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Journal articles on the topic 'Operas'
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1
Xue, Chulan, Ruicong Ma, Zongchen Hou, and Shan Wang. "Study on accompaniment of dulcimer in Shandong Lv Opera and Wuyin Opera." SHS Web of Conferences 159 (2023): 02015. http://dx.doi.org/10.1051/shsconf/202315902015.
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Shandong art is deeply influenced by Confucianism. As a big province of culture and drama, it has given birth to various kinds of operas and has strong local characteristics. Among various kinds of operas, dulcimer plays an important role as an accompaniment instrument, and is the primary instrument for many kinds of operas. Lv opera and Wuyin opera are two of the most important operas in Shandong, so this paper summarizes the characteristics and causes of the dulcimer accompaniment in Shandong local operas by analyzing the characteristics of the dulcimer accompaniment in Lv opera and Wuyin opera. Finally, some suggestions are put forward to protect and develop Shandong traditional opera.
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Wang, Ziying. "The Interaction of Media and Wagner's Ring in A Modern Perspective." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 771–75. http://dx.doi.org/10.54097/vc50ay40.
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The research comprehensively explores the profound impact of media advancements on opera, particularly focusing on Richard Wagner's Der Ring des Nibelungen. It reveals how recording technology has revolutionized opera's accessibility and experience. This transformation has democratized the art form, extending its reach beyond elite circles to a global audience. In terms of production and promotion, the study highlights how Wagner's operas have adeptly utilized evolving media forms, ranging from print to digital platforms. This approach has significantly expanded the operas' global presence, fostered wider appreciation and facilitating cross-cultural musical exchange. Wagner's proactive promotional strategies, coupled with extensive media coverage, have played a pivotal role in this expansion. Moreover, the research delves into the influence of Wagner's operas in the realm of cinema. It illustrates how Wagner's thematic compositions and leitmotif technique have not only inspired film scores but also influenced narrative structures, showcasing the operas' cross-medium impact on cinematic arts. However, this media evolution also presents challenges. Key among these is maintaining the artistic integrity of operatic works in a fast-paced media landscape and balancing the preferences of diverse audience demographics. Additionally, the shift towards digital formats, while beneficial for accessibility, poses the risk of diminishing the immersive sensory experience traditionally associated with live opera performances. In essence, the study underscores the significant role of media advancements in reshaping the opera world, highlighting both the opportunities and challenges these changes bring to the promotion and experience of operatic works.
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Kopecký, Jiří. "Karl Goldmark and Czech national opera: The final operas of Antonín Dvořák and Zdeněk Fibich." Studia Musicologica 57, no. 3-4 (September 2016): 349–59. http://dx.doi.org/10.1556/6.2016.57.3-4.4.
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If Bedřich Smetana is thought to be the father of Czech national opera, Antonín Dvořák and Zdeněk Fibich would be his sons. Czech critics as well as the public expected that Smetana’s successors would bring Czech opera to international recognition. Dvořák and Fibich gave increased attention to opera composition during the 1890s and the beginning of the twentieth century. They both crowned their achievements with monumental operas on subjects with historical settings: Fibich’s The Fall of Arkona (1900) and Dvořák‘s Armida (1904). The reason for this apparent coincidence was, in part, that these works were written after Wagner’s operas and before the operatic successes of Richard Strauss, when it was possible to devise free combinations of symphonically composed scenes, arioso-like vocal lines influenced by verismo, and the dramaturgical effects of grand opera. As a praised model for successful historical opera might have served Karl Goldmark’s famous work Die Königin von Saba, especially in the case of Fibich’s last opera, which was explicitly compared with Goldmark’s opera. Operas on historical subjects form a little-known part of the works of Czech composers, but they extend from Smetana’s piece The Brandenburgers in Bohemia through the late operas of Dvořák and Fibich to Janáček’s two-part opera The Excursions of Mr Brouček. It is a line of operas that present an unforgettable counterpart to many successful Czech theatrical compositions – representative operas and intimate tragedies, comic operas and fairy tales, generally written on subjects from Czech villages and mythology, including Smetana’s Bartered Bride and Libuše, Fibich’s The Tempest and Šárka, Dvořák’s Jakobín, Kate and the Devil and Rusalka, Josef Bohuslav Foerster’s Eva, as well as Leoš Janáček’s Jenůfa.
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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.
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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.
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尚昱辰, 三明学院 教育与音乐学院. "Fiction and Reality: Aesthetic Implication of the Love Ghost Opera in the Late Ming Dynasty." Sinology 2 (2019) 2 (2019): 81–108. https://doi.org/10.12906/9781682025222_004.
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As one of the main categories of ancient Chinese operas, ghost opera plays an important role in the opera history. And the love ghost subject opera, which contains the two themes of love and death, becomes more and more popular among the dramatists and audiences. The cultural imagination of the “ghost” in ancient Chinese opera is of great importance in the aspects of artistic function, opera adaptation, and image building, especially the “female ghost” images, realizing the ideal realization and aesthetic imagination for the dual-image of human and ghost in an “imaginary reality”. In the late Ming Dynasty, the creation of Chinese opera entered a booming period, while the composition ideas of “romance” and “love” in the love ghost operas established the emotional tone of describing love and reflecting lovesickness. The particular epochal thought connotation and cultural embodiment, the penetration of ghost culture for the story lines of love ghost operas, and the traditional Confucianism and the trend of mind theory in the late Ming Dynasty, which have influenced the dual-personality of the love ghost and the plot pattern of the love ghost drama parts, bring love ghost operas a permanent artistic life. The aesthetic characteristic created by the combination of fiction and reality frames the production process of love ghost operas, which also reflects unique aesthetic significance on the aspects of playwriting and artistic performance.
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Winkelhorn, Kathrine, and Anja Mølle Lindelof. "Fra glemte værker til iscenesættelse som form." Peripeti 13, no. 25 (May 28, 2021): 64–75. http://dx.doi.org/10.7146/peri.v13i25.109577.
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“Opera is an omnivorous monster. Opera is the result of countless skilled craftsmen, technicians, musicians, singers, artists and administrators work. Opera is passion. Opera is lie and truth in the purest form” as stage director Kirsten Dehlholm wrote in the program to Rachmaninov Troika – hers and Hotel Pro Forma’s staging of Sergei Rachmaninoff’s three operas: Aleko, The Miserly Knight and Fransisca da Rimini produced by the Belgian opera, La Monnaie in Brussels, June 2015 - the first time these three operas were being staged together. In this article we discuss the concept of the art work by examining how Rachmaninov Troika balances between 1) revitalizing these three more or less forgotten music historical operas and/or is creating a new piece of work.
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Lin, Xu, Somkhit Sukerb, and Yingfeng Li. "Min Opera: Embodiment of Cultural Values and Educational Inheritance of Chinese Local Operas in the New Media Era." International Journal of Education and Literacy Studies 13, no. 2 (April 4, 2025): 173–79. https://doi.org/10.7575/aiac.ijels.v.13n.2p.173.
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In the context of the digital age, the preservation and transmission of traditional Chinese operas face both challenges and opportunities, particularly with the rise of new media technologies. This study explores Min Opera as an embodiment of cultural values and a medium for educational inheritance, emphasizing the transformative role of new media in enhancing its dissemination, innovation, and audience engagement. By analyzing the characteristics of new media—such as fragmented communication, bidirectional interaction, and multi-platform integration—alongside the integration of digital technologies like virtual reality, augmented reality, and digital stage design, this research examines how modern technological advancements reshape the performance and viewing experience of Min Opera. The findings indicate that new media not only expand the reach of Min Opera to broader and younger audiences but also modernize its artistic expression while preserving its cultural essence. This study highlights digital technology's profound potential in sustaining Min Opera's vitality, providing strategic insights for its continued development, and contributing to the broader discourse on the preservation and innovation of Chinese local operas in the contemporary media landscape.
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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.
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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.
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Park, Chang-min. "A Study of the Diversification of Materials of Korean New Operas: Focusing on selected works by the Creative Factory of Performing Arts." Academic Association of Global Cultural Contents 57 (November 30, 2023): 79–99. http://dx.doi.org/10.32611/jgcc.2023.11.57.79.
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Starting in 1950, Korean Opera, which has a history of 73 years to date in 2023, served as an motive to pave the way for the creation of Korean opera through the “MOM Creation Contest” organized by Korea National Opera in 2009. Since then, it has been changed to the Creative Factory of Performing Arts organized by the Arts Council Korea since 2014, and new operas have been discovered every year through continuous support until 2023, and 17 new operas have been finally selected. This study examined the diversified aspects of material utilization for new operas discovered through the Creative Factory of Performing Arts, focusing on the material of the libretto, which is the first work and basic element of the creation of an opera.
 In order to study the material diversification of new opera selected through the Creative Factory of Performing Arts, six classification criteria were set, each of which is a genre, method of libretto, original foundation, the spatial background of work, the temporal background of work, and basic material. In addition, in order to help understand, this study also examined aspects of the diversification of materials of new operas in overseas opera theaters such as the United States, Germany, the United Kingdom, Austria, Italy, and France.
 As a part of the development of cultural contents, I hope that this study will help understand the trend of diversification through the recently discovered Korean new operas, help revitalize creation, and further promote convergent development in all fields of performing arts.
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Xue Chen, Zheng. "The System of Dominant Themes in the Operas of Jin Xiang." Университетский научный журнал, no. 76 (October 24, 2023): 101–9. http://dx.doi.org/10.25807/22225064_2023_76_101.
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The article’s author considers the system of dominant themes in the operas of the Chinese composer of the 20th century Jin Xiang, close to the principle of the end-to-end development of thematism in European and Russian classical opera. The author reveals the specifi cs of working with thematism in the operas “Savage Land”, “Yang Guifei” and “Eight Women Jump Into the River”. The research methods were a holistic and comparative analysis of the thematism of operas in terms of expressiveness, imaginative-semantic content, dramatic function, and symphonic development. The analysis of the “dominant thematism” and its development in Jin Xiang’s operas made it possible to prove that leitmotifs embody the national ideological content in the works of the Chinese composer, express senses, states and actions of the heroes, describe events, and reveal plot confl icts of the drama. In his opera work, Jin Xiang develops his own system of leitmotifs, connecting each opera together in imaginative, semantic, dramatic and organisational aspects. At the same time, the dominant thematism gives Jin Xiang’s works a national character, allowing Chinese opera to maintain its identity against the background of the stylistic globalisation in music.
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Zheng, Meizhen, Peng Bai, Xiaodong Shi, Xun Zhou, and Yiting Yan. "FT-GAN: Fine-Grained Tune Modeling for Chinese Opera Synthesis." Proceedings of the AAAI Conference on Artificial Intelligence 38, no. 17 (March 24, 2024): 19697–705. http://dx.doi.org/10.1609/aaai.v38i17.29943.
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Although singing voice synthesis (SVS) has made significant progress recently, with its unique styles and various genres, Chinese opera synthesis requires greater attention but is rarely studied for lack of training data and high expressiveness. In this work, we build a high-quality Gezi Opera (a type of Chinese opera popular in Fujian and Taiwan) audio-text alignment dataset and formulate specific data annotation methods applicable to Chinese operas. We propose FT-GAN, an acoustic model for fine-grained tune modeling in Chinese opera synthesis based on the empirical analysis of the differences between Chinese operas and pop songs. To further improve the quality of the synthesized opera, we propose a speech pre-training strategy for additional knowledge injection. The experimental results show that FT-GAN outperforms the strong baselines in SVS on the Gezi Opera synthesis task. Extensive experiments further verify that FT-GAN performs well on synthesis tasks of other operas such as Peking Opera. Audio samples, the dataset, and the codes are available at https://zhengmidon.github.io/FTGAN.github.io/.
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Wang, Qiaochu. "Comparing the two Operas of Rossini and Beethoven: "La Donna Del Lago" and "Fidelio"." Journal of Education, Humanities and Social Sciences 35 (July 4, 2024): 647–51. http://dx.doi.org/10.54097/8qgfwa07.
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The virtuosic characteristics of Rossini's works and the philosophical characteristics of Beethoven's works have both made significant contributions to the world of music. In the field of musicology and music theory, Rossini’s operas have already been analyzed by many scholers. However, the number of people analyzing Beethoven's only opera is few. Comparing and analyzing the operas of these two composers together is even rarer. This article focuses the operas La Donna Del Lago and Fidelio from the perspectives of historical backgrounds, music and theatrical analysis. It also briefly analyzed the heroic image of the female protagonists in the two operas. Furthermore, a comparative analysis was conducted on the two arias "Tanti affetti" and "O wär' ich schon mit dir vereint" in these two operas. From music and theathre perspective, the auther investigates the charateristics of these two composers in their opreatic works.
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Cochran, Zoey M. "Virile Condottieri On-screen and Emasculated Heroes on the Operatic Stage: Portraying Male Protagonists in Fascist Italy (1931-1937)." Revue musicale OICRM 5, no. 1 (April 9, 2018): 63–91. http://dx.doi.org/10.7202/1044444ar.
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Virility was central to Italian fascist ideology and yet the operas composed and performed in Italy during the 1930s systematically subvert the virility of their heroes both dramatically and musically, revealing a more fraught relationship with fascist ideology than has been suggested until now. A comparison between operas by Gian Francesco Malipiero, Ottorino Respighi, Pietro Mascagni, Ildebrando Pizzetti, and Alfredo Casella on the one hand and films by Alessandro Blasetti, Mario Camerini, and Carmine Gallone on the other, all produced in Italy during the mid-1930s, shows that the absence of male protagonists embodying fascist ideals of virility is confined to opera. I suggest that the failure of these operas to present virile male protagonists partly stems from a confrontation between opera and film. Indeed, the emergence of sound films and cinema’s privileged position within the Fascist regime forced opera to redefine itself as an art form in relationship to film.
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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.
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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.
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Zhang, Bin. "An Examination of the Relationship between the Origins of Drama Genres in the Context of the Musical Style of the Clapper Opera." Yixin Publisher 1, no. 1 (March 31, 2024): 7–16. http://dx.doi.org/10.59825/jms.2024.1.1.7.
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The origin and circulation of Clapper Opera have different opinions, and most of the previous literature has ignored the role of music in the process of the spread of Clapper Opera. This paper proposes: The formation of Banqiang marks the formation of the Clapper Opera, and explores the relationship between similarities and differences by using the existing musical style factors of the Clapper opera, including dialects and Taoism, plate, singing melody, scale mode and accompaniment forms, and finds out the origin relationship between the Clapper Opera operas under the background of musical styles, thus adding new clues to the transmission of the Clapper Opera. It provides the basis for the spread and evolution of the Clapper Operas.
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Carskadden, Laura, and Jenine Brown. "Implicit and Explicit Biases for Gender in Opera Roles." Journal of Singing 80, no. 4 (March 2024): 409–15. http://dx.doi.org/10.53830/sing.00023.
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Abstract: Recent scholarship by LaBonte and Bryngelsson has illustrated an imbalance of roles composed for men and women within often-performed operas today. This study examines the possible implications of this on audience members, testing participants’ explicit and implicit biases for gender after watching scenes from an opera by Mozart, performed as written and also performed with the gender roles reversed. The experimental findings have implications for opera companies and for opera pedagogy, and we ask whether continuing to perform frequently performed operas from this era as written is propagating negative stereotypes against women, in terms of both representation and character portrayals.
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Sumiati, Wina. "Islamic Love Stories: How Indonesian Soap Opperas Presented Islamic Version of Romantic Love in the 2000s." Tsaqofah 21, no. 1 (June 30, 2023): 41–52. http://dx.doi.org/10.32678/tsaqofah.v21i1.8378.
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During Ramadhan month in the 2000s, most Indonesian TV stations used to air Islamic-themed soap operas. However, the stories of those soap operas did not represent Islamic values. Rather than showing Islamic messages in their stories, most scenes of those soap operas were all about melodrama and mysticism. This research aims to analyze and compare two Islamic-labeled soap operas, Lorong Waktu 3 (2002) and Kiamat Sudah Dekat (2005), claimed as the real Islamic stories by Dedi Mizwar. While I intend to prove Mizwar's claim, I also will focus on examining the romantic scenes in both soap operas. I use qualitative methods to analyze the research objective by collecting primary sources digitally on YouTube and secondary sources in online-offline libraries. The videos of Mizwars' soap operas are available and open-accessed on YouTube, so obtaining the relevant primary sources is effortless. After researching, I found that melodrama and mysticism popularities of many Islamic labeled soap operas did not influence the romantic love stories of Mizwar's production. Both Lorong Waktu 3 and Kiamat Sudah Dekat beautifully convey how Islam confines a romantic relationship to Indonesian Muslim society. All in all, this research shows the filmmaker succeeded in criticizing and changing the image of most soap opera characters that previously did not represent Islamic lessons.
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HOXBY, BLAIR. "The doleful airs of Euripides: The origins of opera and the spirit of tragedy reconsidered." Cambridge Opera Journal 17, no. 3 (November 2005): 253–69. http://dx.doi.org/10.1017/s0954586706002035.
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Scholarly consensus denies a real connection between ancient tragedy and early opera because music historians have measured early operas against an idealised conception of Attic tragedy. However, the pioneers of opera were seeking to revive a Euripidean style of musical tragedy as it was performed in the ‘decadent’ theatres of the Hellenistic era. Euripides's tragedies established conventional relationships between musical expression and the representation of the passions. Baroque opera is seen as a strongly complex reading of a set of Euripidean tragedies that enjoyed favour in the Hellenistic era but fell from critical grace in the nineteenth century. These plays hold the key to opera's tragic pretensions; the esteem they long enjoyed should prompt us to reconsider the spirit of tragedy and the nature of catharsis.
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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.
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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.
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Fazakas, Ádám Sándor. "The Use of the Harmonium in Opera." Studia Universitatis Babeş-Bolyai Musica 69, no. 1 (June 10, 2024): 181–96. http://dx.doi.org/10.24193/subbmusica.2024.1.13.
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The article explores the role of harmonium in opera during the transformative 19th and early 20th centuries, amidst significant reforms in orchestration. The author thoroughly explores how harmonium is used in opera, even providing a table of operas that feature this instrument. It delves into specific opera passages by composers representing diverse nationalities and spanning various epochs, covering the period from 1845 to 1936. Through examples from works such as Verdi’s “Giovanna d’Arco” and “Don Carlos,” Dvořák’s “Rusalka,” and Enescu’s “Œdipe,” the essay illustrates the diverse roles played by the harmonium in operas. The author highlights the historical and musical significance of the harmonium in opera, suggesting a reevaluation of its role in today’s performances. Keywords: harmonium, orchestra, opera, romantic music, 20th century music
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Grutcynova, Anna Petrovna. "Ballet scenes in the operas of M. I. Glinka in the reviews of his contemporaries." Manuscript 17, no. 2 (April 3, 2024): 124–29. http://dx.doi.org/10.30853/mns20240018.
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The article discusses the problem of ballet scenes in the operas of M. I. Glinka, "A Life for the Tsar," and "Ruslan and Lyudmila," in the context of choreographic art of the 19th century. The author documents the composer's growing interest in dance and ballet theater, the place and significance of ballet scenes in opera productions of that time. The critical responses that emerged in the press after the premieres of Glinka's operas, containing judgments on the staging of the ballet scenes, are analyzed in the paper. As a result of the analysis, the author concludes that critics who highly appreciated the music of the dance scenes were critical of their choreographic embodiment, while those who focused on the ballet were dissatisfied with the music. Additionally, the author pays attention to the method of broad interpretation of opera music through the creation of folk dances based on it. As a result, the author concludes that the objective understanding of the significance of ballet scenes in Glinka's operas became possible only with the passage of time, but their practical influence on ballet and dance scenes in Russian operas in the second half of the 19th century is undeniable.
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İradə, Abbasova, та Çilingir Vasif. "Opera janrında yazılmış əsərlərdə valideyn-övlad münasibətlərinin təcəssümü". Musiqi Dünyası 25, № 2(99) (16 травня 2024): 40–45. https://doi.org/10.5281/zenodo.11203042.
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The embodiment of parent-child relations in works written in the opera genreIn the presented article, parent-child relationships are considered in works of the opera genre, written indifferent years. In the article, in some operas of Western European, Russian and Azerbaijani composers, theinfluence of relations between fathers, mothers and their children on the storyline of the work is considered and theobtained results are summarized. The article examines the operas “Rigoletto” and “Aida” by G.Verdi, “Rusalka” byA.Dargomyzhsky, “Prince Igor” by A.Borodin, “The Snow Maiden” and “The Tsar’s Bride” by A.Rimsky-Korsakov,“Korogly” by Uz.Hajibeyli , “Sevil” by F.Amirov and “Intizar” by F.Alizadeh. These operas explore the psychologicalstates of the characters, as well as family values within parent-child relationships. The article is the first to exploreparent-child relationships in works written in the operatic genre, and in each work, depending on the content of theopera, the features of the approach to this topic are highlighted. It is noted that in parent-child relationships, alongwith pure feelings, a noticeable aspect is adherence to the principle of justice. The importance of parent-childrelations in the musical expression of operas and in the direction of the development of the storyline was alsoemphasized.Keywords: composer, opera, parent-child relations, aria, arioso, dramaturgical development
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Ostroukhova, Nataliia. "Giacomo Puccini in Odessa Opera: history and modernity." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 142 (March 13, 2025): 63–75. https://doi.org/10.31318/2522-4190.2025.142.327880.
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Relevance of the study. The role and place of the operas by Giacomo Puccini in the repertoire of the Odessa Opera are examined. The concept of verism as the new opera direction in the end of XIX century is revealed. The performances of ten operas by G. Puccini that were performed on Odessa stage during 1898-2024 are studied. The retrospective of the change of the art generations on Odessa scene is analyzed. Main objective(s) of the study. The topic of this publication is demonstration of the role and meaning of operas by G. Puccini in the context of the development of the genre and style specifics of the repertoire of the Odessa Opera. The scientific novelty of the research is that for the first time the panoramic observation of the performance of the operas by G. Puccini that determined the practical experience and artistic traditions of the Odessa Opera house in the performance of the pieces of verist and neoclasslical directions was created. Methodology. This research is based on the systematic approach as the expression of the dialectic method that allows to unite the source-scientific, historiographical and analytical aspects of the musicological study. Results. Giacomo Puccini is called the last outstanding Italian composer of the edge of 19– 20 centuries who completely dedicated himself to the opera genre. Opera style of Puccini evolved from verist dramas to chamber opera of the beginning of the 20 century. The fair recognition of the Italian opera school as the historical and stylistic basis of the European opera art explains the deep reasons for the dominant role of the Italian opera in the Odessa opera practice of the times of the entrepreneurship. But historically in happened so that in 1926 the Ukrainian opera steadily joined the repertoire of Odessa State Academic Theater of Opera and Ballet and becomes its systematic genre and stylistic basis. One of the most fruitful for the creative practice of the Odessa National Academic Theater of Opera and Ballet is the development of two main genre and stylistic directions of Odessa opera practice — the Italian romantic opera (including its extreme verist-expressionist expression) and the Ukrainian romantic and neo-romantic opera, which later received recognition as a national opera classic.
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Mojžíšová, Olga. "“…I value my compositions a bit more highly than the theatre directorate does…” The Frequency of Performances of Smetana’s Operas at the Provisional Theatre and Payment He Received for Them." Musicalia 15, no. 1-2 (2023): 6–39. http://dx.doi.org/10.37520/muscz.2023.001.
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The opera deals with the standing of Smetana’s operas in the repertoire of the Provisional Theatre with respect to the frequency of their performances and the revenue they earned. It is based on a detailed, systematic survey of written sources and especially of Smetana’s diaries, correspondence, repertoire statistics, and other relevant sources. On their basis, there is a presentation of detailed information about the circumstances of performances, frequency of performances, and money earned by Smetana’s individual operas. There follows an attempt to demonstrate the standing of Smetana’s operatic works both overall and for individual operas in the context of Czech opera productions and of the Provisional Theatre’s entire operatic repertoire. Taking into account the financial circumstances of Czech theatre operations, there is also an attempt to answer the question of the extent to which Smetana was justified in his complaints about insufficient numbers of performances of his works.
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Collins Wagumba and Dr Kamau Mwangi. "Re-Visiting TV Soap Opera Viewership in a Changing Broadcasting Dispensation in Nairobi." Kabarak Journal of Research & Innovation 11, no. 3 (October 10, 2021): 221–28. http://dx.doi.org/10.58216/kjri.v11i3.73.
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This study rekindles the soap opera audience viewing debate in a digital broadcast environment within the Kenyan television programming context. In a mixed-method approach,415 participants were interviewed on their preferences of 21 regularly scheduled soap operas in 5 leading Free to air TV stations in Kenya, In addition, 57 participants were purposively identified for FGDs. The study employed the uses and gratification framework. The findings are that even with a new broadcast dispensation and a myriad of programming, the selection and viewing of soap operas are still paramount. The viewers select to watch soap operas with storylines and performance they perceive as believable and genuine. The domestic audience is attracted to watch foreign soap operas over the local productions because of their better storytelling skills and characterization. The study recommends scripting workshops for domestic producers and the development of screen acting centers of excellence. There is also a need to tweak the 60% local content quota policy to incorporate creative aspects. Regular promos of the domestic soap operas within the broadcast schedules would also boost their uptake.
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Izvarina, О. M. "Opera directing in the Ukrainian Musical Theatre in 20s of 20th century." Musical art in the educological discourse, no. 3 (2018): 66–70. http://dx.doi.org/10.28925/2518-766x.2018.3.6670.
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The article highlights the prerequisites for the formation of Ukrainian opera directing on the basis of materials from rare editions, musical criticism of the 1920s, memoirs of contemporaries, modern scientific research. The close connection of the Ukrainian opera direction with the traditions of the direction of the Ukrainian music and drama theatre is considered. The assimilation of the experience and creative achievements of the directors of the «theatre of the coryphaeuses» M. Staritsky, M. Kropiwnicki and M. Sadovsky is covered. The features of the stage life of operas of the classical repertoire on the Ukrainian opera scene of the 1920s are analysed. It is shown the widespread differences between the director’s interpretations of classical operatic works of this period with the aim of the so-called «modernizing» and “approaching the viewer”. It possess characteristic of the stage productions of the Ukrainian operas of the 1920s, the estimation of the director’s decisions of M. Bogolyubov, O. Ulukhanova, V. Manzi, E. Jungvald-Khilkevich, Yu. Lishansky, S. Butovskiy with the musical-critical thought and periodical press of this period. The importance of the productions of Ukrainian operas of the 1920s for the progressive development of national opera art and Ukrainian opera directing is proved.
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Maya Afriani, Suryati Suryati, and Lena Marianti. "Analisis Tayangan Sinetron Ikatan Cinta Terhadap Perilaku Sosial Masyarakat Palembang." Social Science and Contemporary Issues Journal 1, no. 1 (March 16, 2023): 38–46. http://dx.doi.org/10.59388/sscij.v1i1.6.
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Soap operas are defined as dramas in a series of episodes that present stories from various characters simultaneously. The research is entitled Analysis of sinetron shows ikatan cinta in RCTI on the social behavior of the community palembang. Ikatan Cinta, an Indonesian soap opera created by MNC Pictures, had its television debut on RCTI on October 19, 2020 at 19.30 WIB. It's a soap opera directed by Doddy Djanas, has the genres of drama, romance, family and comedy. The screenwriters are Theresia Fransisca and Donna Rosamayna. The bond of love tells the story of two siblings, without them realizing it, they love the same man and in the end it causes family conflict. This study aims to determine the interest in watching soap operas Bonds of Love on RCTI and to find out how soap operas affect the social behavior of the people in Palembang. The research used in this study began with data collection, recording, interpretation, application of the properties and objects studied included in a descriptive qualitative approach using the uses and gratifications theory. The subjects in this study were the people Palembang. This method forms data in the form of text or speech from each person's behavior that is seen. After analyzing the data, it was proven that the public was interested in watching soap operas that had an interesting storyline and visualization of the cast, and it was also proven that the soap opera Ikatan Cinta did not change behavior, but some followed the fashion style and the names of the characters from the soap opera Ikatan Cinta
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Rosmiati, Ana. "PILIHAN DIKSI DALAM PRODUCT PLACEMENT DALAM SINETRON TUKANG OJEK PENGKOLAN." Acintya : Jurnal Penelitian Seni Budaya 13, no. 2 (March 9, 2022): 129–43. http://dx.doi.org/10.33153/acy.v13i2.3998.
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This research on the accuracy of diction in the placement of product placement in the soap opera Tukang Ojek Pengkolan (TOP) at the RCTI Television Station is interesting considering that there are advertising products that are inserted when the soap opera is running. Product placement has become a trend to be shown in soap operas and films in Indonesia with the aim of introducing products effectively because at the same time as the broadcast time, TOP soap operas are one of the soap operas that air on RCTI with high viewership ratings. The story in this soap opera is relatively light about the life of a motorcycle taxi driver. The problem in this research is how to choose an effective diction placement in the product placement of the soap opera Tukang Ojek Pengkolan and how to place the product placement in the soap opera Tukang Ojek Pangkalan when viewed from the nature of the advertisement. The purpose of this study was to find an effective choice of diction placement in the product placement of the soap opera Tukang Ojek Pengkolan and to describe the advertising nature of the product placement found in the soap opera Tukang Ojek Pengkolan. This type of research is a qualitative descriptive research. The data source in this study is the primary data source in the form of the soap opera Tukang Ojek Pengkolan (TOP).Keywords : Product placement, advertisement, soap opera TOP
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Ożarowska, Aleksandra. "Beyond the libretto." STRIDON: Studies in Translation and Interpreting 1, no. 2 (November 30, 2021): 49–63. http://dx.doi.org/10.4312/stridon.1.2.49-63.
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Nowadays both intra- and interlingual surtitles are an inherent element of almost all opera productions and, partly thanks to this technology, opera is now going through a renaissance. The trend of staging operas in a modernised fashion is especially popular these days, but it represents a particular challenge for surtitlers. It is argued in this article that while surtitles accompanying traditional opera productions are usually intrasemiotic, as their source text is just the libretto, modernised productions often have intersemiotic surtitles. The article analyses fragments of surtitles prepared for four different operas staged in the Metropolitan Opera House, Bayerische Staatsoper and Royal Opera House. The result show that while traditionally surtitles provide the viewers with the meaning of the libretto, the role of intersemiotic surtitles is much more extended, as they provide the audience with more comprehensive information about the whole opera production.
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Rushton, Julian. "‘La vittima è Idamante’: Did Mozart have a motive?" Cambridge Opera Journal 3, no. 1 (March 1991): 1–21. http://dx.doi.org/10.1017/s0954586700003347.
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The literature on Mozart's Idomeneo contains many references to short motives, initially presented in the overture and recurring at critical points during the opera itself. While this practice has not been shown to be widespread in eighteenth-century opera seria, earlier instances may be found in operas known to Mozart and from whose example he clearly profited, notably Gluck's Alceste and Iphigénie en Aulide. The tendency to orchestrate most or all of the recitative and to elide aria cadences contributes to increasing continuity of musical thought in all these works; the denouements of both Gluck's Iphigénie operas become nearly symphonic.
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Spivakovskyi, Oleksandr. "Ukrainian performances of small form operas in the era of the 2000s." Ukrainian musicology 46 (October 27, 2020): 75–85. http://dx.doi.org/10.31318/0130-5298.2020.46.234597.
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The purpose of the work. The article defines the role of the small form operas in the development of Ukrainian music and drama theatre of the 2000s. The research methodology is based on key provisions, concepts of music directing, developed during the twentieth century and their diversification in today's realities. Such general scientific methods as art history, history, analysis and synthesis, and comparative methods were chosen to compare Ukrainian productions of small form operas of the 2000s. The scientific novelty of the work lies in rethinking functioning of small opera forms according to the realities of modern Ukraine and elucidating the factors influencing their modern development and changes. Conclusions. The role of operas of small forms in the repertoire of Ukrainian musical theatres and artistic-theatrical projects is increasing under various conditions such as: socio-cultural and political conflicts of a new millennium, the role of operas of small forms in the repertoire of Ukrai-nian musical theatres and artistic-theatrical projects is increasing. The modern audience is the part of information society, which exists on its own, often developing at an accelerated pace, and it must be taken into account by the directors of musical theatre when deciding on the repertoire for subsequent staging of an opera. The relevance of the drama of the selected works, ideological and artistic qualities, aesthetic and educational aspects of the opera, as well as the assessment of creative and material possibilities for the realization of the idea of the play are essential, crucial elements that should be taken into consideration in order to ensure effective opera staging and production. In the 2000s, art and theatre projects enriched Ukrainian stage by conducting research and experimenting with the scope and subject of performance as well as with their genre and style, thus confirming and updating small opera forms.
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Over, Berthold. "How to Impress the Public: Farinelli's Venetian Debut in 1728–1729." Musicology Today 17, no. 1 (December 1, 2020): 14–33. http://dx.doi.org/10.2478/muso-2020-0002.
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Abstract Farinelli came to Venice only when his career was already well advanced. In 1728/29 he performed there in two operas, Catone in Utica by Leonardo Leo and Semiramide riconosciuta by Nicola Porpora. These operas needed to become a financial success because of the high remuneration the star singer earned. The composition and adaptation of the operas to the stage uncover the strategies by the impresarios of the Teatro San Giovanni Grisostomo, the Grimani brothers, and by Farinelli himself to secure income and renown. Catone in Utica underwent a highly unusual procedure at its very premiere because the opera was “impasticciata”, i.e. merged with pre-existing or newly-composed music by other composers. The substitutions reveal Farinelli's aim to stun the audience in his very first aria on stage. His brother's (Riccardo Broschi's) “Mi lusinga il cor d’affetto” Farinelli had sang earlier in 1728 presents his entire vocal profile in a single aria. In subsequent arias, Farinelli adds some features not present in this aria or concretizes several aspects of it. In the second opera, Porpora's Semiramide riconosciuta, Farinelli concentrates on another feature of his vocal style: small, fast, quasi-improvisational motives. Although they are also found in operas by other composers and were also sung by other singers, Semiramide riconosciuta is a special case because of their high frequency in Farinelli's role. All in all, the two operas of his first appearance in Venice seem to follow the intention to present his entire vocal spectrum to the audience.
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Anderson, Robert, and Nicholas John. "Operas." Musical Times 126, no. 1710 (August 1985): 465. http://dx.doi.org/10.2307/964318.
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MacDonald, Hugh. "Operas." Musical Times 126, no. 1708 (June 1985): 351. http://dx.doi.org/10.2307/964037.
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Khursanova, Nargiza Bahodirovna. "UZBEK OPERA ART." EURASIAN JOURNAL OF ACADEMIC RESEARCH 2, no. 2 (February 28, 2022): 396–99. https://doi.org/10.5281/zenodo.6303202.
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As a result of many years of Russian intellectuals living in Turkestan and their interest in art, a Russian opera house will be opened in Tashkent. Another major factor in the formation of the Opera House was the touring (creative tours) of the Italian opera group in Tashkent in 1900. In Tashkent, the Italians introduced operas such as "Rigoletto", "Traviata", "Troubadour", "Carmen", "Payatsi", "Faust" to Russian intellectuals. At the same time, Russian intellectuals laid the foundation for the formation of the Russian Opera House by performing symphonic works by Western and Russian classical composers in their concert programs, as well as excerpts from operas and symphonic suites. The first performances of the Opera House were Dargomijsky's Rusalka and Tchaikovsky's Eugene Onegin. Due to the spread of the opera genre on the Russian opera stage, Verdi's "Rigoletto", Guno's "Faust", Rubenstein's "Demon", Tchaikovsky's "Pikovaya dama", Mussorgsky's "Boris Godunov", Borody's "Prince Igor", Verdi's "Tradi" Aida, Puccini's "Bogema" and Rossini's "Seville Serial" saw the stage. Artists of the Russian Opera House began to promote the art of opera among the Uzbek people by organizing performances in the regions of Uzbekistan, and these services became the basis for the creation of Uzbek operas.
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Sheppard, W. Anthony. "Blurring the Boundaries: Tan Dun's Tinte and The First Emperor." Journal of Musicology 26, no. 3 (2009): 285–326. http://dx.doi.org/10.1525/jm.2009.26.3.285.
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Abstract Tan Dun's 2006 opera The First Emperor dramatically transgresses stylistic, cultural, genre, and aesthetic boundaries and prompts investigation of critical methods and categories. This opera's multiplicity and engagement with the operatic past brings into focus relationships between Chinese, European, and experimental American operatic traditions and Romantic, modernist, and postmodernist modes of Orientalist representation. Powers's study of Puccini's manipulation of multiple styles in Turandot is a model for tracing Tan's stylistic sources and exploring their interaction in The First Emperor. Tan's use of conventions from the Orientalist operatic tradition and treatment of thematic material indicates an attempt to accommodate audience expectations. Other recent operas influenced by Chinese operatic traditions and the recent reception of Chinese opera in the West likely shaped Tan's composition and offer useful contextual and comparative perspectives. The critical reception and revision of this high-profile opera raise issues central to the creation of contemporary opera.
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Nazymchuk, Dariia. "European opera classics in the mirror of Spanish zarsuela." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 140 (November 28, 2024): 127–40. https://doi.org/10.31318/2522-4190.2024.140.318653.
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The relevance of the study: Italian opera, which dominated at the musical theater of Europe in the 18th and 19th centuries, influenced the development of a number of national genres, such as the German singspiel (Singspiel) and romantic opera (romantische Oper), French comic and grand opera (opera comique and grand opéra), English ballad opera. In studies that consider the dynamics of the development of the opera genre in Germany, Austria, France and other countries, such influences are analyzed. The influence of Italian opera is also present in the Spanish zarzuela, a genre that is much less covered in musicological works. Analysis of three zarzuelas — «El barbero de Sevilla» by Geronimo Gimenez and Manuel Nieto, «El dúo de La Africana» by Manuel Fernández Caballero and «La Golfemia» by Luis Arnedo — shows that in the zarzuelas the elements of composition and drama were borrowed from Italian operas. The Spanish zarzuela has not yet been an object of scientific studies in Ukrainian musicology: neither the dynamics of the genre's development nor individual samples have been considered. This determines the relevance of this study and its scientific novelty. The main objective of the study: based on the analysis of the Spanish zarzuelas, to reveal the connections of the genre with the European opera tradition (in particular, Italian and French); to establish the peculiarities of the functioning of the genre canon of opera in the conditions of the national Spanish culture. The research uses general scientific and special musicological methods. The first ones include: 1) the method of generalization (on the basis of studying a number of musicological publications, information on the zarzuela genre is summarized); 2) comparative method (fragments of classical operas quoted in Spanish zarzuelas are compared with the originals). Among the special musicological methods, the method of analyzing the means of musical expressiveness is used. Results and conclusions. In the process of genre development, two varieties of zarzuela were formed — small and large (zarzuela chico and zarzuela grande). The small zarzuela has the following characteristics: 1) consists of one act, contains up to ten musical numbers; 2) has a small number of characters; 3) uses plots of everyday life, mostly comedic ones; 4) relies on popular musical intonations; 5) contains more spoken text than vocal numbers. The works analyzed in the article are small zarzuelas. There are borrowings from Italian and French operas in their plots and musical text. The musical text of famous opera works is present in zarzuelas in the form of allusions and quotations. The verbal text of zarzuel contains references to certain operas or mentions of them. Musical elements of European opera classics are reproduced in zarzuelas on two levels: compositional and performing. The use of plot and musical borrowings from classical operas in zarzuelas is associated with the strengthening of the comedic, parodic nature.
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Krzywoszyński, Przemysław. "Giovanni Simon Mayr – muzyka w służbie rewolucji?" Copernicus. De Musica 1, no. 1 (2022): 15–26. http://dx.doi.org/10.15804/cdm.2022.1.02.
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The aim of the article is to present the revolutionary work of Giovanni Simon Mayr. This composer, known mainly as Donizetti’s teacher, was a leading figure in opera at the turn of the 18 th and 19 th centuries. As a witness of the French conquests and their revolutionary exports in Venice, he wrote operas on themes typical of “engaged” works. The best examples are, apart from occasional pieces, his rescue operas Lodoiska and L’amor coniugale, as well as the farce Il segreto. On the other hand, by distancing himself from active political involvement, through his pedagogical and artistic activity, the composer had a significant influence on shaping the operas beyond the Alps, which is even associated with the term “Father of 19th-century Italian Music”.
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Abduqayumova, Begoyim Ahmadillo qizi. "OPERA IN UZBEKISTAN." Journal of Academic Research and Trends in Educational Sciences 1, no. 10 (October 21, 2022): 318–22. https://doi.org/10.5281/zenodo.7233720.
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This article provides information about how the opera genre has grown and developed in Uzbekistan. It was noted about the appearance of opera in Uzbekistan, about the high level of creativity of Uzbek composers in the opera genre, as well as about the operas they created.
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Katalinić, Vjera. "Die opern von Ivan Zajc zwischen nationalismus und Panslawismus." Studia Musicologica 52, no. 1-4 (March 1, 2011): 189–200. http://dx.doi.org/10.1556/smus.52.2011.1-4.14.
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Ivan Zajc (Rijeka/Fiume, 1832 — Zagreb, 1914), a composer and teacher, came to Zagreb in 1870, after his schooling in Milan, and operetta career in Vienna. His task was: 1) to establish a permanent opera ensemble within the National Theatre, 2) to prepare and perform a standard operatic repertoire, and 3) to create Croatian national operas. The article deals with a segment of his operatic output in the sphere of national music, articulated in his national-historic trilogy (Mislav, Ban Leget and Nikola Šubić Zrinjski), but also in a “merry folk opera” Zlatka, and some elements can be traced in his later work Primorka. The article deals also with his three operas (Lizinka, Pan Tvardovski, Gospodje i husari), where the composer (together with his librettists) tried to approach pan-Slavic ideas. The discussed elements are the changes in ideological directions of these operas, their plots and their musical presentation, as well as opinions of both the composer and his librettists, and the reception of these works performed in Zagreb are discussed.
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Stamatov, Peter. "Interpretive Activism and the Political Uses of Verdi's Operas in the 1840s." American Sociological Review 67, no. 3 (June 2002): 345–66. http://dx.doi.org/10.1177/000312240206700302.
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The concept of interpretive activism as a relational position and a practical accomplishment is a useful analytical tool for the study of audiences conceived not as a conglomerate of individuals but as loose networks in which the ability to construct and impose political meanings is unequally distributed. An analysis of the political uses of Verdi's operas in the 1840s demonstrates the power of interpretive activists to impose on audience co-members a political interpretation of cultural objects. There is significant variation in the ways in which these operas were used for the construction of expressive collective statements by contemporary audiences. Opera performances were interpreted as symbolic representations of different political idioms, and audiences expressed their political stance by both affiliating with, and disaffiliating from, these performances. The practices of interpretive activists, not the patriotic symbolism inherent in the operas, account for this variation in outcome. Symbolism, along with the formal properties of opera and the normative enforcement of behavior, is just one of the different contextually grounded resources that interpretive activists use for the construction and imposition of politicized interpretations of cultural objects.
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Sikorska, Iryna. "The vocabulary of the comіс in the operatic works of Vitaliy Hubarenko and Maryna Cherkashyna". Scientific herald of Tchaikovsky National Music Academy of Ukraine, № 142 (13 березня 2025): 35–48. https://doi.org/10.31318/2522-4190.2025.142.327896.
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The relevance of the study. The creative partnership of V. Hubarenko and M. Cherkashyna holds anoutstanding place in Ukrainian musical theatre. Among their 13 operas, only The Matchmaker by Chance (1982) has undergone several «reincarnations» during Ukraine’s independence. The relevance of it has grown up because of heated debates around the «historically conditioned» Russian-Ukrainian bilingualism. The opera In the Steppes of Ukraine (1987) was never staged, but it consolidated previous techniques, expressive means, musical portraits, and narrative developments, so we can speak about V. Hubarenko’s discourse of comedy in operatic oeuvre. Given that six of his operas were written in collaboration with his wife Marina Cherkashyna (who authored the librettos), — we examine the subject through the lens of the V. Hubarenko – M. Cherkashyna tandem. The main objective of the study. The article aims to see about the vocabulary of the comic in operas of V. Hubarenko and M. Cherkashyna. So our goal was: to examine the contexts of The Matchmaker by Chance and In the Steppes of Ukraine, the history of their composition, their place in Hubarenko’s operatic legacy, traditional and innovative techniques, stylistic features of their genre embodiment, and staging prospects. The methodology The research methodology is based on the following approaches: biographical method — reconstructing factual life events related to the creation of the comic operas of V. Hubarenko and M. Cherkashyna; historical method — contextualizing these works within broader historical and cultural frameworks; structural-functional, genrestylistic, and intonational-dramaturgical analysis — conducting a comprehensive examination of the operas; source studies method — analyzing autographs and archival documents;. Results and conclusions. The Matchmaker by Chance and In the Steppes of Ukraine merge the traditional principles of the Ukrainian lyric-comic genre with modern compositional mentality. A detailed genre-intonational and semantic analysis of both operas reveals the mechanisms by which Hubarenko constructed comic characters. These include : opera symphonization through an extensive leitmotif system; modeling of natural spoken language for characters of different social and emotional backgrounds; folkloric allusions, ranging from direct quotations to stylized adaptations; a diverse genre-intonational palette, incorporating Ukrainian folk (humorous, marching, and fastpaced) songs, European salon dances (waltz, mazurka), Russian sentimental romances, and operatic lexicon. At the same time, Hubarenko managed to integrate all these elements into a unified musical language through his distinctive compositional style. As a result, the operas are perceived as cohesive works and serve as exemplary models of Ukrainian comic opera. Their revival on stage requires both temporal distance and certain textual revisions, considering Ukraine’s historical and political realities.
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Law, J. K. "At the Opera: Tales of the Great Operas." Opera Quarterly 20, no. 1 (January 1, 2004): 109–10. http://dx.doi.org/10.1093/oq/kbh009.
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Saylor, Eric. "Dramatic Applications of Folksong in Vaughan Williams's Operas Hugh the Drover and Sir John in Love." Journal of the Royal Musical Association 134, no. 1 (2009): 37–83. http://dx.doi.org/10.1080/14716930902756844.
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Although Ralph Vaughan Williams's operas Hugh the Drover (1924) and Sir John in Love (1929) both prominently feature English folk and traditional tunes, the dramatic ends such music serves differ significantly between the two works. This article compares the ways in which Vaughan Williams uses folk music in both operas, with the larger aim of providing a more nuanced perspective on the changing musical and dramatic potential the composer saw for indigenous English music within the context of opera.77
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Sikau, Lea Luka. "REHEARSING TIME." Tempo 78, no. 308 (April 2024): 46–54. http://dx.doi.org/10.1017/s0040298223000979.
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AbstractThis article explores the times and datedness of new opera. When referring to an opera (20**) the bracketed number that follows the composition title usually refers to the date of composition or the first performance. When asked how many times an opera was played, its interpreters tend to refer to the number of performances, not the number of instances of rehearsal and individual practice. These times often remain unmentioned by performers, composers, production teams and institutions. But what do we make invisible when we exclude the main act of collective labour in the production of a new staged work? How do new operas structure their times and, in turn, how do these various times restructure new opera? I call for an inclusion of the rehearsal in the temporal narratives that new opera tells through its dates and times, emerging from collaborative processes in compound temporalities. With ethnographic glimpses into different operatic rehearsal studios, I examine the process that takes up most of new opera's time – rehearsal time – rather than audiences’ or performers’ lived experiences during the performance. This article maps the times inside rehearsal time – from daily schedules, call times and deep times of props to computational time and the timing of time itself – for better understanding new opera's ontology.
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Novak, Jelena. "Singing beyond the TV Screen: Documentary, News and Interviews as Operatic Material." Dramaturgias, no. 10 (May 29, 2019): 91–109. http://dx.doi.org/10.26512/dramaturgias.v0i10.24905.
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 John Adam’s opera Nixon in China (1987) opened the era of what some critics called ‘CNN operas’ — an operatic mixture of political issues and televisual representation. Since Nixon, various attempts to interrogate issues of world politics, power and realism on the (post)operatic stage took place: video documentary opera Three Tales (1998–2002) by Steve Reich and Beryl Korot, “The News” (2011) by Jacob ter Veldhuis (Jacob TV), five one-minute operas by Michel van der Aa (produced from 2010 to 2014, commissioned for the Dutch TV program Der Wereld Drait Door), Aliados (2013) by Sebastian Rivas, to mention only the few. This article attempts to give a partial overview of different operatic approaches to televisual expression and to illuminate ways of depicting documentary and news in recent opera focusing on the political figures.
 
 
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Grier, Francis. "Contessa perdono! Mozartian sexual betrayal and forgiveness." Musical Connections in Couple and Family Psychoanalysis 10, no. 1 (March 9, 2020): 28–41. http://dx.doi.org/10.33212/cfp.v10n1.2020.28.
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The dramatic and musical climax of 'The Marriage of Figaro', perhaps Mozart’s operatic masterpiece, is famously marked by the unexpected forgiveness of the Count by the Countess, whom the count has infamously refused to forgive earlier in the opera. This article will explore the musical and psychological ramifications of forgiveness and the refusal to forgive within couple relationships, not only in this opera but also in two other great Mozart operas, 'Don Giovanni' and 'Così fan tutte', in which issues around forgiveness are also implicitly central. It will be argued that Mozart’s very differing and contrasting realisations of this core human and couple dynamic through his unique dramatic, verbal, and musical talents may partially account for the reputation of these operas for depth and universality.
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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.
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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.
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Marković, Tatjana. "The myth on the “first national opera”: The cases of Serbia and Croatia." Studia Musicologica 52, no. 1-4 (March 1, 2011): 165–77. http://dx.doi.org/10.1556/smus.52.2011.1-4.12.
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The so-called first national operas were usually not the earliest national operas, but works arbitrarily chosen in accordance to the given political and cultural circumstances. In the majority of cases, they reached this status during Romanticism, when the ideology of nationalism and historicism was dominant. This fact determined the topic and the language of libretti, as well as the musical means themselves, leading to the “contradictory” result of “global” musical setting of “local” narrative. The understanding what is national and what is international, and for whom, opens the question if “national opera” exists at all. It seems that the key criterion in this respect is actual reception. This thesis will be considered through the cases of the first Croatian and Serbian operas, written between 1846 and 1904, in the framework of their social and political contexts.
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Herzfeld, Gregor. "Poe and “Gothic Opera”." Edgar Allan Poe Review 16, no. 1 (April 1, 2015): 1–18. http://dx.doi.org/10.5325/edgallpoerev.16.1.00001.
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Abstract This article seeks to fulfill two aims: The first is a more documentary one, namely, to give a broad overview, including short characteristics, of the rich operatic production following Poe's texts. The second is a more interpretative one, that is, to investigate the reasons that brought Poe to such a privileged position. Given the special outline of his stories, the composers seem to be interested in a kind of sensual operatic experience, which André Schaeffner labeled “theater of fear” with regard to Debussy. Following this lead, the article aims to reconstruct a line of tradition using “Gothic” elements in operas, creating a “Gothic opera,” which can be traced back to Weber's Freischuütz, Marschner's Vampyr, and Wagner's Flying Dutchman. In order to explore what has attracted opera composers to Poe's works for the last hundred years, I study Poe's ideas on literary musicality, the reception of Gothic features in music and opera, and the aesthetic concepts that might be a unifying factor in these different operas. My idea is that there is a certain aesthetics of atmosphere that can be realized especially well in music and opera, respectively. Composers who are fascinated by Gothic conceptions of atmosphere do not bypass Poe as one of its most ingenious masters and readily adapt his texts to operatic works. By way of reading four of the Poe operas more closely, the aesthetics of a fearful musical atmosphere will be exemplified.