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Journal articles on the topic 'Operas'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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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 op

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2

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, fo

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3

Kopecký, Jiří. "Karl Goldmark and Czech national opera: The final operas of Antonín Dvořák and Zdeněk Fibich." Studia Musicologica 57, no. 3-4 (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

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4

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&rsquo;. 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 &ndash; 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. Th

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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

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Winkelhorn, Kathrine, and Anja Mølle Lindelof. "Fra glemte værker til iscenesættelse som form." Peripeti 13, no. 25 (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

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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 (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 techno

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8

BELLINI, ALICE. "MUSIC AND ‘MUSIC’ IN EIGHTEENTH-CENTURY META-OPERATIC SCORES." Eighteenth Century Music 6, no. 2 (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

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9

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 Fa

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10

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 “dominan

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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 (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 difference

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12

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 t

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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 (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

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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 librett

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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 (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 sty

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16

Carskadden, Laura, and Jenine Brown. "Implicit and Explicit Biases for Gender in Opera Roles." Journal of Singing 80, no. 4 (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 p

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17

Sumiati, Wina. "Islamic Love Stories: How Indonesian Soap Opperas Presented Islamic Version of Romantic Love in the 2000s." Tsaqofah 21, no. 1 (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.

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18

HOXBY, BLAIR. "The doleful airs of Euripides: The origins of opera and the spirit of tragedy reconsidered." Cambridge Opera Journal 17, no. 3 (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 Hellenisti

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19

Hume, Robert D. "The Morphology of Handel's Operas." Eighteenth-Century Life 46, no. 3 (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,

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20

Fazakas, Ádám Sándor. "The Use of the Harmonium in Opera." Studia Universitatis Babeş-Bolyai Musica 69, no. 1 (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 pla

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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 (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 ap

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İradə, Abbasova, та Çilingir Vasif. "Opera janrında yazılmış əsərlərdə valideyn-övlad münasibətlərinin təcəssümü". Musiqi Dünyası 25, № 2(99) (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&rdqu

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23

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 speci

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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 opera

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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 (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

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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 re

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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 (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 real

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Rosmiati, Ana. "PILIHAN DIKSI DALAM PRODUCT PLACEMENT DALAM SINETRON TUKANG OJEK PENGKOLAN." Acintya : Jurnal Penelitian Seni Budaya 13, no. 2 (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 th

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Ożarowska, Aleksandra. "Beyond the libretto." STRIDON: Studies in Translation and Interpreting 1, no. 2 (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 prep

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Rushton, Julian. "‘La vittima è Idamante’: Did Mozart have a motive?" Cambridge Opera Journal 3, no. 1 (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 G

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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

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Over, Berthold. "How to Impress the Public: Farinelli's Venetian Debut in 1728–1729." Musicology Today 17, no. 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 premier

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Anderson, Robert, and Nicholas John. "Operas." Musical Times 126, no. 1710 (1985): 465. http://dx.doi.org/10.2307/964318.

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MacDonald, Hugh. "Operas." Musical Times 126, no. 1708 (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 (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

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Vəliyeva, Sevinc. "UZEYIR HAJIBEYLY’S STORIES AS A MEANS OF UPBRINGING." Scientific Works 92, no. 3 (2025): 27–30. https://doi.org/10.69682/arti.2025.92(3).27-30.

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Uzeyir Hajibayly worked fruitfully as an outstanding composer, writer, playwright, translator, journalist and public figure. He lived an extremely meaningful life and laid the foundations of opera art in Azerbaijan, as well as in the Islamic world. Uzeyir bey is the author of the operas "Leyli and Majnun", "Shah Abbas and Khurshid Banu", "Asli and Kerem", "Harun and Leyla", "Rustam and Sohrab", "Koroghlu". "Leyli and Majnun" is his first opera, and the opera "Koroghlu" is a masterpiece of the outstanding composer. In addition to valuable operas, Uzeyir bey Hajibayly wrote musical comedies "Not

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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 Firs

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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

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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 activi

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Abduqayumova, Begoyim Ahmadillo qizi. "OPERA IN UZBEKISTAN." Journal of Academic Research and Trends in Educational Sciences 1, no. 10 (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 (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

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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 (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

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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. Hubar

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Law, J. K. "At the Opera: Tales of the Great Operas." Opera Quarterly 20, no. 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 (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

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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)

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Grier, Francis. "Contessa perdono! Mozartian sexual betrayal and forgiveness." Musical Connections in Couple and Family Psychoanalysis 10, no. 1 (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 diffe

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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 (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,

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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 (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 “

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