAbstract:
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.
7
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/.
Full textAbstract:
Thesis (Ph.D.) - University of Glasgow, 2008.Ph.D. thesis submitted to the Department of English Literature, University of Glasgow, 2008. Includes bibliographical references. Print version also available.
8
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/.
Full text
9
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.
Full textAbstract:
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.
10
Aguedo-Silva, Jose Luis. "Il Trovatore e o libreto belcantista." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270293.
Full textAbstract:
Orientador: Maria Betania AmorosoDissertação (mestrado) - Universidade EStadual de Campinas, Instituto de Estudos da Linguagem
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
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
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
Mestrado
Literatura e Outras Produções Culturais
Mestre em Teoria e História Literária
Books on the topic "Operas Librettos"
1
1948-, Bauman Thomas, Heermann Gottlob Ephraim, Dalberg Wolfgang Heribert von, and Ihlee Johann Jacob 1762-1827, eds. Librettos II. New York: Garland, 1985.
Find full text
2
Reaney, James. Scripts: Librettos for operas and other musical works. Toronto, Ont: Coach House Books, 2004.
Find full text
4
Puccini, Giacomo. Le prime: Libretti della prime rappresentazione = Premieres : librettos of the premieres. Milano: Ricordi, 2002.
Find full text
6
Ponte, Lorenzo Da. The Met Opera presents Wolfgang Amadeus Mozart's Così fan tutte. Milwaukee, WI: Amadeus Press, 2014.
Find full text
7
Ernest, Warburton, ed. The librettos of Mozart's operas. New York: Garland Pub., 1992.
Find full text
8
Amadeus, Mozart Wolfgang. The Librettos of Mozart's operas. New York: Garland, 1992.
Find full text
9
Amadeus, Mozart Wolfgang. The librettos of Mozart's operas. Edited by Warburton Ernest. New York: Garland Pub, 1992.
Find full text
10
Puccini, Giacomo. Le prime: Libretti della prima rappresentazioni = Premieres : librettos of the pre- mieres. Milano: Ricordi, 2002.
Find full textBook chapters on the topic "Operas Librettos"
1
Soury, Thomas. "Re-assessing attributions to Louis de Cahusac of the librettos of Rameau's Io, Zéphire and Nélée et Mirthis." In The Operas of Rameau, 80–93. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315554990-8.
Full text
2
Porter, Susan L. "Libretto." In British Opera in America, 105–46. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781315048567-6.
Full text
3
Porter, Susan L. "Libretto." In British Opera in America, 3–59. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781315048567-2.
Full text
4
Groos, Arthur. "Appropriation in Wagner's Tristan Libretto." In Reading Opera, edited by Arthur Groos and Roger Parker, 12–33. Princeton: Princeton University Press, 1988. http://dx.doi.org/10.1515/9781400859597.12.
Full text
5
Corness, Patrick John. "Two English translations of Jaroslav Kvapil’s Rusalka libretto." In Opera in Translation, 291–314. Amsterdam: John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/btl.153.14cor.
Full text
6
Ashbrook, William. "Boito and the 1868 Mefistofele Libretto as a Reform Text." In Reading Opera, edited by Arthur Groos and Roger Parker, 268–87. Princeton: Princeton University Press, 1988. http://dx.doi.org/10.1515/9781400859597.268.
Full text
7
Gossett, Philip, William Ashbrook, Julian Budden, Friedrich Lippmann, Andrew Porter, and Mosco Carner. "Libretto und Szenische Gestalt." In Meister der Italienischen Oper, 237–44. Stuttgart: J.B. Metzler, 1993. http://dx.doi.org/10.1007/978-3-476-04420-4_19.
Full text
8
Robinson, Paul. "A Deconstructive Postscript: Reading Libretti and Misreading Opera." In Reading Opera, edited by Arthur Groos and Roger Parker, 328–46. Princeton: Princeton University Press, 1988. http://dx.doi.org/10.1515/9781400859597.328.
Full text
9
Edo, Miquel. "Intertextuality in nineteenth-century Italian librettos: To translate or not to translate?" In Opera in Translation, 315–36. Amsterdam: John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/btl.153.15edo.
Full text
10
Mateo, Marta. "Multilingual libretti across linguistic borders and translation modes." In Opera in Translation, 337–57. Amsterdam: John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/btl.153.16mat.
Full textConference papers on the topic "Operas Librettos"
1
Dima, Gabriela E. "ANNA BOLENA BY FELICE ROMANI: THE LIBRETTO AND ITS SOURCES." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/fs10.15.
Full textAbstract:
Author of almost one hundred libretti for opera composers of the first half of the 18th century, Felice Romani has perfected a poetry technique that allows a successful combination of music and verse, thus becoming the favourite librettist of the belcanto authors Donizetti and Bellini. His stories are not original, but he masters the ability to adapt his sources in a light yet potent poetry with a strong impact upon the audience. Anna Bolena, put into music by Gaetano Donizetti, presents the tragic story of Henry VIII�s second wife. The sources of the libretto are generally considered to be two almost forgotten tragedies: Anna Bolena by Alessandro Pepoli (Venice, 1788) and Enrico VIII ossia Anna Bolena by Giovanni Pindemonte (Torino, 1816), actually an adaptation of Marie Joseph de Chenier�s tragedy, Henri VIII (1791). After carrying out a thorough analysis of the three texts, we noticed that Romani�s plot is only partially based on the earlier tragedies while some elements he introduces suggest that he must have had other sources as well. At the same time, he surpasses his predecessors in the construction of the characters, giving them psychological depth. As a result, we can conclude that Romani is only partially tributary to the two sources and succeeds in proposing a personal view on the subject he elaborates for Donizetti.
2
Kaskova, Margarita E. "Opera Libretto as a Methodological Resource at a Foreign Language Lesson." In X International Research Conference Topical Issues of Linguistics and Teaching Methods in Business and Professional Communication. European Publisher, 2022. http://dx.doi.org/10.15405/epes.22104.14.
Full text
3
Dima, Gabriela E. "THE LIBRETTO OF CAVALLERIA RUSTICANA, POETIC RENDITION OF GIOVANNI VEGA�S STORY." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/fs10.18.
Full textAbstract:
The libretto of Cavalleria rusticana, the well-known opera by Pietro Mascagni, was written by Giovanni Targioni-Tozzetti and Guido Menasci, who reduced to melodrama a play by Giovanni Verga, in its turn a dramatization of a short-story with the same title he had previously written. Our investigation focuses on the libretto as a literary text to be analysed in comparison with its prose sources. We propose an in-depth analysis of the similarities and differences between the libretto and the play, in an attempt to understand the reasons for the changes operated by the two librettists. The necessities of the melodramatic genre and their non-Sicilian origin lead to a diverse comprehension and interpretation of Verga�s ideas, freely transposed into the libretto. The achievements of the two librettists are not to be ignored, especially if taking into account they were the first in Italy to propose an unconventional subject inspired from the real life of the petty people. Despite the criticism against some of their solutions, we could notice that their choices concerning the literary style, the language, the construction of the characters led to a new perspective and convey a more universal meaning that has assured the success of the opera in time.
4
Coroiu, Petruta Maria. "Aurel Stroe — outstanding personality of modern Romanian music." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.08.
Full textAbstract:
Being one of the most important Romanian composers, thinkers and teachers of the second half of the 20th century, illustrious representative of modern European and Romanian thought with spiritual amplitude, Aurel Stroe has reached — although passed to the eternal ones in 2008 — the anniversary moment when he would have completed 90 years since his birth (May 5, 2022). Member of the academic staff at the Bucharest National University of Music until he left for Germany, Aurel Stroe taught orchestration and composition, but also he held courses in the USA (1985–1986), France (1972), Germany (1986–1994) and in Romania (the famous training courses from Bușteni, from 1992). Awarded the Prize of the Romanian Academy (1974) and the Herder Prize (Vienna, 2002), Aurel Stroe is distinguished by an impressive creation, in all the fields and genres: from opera (The Closed Citadel Trilogy, 1973–1988) to a libretto after Aeschylus: Agamemnon/Orestia I — 1973, Choephorele/Orestia II — 1983, Eumenides/Orestia III — 1988), to symphonic dance and vocal music (the poem for choir and orchestra Monumentum I (1961) — to the lyrics of Nichita Stănescu), from symphonic music (Arcade, Laude I and II, Canto I and II, Ciaccona con alcune licenze, Lyrical Preludes, Mandala with a polyphony by Antonio Lotti) to concert music (Concerto for clarinet and orchestra, Concerto for violin and ensemble of soloists "Capriccios and Ragas", Concerto for saxophone and orchestra "Prairie, Priere", Concerto for accordion and orchestra), from chamber music (piano sonatas) to choral music.
5
Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.
Full textAbstract:
автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.
Reports on the topic "Operas Librettos"
1
Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.
Full textAbstract:
Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.