Relevant bibliographies by topics / OPLRA

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'OPLRA'

Author: Grafiati
Published: 2 June 2025
Last updated: 31 July 2025

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Journal articles on the topic "OPLRA"

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Purushottam, Ji, and Ajay Singh Dr. "To analyze the optimization model of the OPLRA algorithm and the MP tree method." International Journal of Trends in Emerging Research and Development 2, no. 1 (2024): 310–14. https://doi.org/10.5281/zenodo.15078107.

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Modern technological advancements have resulted in an unprecedented amount of data generation and storage. An important step is to summaries these datasets using basic quantitative models after spotting trends, patterns, and outliers. Our industrial partner Vattenfall is a real-world park designer, and they could really use a quick tool to assess design alternatives. They can comprehend the whole complexity of wind park design with the aid of these quick tools The optimization model of the OPLRA algorithm is being utilized by this algorithm. It is important to include both numbers in order to
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Heartz, Daniel. "The Beggar's Opera and opéra-comique en vaudevilles." Early Music XXVII, no. 1 (1999): 42–54. http://dx.doi.org/10.1093/earlyj/xxvii.1.42.

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Armstrong, Alan. "Gilbert-Louis Duprez and Gustave Roger in the composition of Meyerbeer's Le Prophète." Cambridge Opera Journal 8, no. 2 (1996): 147–65. http://dx.doi.org/10.1017/s0954586700004663.

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It is well known that mounting large-scale productions at the Paris Opéra during the 1830s and 1840s was a highly collaborative effort. The nature of so-called ‘grand opera’ demanded that composer, librettist and stage designer work closely together for the sake of a creation larger than the sum of its parts. Above them loomed the directeur, who laboured to ensure that his creative team had the means to produce their æuvres both in materials and human resources, and to guarantee that the Opéra made a profit from the finished products. A fifth collaborator, the singer, is not often cited as suc
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Viktorová, Kateřina. "Promoting Smetana’s Bartered Bride (Prodaná nevěsta) in Paris." Musicalia 13, no. 1-2 (2022): 79–115. http://dx.doi.org/10.37520/muscz.2021.003.

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The Bartered Bride had to take a thorny path to reach the stage in Paris. Sixty years passed between the first attempts while Smetana was still living and the premiere at the Opéra-Comique. There were many people from the spheres of culture and politics involved in promoting the performing of The Bartered Bride in Paris, the most important centre of opera in those days. Foremost among them was Princess Pauline von Metternich, the French baritone Victor Maurel who held the first fragmentary performance of the opera in 1897 in his salon with soloists from the Opéra-Comique, the director of the N
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Everist, Mark. "The Music of Power:." Journal of the American Musicological Society 67, no. 3 (2014): 685–734. http://dx.doi.org/10.1525/jams.2014.67.3.685.

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Music for the stage has always been embedded in a network of power relationships between states, impresarios, librettists, artists, entrepreneurs, and composers. This article seeks to understand and explain how these relationships functioned in the period when French music drama was subject to a system of licenses, 1806–64. At the center of the inquiry are institutional structures and their relationship to those responsible for both the creation and the cultivation of stage music in the period. They explain the context for the cultural agents and products not only of the main opera houses in n
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Brouwers, Toon. "Opera XXI- Hold your horses: een hedendaagse “grand opéra”." Documenta 31, no. 2 (2020): 146–47. http://dx.doi.org/10.21825/doc.v31i2.16207.

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

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AbstractDuring the 1780s a cellist in the orchestra of the Opéra, known only as Monsieur Hivart, served the Russian Count Nicholas Sheremetev as an operatic agent, sending scores, librettos, costume designs, stage designs and other materials related to opera in Paris, and advising the count on the production of French operas in Russia. Hivart was in contact with such composers as Grétry, Sacchini and Piccinni, and the stage machinist and ballet master of the Opéra, and from his place in the orchestra he could watch their work take shape on stage. This gives his letters to Sheremetev (published
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Cagney, Liam. "Georg Friedrich Haas Morgen und Abend, Royal Opera House, London." Tempo 70, no. 276 (2016): 73–74. http://dx.doi.org/10.1017/s0040298215001047.

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Morgen und Abend is Georg Friedrich Haas's seventh opera, a co-commission by the Royal Opera in London and Deutsche Opera in Berlin. It is an hour-and-a-half long, and its libretto is adapted from the novel Morgon og Kveld (2000) by Norwegian author Jon Fosse, whose work Haas previously adapted in Melancholia for the Paris Opéra. Morgen und Abend's two continuous scenes present the life of fisherman Johannes by focusing on its two most salient moments – Johannes's birth (in the morning) and death (in the evening). In this strategy there is a slight, if inadvertent, echo of the lights on/lights
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Gutsche-Miller, Sarah. "Ballet Fit for a National Theater? Carré, the Critics, and Le Cygne at the Opéra-Comique." Journal of Musicology 38, no. 2 (2021): 183–208. http://dx.doi.org/10.1525/jm.2021.38.2.183.

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When Albert Carré became the director of the Paris Opéra-Comique in 1898, he did so with the goal of rejuvenating French lyric theater. He also took possession of a national institution in a state of flux. The Opéra-Comique had a new hall and a new mandate, and it had recently become the focus of debates in the press about what role the city’s second national lyric theater should play in French culture. Although debates initially revolved around opera, Carré’s plans for renewal included ballet, not seen at the Opéra-Comique for over a century. This article discusses the role ballet played in p
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Fulcher, Jane. "Vincent d'Indy's ‘Drame Anti-Juif’ and its meaning in Paris, 1920." Cambridge Opera Journal 2, no. 3 (1990): 295–319. http://dx.doi.org/10.1017/s0954586700003293.

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On 6 June 1920, a work premièred at the Paris Opéra and, unlike others preceding it that season, met with general approbation in the press. Despite reservations, newspapers as well as political and musical journals pronounced the opera sincere, deeply religious, an ‘oeuvre de foi’. The composer–librettist, Vincent d'Indy, must have been both pleased and perplexed by such praise, for he had originally conceived the work as a trenchant political critique. As planned in 1903, the opera was to show, in d'Indy's words, ‘the nauseating Judeo-Dreyfusard influence’ within a legend that accommodated th
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Dissertations / Theses on the topic "OPLRA"

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Bellot, Alexandra. "L'évolution de la décoration théâtrale sur les scènes de l'Opéra et de l'Opéra-Comique entre 1914 et 1936." Thesis, Poitiers, 2018. http://www.theses.fr/2018POIT5007.

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Objet d'étude pluridisciplinaire, la décoration théâtrale est un art éphémère ne vibrant que sous les projecteurs. Au début du XXe siècle, le rôle de l'élément visuel est sensiblement renforcé sur scène. Dans un contexte artistique parisien caractérisé par la variété des formes d'expression, la multitude des influences venant de l'étranger et les questionnements autour des relations possibles entre les arts ; une nouvelle approche de la scène se dessine et un autre regard se porte sur la conception des spectacles et sur la création de leurs éléments constitutifs tels que les décors et les cost
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Saulneron, Charlotte. "L’opéra sauvetage en France de 1769 à 1813, une étude dramaturgique." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040087.

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L’opéra sauvetage s’est développé rapidement en France durant la Révolution française, principalement dans l’opéra-comique, puis est assez vite passé de mode sous l’Empire. L’opéra sauvetage se définit surtout en fonction de ses caractéristiques littéraires. Le livret met en scène un héros ou un groupe sauvé de la mort ou d’un avenir contraire à ses désirs après que l’injustice ou la malveillance l’a persécuté. Le sauvetage arrive à l’instant le plus critique. Nous nous sommes interrogée sur l’efficacité dramatique des intrigues, musiques et mises en scènes proposées dans ces créations. Notre
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Stonehouse, Alison A. "The attitude of the French towards Metastasio as poet and dramatist in the second half of the eighteenth century." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21318.pdf.

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Van, Der Hoeven Roland. "Le Théâtre royal de la Monnaie (1830-1914): contraintes d'exploitation d'un théâtre lyrique au XIXe siècle." Doctoral thesis, Universite Libre de Bruxelles, 1998. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211990.

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Age, Katrin. "Balettmapp Kungliga Operan : Operahusens design och arkitektur." Thesis, Högskolan Dalarna, Grafisk teknik, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:du-1531.

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En presentation av Kungliga Svenska Baletten. Denna ska distribueras till operahus världen över innan ny turné påbörjas. Shanghais operahus var det första som fick den färdiga produkten.Fördjupningen rör olika operahus design och arkitektur ut- och invändigt. Även en del av husens relevanta historia tas upp.
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Loriot, Charlotte. "La pratique des interprètes de Berlioz et la construction du comique sur la scène lyrique au XIXe siècle." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040238.

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La pratique des interprètes de Berlioz qui créèrent Benvenuto Cellini, La Damnation de Faust et Béatrice et Bénédict gagne à être mieux connue : ils observaient d’autres traditions que les nôtres, et saisir leurs usages et leur contexte artistique offre un autre regard sur les œuvres. La présente thèse examine le cadre de travail de ces artistes, c’est-à-dire leurs formations, leurs carrières, le déroulement des répétitions d’une œuvre et les corps de métier convoqués, mais aussi les écoles de jeu, de chant, et les étapes de préparation d’un rôle. Ces artistes seront aussi présentés, en partic
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Rouvier, Émilien. "«Ci vuole una testa quadrata più di quella d’un geometra !» Tradurre e ritradurre le opere liriche francesi in italiano nell'Ottocento." Electronic Thesis or Diss., Paris 3, 2024. http://www.theses.fr/2024PA030047.

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En mettant l’accent, dans une première partie, sur l’analyse du contexte de production des traductions italiennes d’opéras français, cette thèse s’attache d’abord à faire émerger une « pragmatique » plutôt qu’une poétique de la traduction, en identifiant les conditionnements externes pesant sur la technique des traducteurs et leur évolution. Le système productif est étudié en passant du général au particulier : de la codification internationale du droit d'auteur et ses retombées pratiques à l’analyse sociologique et micro-historique de la figure du traducteur d’opéra, en passant par l’examen (
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Ameille, Aude. "Aventures et nouvelles aventures de l’opéra depuis la Seconde Guerre mondiale : pour une poétique du livret." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040065.

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Le genre opératique a connu une histoire mouvementée depuis la Seconde Guerre mondiale, celle d’une « mort » et d’une « renaissance ». Cette thèse s’attache à déterminer les raisons qui ont conduit compositeurs et spectateurs à délaisser l’opéra après 1945, laissant à penser que le genre allait disparaître, puis celles qui ont amené le retour en faveur de celui-ci à partir du début des années 1980 jusqu’à l’époque présente. À la lumière de ce contexte historique, cette étude propose une poétique du livret moderne et postmoderne, en s’intéressant aussi bien aux conditions concrètes de son élabo
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Wedholm, Hjalmar. "opera : stadsgårdskajen." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-98552.

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Mould, Stephen James. "Curating Opera." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/14521.

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Recent decades have seen the art curator emerge from a behind-the-scenes, anonymous position to that of a public functionary, challenging the role of the artist as the dominant force in the creation of art. A blurring of the roles of artist, gallerist and curator has resulted, along with a diversification in disciplines that attract curatorial attention, including science and architecture. The notion of Gesamtkunstwerk has frequently been evoked in the literature and even found its way into exhibition titles.1 The blurring of curatorial roles is also a characteristic of the opera house, where
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Books on the topic "OPLRA"

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Grand Opera House (London, Ont.), ed. Grand Opera House: John E. Young Merry Opera Company, Robt. Kane, manager, 35 people ... one solid week, commencing Monday, Feb. 19, matinees Wednesday and Saturday. s.n., 1986.

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Kirk, Elise K. American opera. University of Illinois Press, 2001.

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Patureau, Frédérique. Les pratiquants de l'art lyrique aujourd'hui: Une étude du public actuel de l'Opéra de Paris. Editions de la Maison des sciences de l'homme, 1991.

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Barbier, Patrick. Opera in Paris, 1800-1850: A lively history. Amadeus Press, 1995.

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Stéphane, Roussel, ed. L' opéra au XXe siècle. Textuel, 2007.

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Patureau, Frédérique. Le Palais Garnier dans la société parisienne: 1875-1914. Mardaga, 1991.

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Kimbell, David R. B. Italian opera. Cambridge University Press, 1991.

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Kimbell, David R. B. Italian opera. Cambridge University Press, 1995.

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Barbier, Patrick. À l'opéra au temps de Balzac et Rossini: Paris, 1800-1850. Hachette, 2003.

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Duault, Alain. L' Opéra de Paris. Sand, 1989.

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Book chapters on the topic "OPLRA"

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Werr, Sebastian. "Zwischen Grand opéra und Opera-ballo." In Musikalisches Drama und Boulevard. J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02874-7_4.

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Charlton, David. "Continuing Polarities: Opera Theory and Opéra-comique." In French Opera 1730-1830: Meaning and Media. Routledge, 2024. http://dx.doi.org/10.4324/9781003556701-2.

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Valenti, Chloe. "Opera." In The Palgrave Encyclopedia of Victorian Women’s Writing. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78318-1_170.

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Gillett, Cary, and Jay Sheehan. "Opera." In The Production Manager's Toolkit, 2nd ed. Routledge, 2023. http://dx.doi.org/10.4324/9780367808174-15.

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Valenti, Chloe. "Opera." In The Palgrave Encyclopedia of Victorian Women's Writing. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-02721-6_170-1.

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Roth, Emily, Jonathan Allender-Zivic, and Katy McGlaughlin. "Opera." In Stage Management Basics, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9781003133049-15.

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Golding, Rosemary. "Richard Edgcumbe, ‘German Opera, French Opera’." In Music in Nineteenth-Century Britain. Routledge, 2022. http://dx.doi.org/10.4324/9781003003915-31.

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Walton, Benjamin. "Romantic Opera." In A Companion to European Romanticism. Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996607.ch31.

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McCarthy, Anna, Glen Creeber, John Tulloch, and Thomas Tufte. "Soap Opera." In The Television Genre Book. British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6_3.

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Montgomery, Alan. "French Opera." In Opera Coaching. Routledge, 2019. http://dx.doi.org/10.4324/9780367809676-18.

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Conference papers on the topic "OPLRA"

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Tekiner, Halil. "THE TURKISH PHYSICIAN (1803): A FRENCH OPERA BUFFA BY NICOLÒ ISOUARD." In 46th INTERNATIONAL CONGRESS FOR THE HISTORY OF PHARMACY. Pharmaceutical Association of Serbia, 2024. http://dx.doi.org/10.46793/ishp46.183t.

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This study analyzes Nicolò Isouard’s Le Médecin turc (The Turkish Physician), an opera buffa that premiered on November 19, 1803, at the Théâtre de l’Opéra Comique in Paris. Authored by Armand Gouffé and Pierre Villiers, the libretto offers a nuanced critique of early 19th-century medical practices and societal attitudes towards medicine. Set against an orientalist portrayal of Ottoman Istanbul, the opera narrates the story of Khalil, an elderly Turkish apothecary-physician who claims to have discovered a universal cure, as he navigates through ambition and deceit. It addresses themes of medic
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Chen, Guoxing, Yinqian Zhang, and Ten-Hwang Lai. "OPERA." In CCS '19: 2019 ACM SIGSAC Conference on Computer and Communications Security. ACM, 2019. http://dx.doi.org/10.1145/3319535.3354220.

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Oh, Erick. "Opera." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2021. http://dx.doi.org/10.1145/3450507.3457432.

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De Lellis, Giovanni. "OPERA." In XV International Workshop on Neutrino Telescopes. Sissa Medialab, 2014. http://dx.doi.org/10.22323/1.196.0012.

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Xu, Yang, Kan-Lin Hsiung, Xin Li, Ivan Nausieda, Stephen Boyd, and Lawrence Pileggi. "OPERA." In the 42nd annual conference. ACM Press, 2005. http://dx.doi.org/10.1145/1065579.1065746.

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De Serio, Marilisa. "OPERA." In International Workshop on Astroparticle and High Energy Physics. Sissa Medialab, 2003. http://dx.doi.org/10.22323/1.010.0009.

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Paoloni, Alessandro. "Opera." In XVI International Workshop on Neutrino Telescopes. Sissa Medialab, 2016. http://dx.doi.org/10.22323/1.244.0010.

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Kose, Umut. "OPERA." In 16th International Workshop on Neutrino Factories and Future Neutrino Beam Facilities. Sissa Medialab, 2015. http://dx.doi.org/10.22323/1.226.0031.

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Wei, Qingxiang. "Opera Troupe, Chinese Opera, Stage: The Expression and Change of Peasant Opera Culture." In 2020 3rd International Conference on Humanities Education and Social Sciences (ICHESS 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201214.533.

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Gabriele, Alessio, Michelangelo Lupone, Paola Inverardi, and Patrizio Pelliccione. "Ad-opera." In the FSE/SDP workshop. ACM Press, 2010. http://dx.doi.org/10.1145/1882362.1882388.

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Reports on the topic "OPLRA"

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Giesa, Aaron. SATOR / AREPO / TENET / OPERA / ROTAS. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.3030.

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von Balthasar, Hans Urs. Uno sguardo d’insieme sulla mia opera. Saint John Publications, 2022. http://dx.doi.org/10.56154/ud.

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Harlow, Bob. The Tech Effect: Seattle Forges a Culture of Learning. Bob Harlow Research and Consulting, LLC, 2015. http://dx.doi.org/10.59656/a-ad6065.002.

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Harlow, Bob, Thomas Alfieri, Aaron Dalton, and Anne Field. Cultivating the Next Generation of Arts Lovers: How Boston Lyric Opera Sought to Create Greater Opportunities for Families to Attend Opera. Bob Harlow Research and Consulting, LLC, 2011. http://dx.doi.org/10.59656/a-ad3889.001.

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Catán, Daniel. Composing Opera: A Backstage Visit to the Composer's Workshop. Inter-American Development Bank, 1997. http://dx.doi.org/10.18235/0007926.

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Huning, Alex, Pradeep Ramuhalli, Askin Guler Yigitoglu, Richard Wood, Jorge Narvaez, and Abhinav Saxena. Risk-Informed Decision-Making and Reconfiguration using OPRA. Office of Scientific and Technical Information (OSTI), 2023. http://dx.doi.org/10.2172/2076185.

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Johnson, W. L. Dramatic Expression in Opera, and Its Implications for Conversational Agents. Defense Technical Information Center, 2003. http://dx.doi.org/10.21236/ada462170.

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Meot, F., R. Gupta, H. Huang, V. Ranjbar, and G. Robert-Demolaize. Re-visiting RHIC snakes: OPERA fields, n0 dance. Office of Scientific and Technical Information (OSTI), 2017. http://dx.doi.org/10.2172/1399670.

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Giorcelli, Michela, and Petra Moser. Copyright and Creativity. Evidence from Italian Opera During the Napoleonic Age. National Bureau of Economic Research, 2020. http://dx.doi.org/10.3386/w26885.

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Harlow, Bob, and Cindy Cox Roman. Someone Who Speaks Their Language: How a Nontraditional Partner Brought New Audiences to Minnesota Opera. Bob Harlow Research and Consulting, LLC, 2014. http://dx.doi.org/10.59656/a-ad8565.001.

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