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Journal articles on the topic 'OPLRA'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

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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Russo, Paolo. "Visions of Medea: Musico-dramatic transformations of a myth." Cambridge Opera Journal 6, no. 2 (1994): 113–24. http://dx.doi.org/10.1017/s0954586700004201.

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On 13 March 1797, Cherubini's Médée was given its première at the Théâtre Feydeau in Paris. The opera was designed to be a tragédie lyrique with all the trappings: only the hostility directed towards young composers (Cherubini, but also Méhul and Le Sueur) during the Terror and the Directory had prevented its performance at the city's first theatre, the Académie Royale de Musique (briefly re-christened the Théâtre de la République et des Arts after the Revolution). Although Cherubini's opera followed the conventions of opéra comique (most important, of course, the use of spoken dialogue), it a

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Gibbons, William. "Iphigénie à Paris: Positioning Gluck Historically in Early Twentieth-Century France." Articles 27, no. 1 (2012): 3–15. http://dx.doi.org/10.7202/1013158ar.

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In December 1907, Gluck's opera Iphigénie en Aulide was produced in Paris at the Opéra-Comique, the last of his major operas to be revived in France. The ensuing critical reception pitted Vincent d'Indy, who harshly criticized the production, against its director, Albert Carré; d'Indy further responded by conducting the overture to Iphigénie only a few weeks later as a musical corrective to the performance at the Opéra-Comique. This unusual event highlights the historiographie problem Gluck presented to early twentieth-century critics in France: did his music look backwards to the tragédies ly

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Vilkner, Nicole. "The Opera and the Omnibus: Material Culture, Urbanism and Boieldieu's La dame blanche." Cambridge Opera Journal 32, no. 1 (2020): 90–114. http://dx.doi.org/10.1017/s0954586720000130.

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AbstractIn the summer of 1828, the Entreprise générale des Dames Blanches launched a fleet of white omnibuses onto the streets of Paris. These public transportation vehicles were named and fashioned after Boieldieu's opéra comique La dame blanche (1825): their rear doors were decorated with scenes of Scotland, their flanks painted with gesturing opera characters, and their mechanical horns trumpeted fanfares through the streets. The omnibuses offered one of the first mass transportation systems in the world and were an innovation that transformed urban circulation. During their thirty years of

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WILLSON, FLORA. "Listening for Realism in Charpentier’s Louise." Journal of the Royal Musical Association 146, no. 2 (2021): 397–424. http://dx.doi.org/10.1017/rma.2020.13.

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AbstractOn 2 February 1900, Gustave Charpentier’s opera Louise premièred at Paris’s Opéra-Comique. Set in contemporary Montmartre, the work was discussed ubiquitously by its earliest critics as réaliste (translatable as both ‘realistic’ and ‘realist’) – a tendency that has continued in more recent musicological writing. In this article, I focus on Louise and discourse around it in order to re-examine the complex relationship between opera and realism. After sketching the terms of the opera’s reception to assess the case for understanding it as a ‘realist’ work, I position the opera in relation

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Zechner, Ingeborg. "Orientalismus als Kategorie des komischen Ambroise Thomas’ und Thomas Sauvages opéra-bouffon Le caïd." Studia Musicologica 57, no. 3-4 (2016): 361–78. http://dx.doi.org/10.1556/6.2016.57.3-4.5.

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After its premiere in 1849 Ambroise Thomas’ and Thomas Sauvage’s opéra-bouffon Le caïd remained extremely successful throughout Europe. This was caused mostly because of its parodistic references to the orient in plot, scenery, libretto and music. This article examines the orientalistic features of Le caïd, which contemporary music critics perceived as comical. The reception documents are also evaluated in the context of the perception of orientalism in the nineteenth century as well as in the tradition of opéra-comique. The categories considered in the work’s analysis are the comical dimensio

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MCCLELLAN, MICHAEL E. "THE ITALIAN MENACE: OPERA BUFFA IN REVOLUTIONARY FRANCE." Eighteenth Century Music 1, no. 2 (2004): 249–63. http://dx.doi.org/10.1017/s1478570604000144.

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The Parisian premiere of Paisiello’s Nina, o sia la pazza d’amore on 3 September 1791 triggered a hostile reaction from French librettists and composers. Since the opéra comique on which Paisiello had based his opera remained in the active repertory of the Comédie-Italienne, Nina was considered an infringement of copyright legislation recently passed by the National Assembly. In the controversy that followed, matters involving intellectual property and opera aesthetics were linked to revolutionary struggle. At a time when clarity and transparency were identified as republican virtues in France

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Poizat, Michel. "‘The Blue Note’ and ‘The objectified voice and the vocal object’." Cambridge Opera Journal 3, no. 3 (1991): 195–211. http://dx.doi.org/10.1017/s0954586700003505.

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We publish here, by permission of Cornell University Press, two excerpts from Michel Poizat's L'Opéra, ou le cri de l'ange, a book that first appeared with the Parisian publisher A. M. Métailié in 1986. The extracts are taken from Arthur Denner's translation, which is due out with Cornell University Press in the spring of 1992 under the title The Angel's Cry: Beyond the Pleasure Principle in Opera. Poizat's book is an ‘essay on the jouissance of the opera lover’ – an exploration of the experience of being an opera ‘fan’. It begins with interviews that the author conducted on the steps of the P

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HARRIS-WARRICK, REBECCA. "Staging Venice." Cambridge Opera Journal 15, no. 3 (2003): 297–316. http://dx.doi.org/10.1017/s0954586703001757.

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Starting in 1697 a series of operatic works set in Venice during Carnival season appeared on the stage of the Paris Opéra, a phenomenon that marked a major shift in repertoire from a period that had been dominated by the Lullian tragédie en musique. This article investigates the implications of the sudden French fascination with things Venetian and explores the multiple agendas Venice served within the world of French opera.

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Reis Vieira, Claudio. "A ópera a que assistimos: um estudo de caso." Viso: Cadernos de estética aplicada 4, no. 8 (2010): 10–22. http://dx.doi.org/10.22409/1981-4062/v8i/82.

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Esse artigo discute as relações de produção que caracterizam as montagens operísticas contemporâneas a partir do programa "Ópera no cinema", que trasmite récitas do Metropolitan Opera House, em alta definição e ao vivo, para salas de cinema em diferentes países. Duas montagens desse programa – Lucia de Lammermoor e La Sonnambula, de Donizetti – são analisadas ao lado da versão de Dimitri Tcherniakov para o Macbeth, de Verdi, realizada pela Ópera de Novossibirski em parceria com a Opéra National de Paris.

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Harper-Scott, J. P. E. "Berlioz, Love, and Béatrice et Bénédict." 19th-Century Music 39, no. 1 (2015): 3–34. http://dx.doi.org/10.1525/ncm.2015.39.1.3.

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Berlioz's final opera, Béatrice et Bénédict (1860–62) has generally been considered a light-hearted work, revelling in the simple joys of love. Yet his final development of the theme of love, which had preoccupied him at least since the Symphonie fantastique (1830), makes this opéra comique more serious than it might appear to be. Drawing on theories of the human subject by Badiou, Žižek, and Lacan, as well as on the resources of Schenkerian theory, this article invites a new attention on the ideological violence done both by conventional models of love (in this case, on the main characters in

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Profio, Alessandro. "Aïda’s French premiere at the Opéra in 1880." Studia Musicologica 52, no. 1-4 (2011): 429–41. http://dx.doi.org/10.1556/smus.52.2011.1-4.30.

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Nine years after its creation in Cairo and eight after the European premiere at La Scala, Aida was produced at the Paris Opéra for the first time on 22 April 1880, in a French translation by Camille du Locle and Charles Nuitter. Verdi himself conducted the first performances. This significant derogation, that was refused to Wagner at the time of Tannhäuser (1861), was contrary to the performance traditions of the Opéra, and drew the attention of the habitués. The artistic ocurrence of the premiere became one of the more relevant society events of the year, and its political dimension determine

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HIBBERD, SARAH. "‘Dormez donc, mes chers amours’: Hérold's La Somnambule (1827) and dream phenomena on the Parisian lyric stage." Cambridge Opera Journal 16, no. 2 (2004): 107–32. http://dx.doi.org/10.1017/s0954586704001818.

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Ferdinand Hérold's 1827 ballet-pantomime La Somnambule, written for the Paris Opéra, is generally remembered today only as a source for Bellini's 1831 opera La sonnambula. However, Hérold's work – which also inspired a series of popular vaudevilles on the same theme – illustrates the strong, voyeuristic appeal of the trance phenomenon at the end of the Bourbon Restoration. It can be viewed as encapsulating wide-ranging contemporary ideas about the relationship between sleepwalking, mesmerism, madness and the supernatural. The aims of this article are twofold. First, it seeks to introduce impor

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Cruz, Gabriela. "The Flying Dutchman, English Spectacle and the Remediation of Grand Opera." Cambridge Opera Journal 29, no. 1 (2017): 5–32. http://dx.doi.org/10.1017/s0954586717000027.

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AbstractRichard Wagner wrote in 1852 that in settling on the theme of the phantom ship he had entered ‘upon a new path, that of Revolution against our modern Public Art’, that is,grand opéra. Wagner’s revolution has often been described in light of the poetics of return and homecoming that contributed a new sense of identity to (German) opera. The present article is written against the grain of this conviction, and highlights the cosmopolitan career of the phantom ship and of the vernacular art forms – the nautical theatre and the phantasmagoria – that maintained the seafaring image at the for

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Everist, Mark. "Grand Opéra—Petit Opéra:Parisian Opera and Ballet from the Restoration to the Second Empire." 19th-Century Music 33, no. 3 (2011): 195–231. http://dx.doi.org/10.1525/ncm.2010.33.3.195.

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THOMAS, DOWNING A. "Rameau's Platée returns: A case of double identity in the Querelle des bouffons." Cambridge Opera Journal 18, no. 1 (2006): 1–19. http://dx.doi.org/10.1017/s0954586706002084.

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Although the première of Jean-Philippe Rameau’s comic opera Platée predated the Querelle des bouffons by several years, it raised questions that were at the centre of the debate that shook the Paris Opéra in the early 1750s. Commentators had difficulty situating Platée within the French operatic tradition; and many identified it as a work derived from Italian models. The opera’s music and libretto, mentioned in many of the letters and pamphlets written during the Querelle, clearly struck a nerve. Platée challenged the aesthetic status of French opera by foregrounding aspects of the French lang

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van Treeck, Elisabeth. "Quel Plaisir! Quel Plaisir? – On Bodies in Performance." Cambridge Opera Journal 34, no. 3 (2022): 380–89. http://dx.doi.org/10.1017/s0954586722000313.

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Let's start with where opera happens: the opera house. For the 2022/23 season, Opernhaus Dortmund, known for its fine instinct for rare gems on the operatic stage, decided to mount Jacques François Fromental Halévy's La Juive. Having been introduced to this grand opéra as a first-year musicology student, I was excited to see the premiere of Sybrand van der Werf's production on a Sunday night in November 2022 – while preparing this review. As it turns out, the performance transferred me straight into the core arguments of each of the three books under consideration here: the intense co-presence

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Epstein, Louis. "The German Connection." Journal of Musicology 37, no. 1 (2020): 94–121. http://dx.doi.org/10.1525/jm.2020.37.1.94.

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In 1930 the French composer Darius Milhaud achieved a major career milestone: his ambitious opera Christophe Colomb received its premiere at Berlin’s Staatsoper Unter den Linden. The premiere was the most prestigious of a surprisingly large number of performances of Milhaud’s music in Germany in the late 1920s and early 1930s. Even as he found success in Germany, many French critics dismissed Milhaud’s music as frivolous or incomprehensible, and in 1930 the Paris Opéra had yet to stage one of Milhaud’s works. In the wake of the Berlin premiere, however, the specter of German cultural dominance

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Henson, Karen. "Victor Capoul, Marguerite Olagnier's "Le Saïs", and the Arousing of Female Desire." Journal of the American Musicological Society 52, no. 3 (1999): 419–63. http://dx.doi.org/10.2307/831790.

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We tend to think of exoticism in late nineteenth-century French opera as a very male-oriented phenomenon: as "cultural work" carried out mainly by men and for the male spectator's pleasure. This article takes as its starting point a rather different configuration of opera, exoticism, and gender issues, exploring the possibility of a form of French operatic exoticism aimed at the fantasies and desires of women. In particular, the article focuses on a now wholly forgotten work, Marguerite Olagnier's Le Saïs (1881), and on the role in this and other operas of Victor Capoul, an Opéra-Comique tenor

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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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Siry, Joseph M. "Chicago's Auditorium Building: Opera or Anarchism." Journal of the Society of Architectural Historians 57, no. 2 (1998): 128–59. http://dx.doi.org/10.2307/991376.

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Adler and Sullivan's Auditorium Building in Chicago (1886-1890) is here analyzed in the context of Chicago's social history of the 1880s. Specifically, the building is seen as a capitalistic response to socialist and anarchist movements of the period. The Auditorium's principal patron, Ferdinand W. Peck, created a theater that was to give access to cultural and civic events for the city's workers, to draw them away from both politicized and nonpoliticized "low" urban entertainments. Adler and Sullivan's theater was to serve a mass audience, unlike opera houses of the period, which held multipl

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Karácsony, Noémi, Mădălina Dana Rucsanda, and Mihaela Buhaiciuc. "Indian Rhythmic Gesture and Tinta in French Operas of the Second Half of the 19th Century and Early 20th Century." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (2022): 33–50. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.03.

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"As part of a larger study which compresses three layers of analyses — dramatic, visual, and musical — the present article deals with the rhythmic component of the musical phenomenon in French operas within a half century timeframe, 1862–1923. Orientalism and exoticism were represented through melody, rhythm, timbre, and libretti in operas by F. David, G. Bizet, L. Delibes, J. Massenet, and A. Roussel. The melodic dimension, discussed in a previous study, offered perhaps more opportunities for the evocation of an allegedly oriental sound than rhythm and meter deliver within the operas, while t

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Хлюпина, А. А. "“Old Altars” of the Paris Opéra: The Fate of the Lullist Heritage in the 18th Century." Музыкальная академия, no. 1(785) (March 25, 2024): 72–91. http://dx.doi.org/10.34690/365.

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Еще в конце XVIII столетия в кругу французских литераторов сложилось негативное представление о консерватизме Парижской оперы. Оно было связано с уникальной по меркам европейских оперных театров того времени традицией регулярного возобновления сочинений Жана Батиста Люлли и Филиппа Кино, а также некоторых их преемников. Эта «старая музыка» («la musique ancienne») составляла основу оперного канона, который господствовал в стенах Оперы до 1770-х годов. Между тем, если внимательно рассмотреть практику оперных возрождений, то она оказывается важнейшей составляющей институциональной идентичности Ко

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Bulycheva, Anna V., and Elena A. Arutyunova. "The Creation of the Myth about the Failure of Georges Bizet’s Carmen. Following the Materials of the French Press of the Years 1875–1883." Contemporary Musicology, no. 3 (2023): 40–62. http://dx.doi.org/10.56620/2587-9731-2023-3-040-062.

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The stage fate of Georges Bizet’s last opera Carmen has become surrounded by legends for a long time. For a long period of time in musicology in Russia and in other countries it was considered that the composition was received rather coldly by the critics, whereas the world premiere, which took place on March 3, 1875 resulted in a failure. An analysis of the articles published in the periodicals of 1875 reveals the erroneousness of this fact: the reviews of the first production of Carmen were almost unanimously positive, and not a single harshly negative review was published. In order to under

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Mesterházi, Máté. "Die Umwertung der Idee der Nationaloper um 1900." Studia Musicologica 52, no. 1-4 (2011): 95–107. http://dx.doi.org/10.1556/smus.52.2011.1-4.7.

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The years immediately following the Austro-Hungarian Compromise (1867) would politically have been the best time to make Bánk bán, Ferenc Erkel’s most important opera known in Vienna, thus launching his work in the German cultural area. However, the plot of Bánk bán and Erkel’s personal attitude regarding the Compromise were probably at that time too much of a sensitive issue. In terms of cultural policy the International Exhibition of Music and Theatre at the end of the 19th century could have presented itself as an opportunity to premiere it in Vienna. Instead, Katona’s Bánk bán was presente

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Sadler, Graham. "Patrons and Pasquinades: Rameau in the 1730s." Journal of the Royal Musical Association 113, no. 2 (1988): 314–37. http://dx.doi.org/10.1093/jrma/113.2.314.

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Rameau's late entry into the world of opera is one of the best-known features of his biography. When Hippolyte et Aricie, his first tragédie, burst upon an unsuspecting public at the Académie royale de musique in October 1733, the composer had just turned 50. Of his earlier music, only the second and third books of harpsichord pieces and the cantata Le Berger fidèle would have been at all well known. Yet by the end of the decade, with the appearance of two further tragédies, Castor et Pollux (1737) and Dardanus (1739), and two opéra-ballets, Les Indes galantes (1735) and Les Fêtes d'Hébé (1739

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Donington, Robert. "Opera as Opera Is." Musical Times 128, no. 1732 (1987): 314. http://dx.doi.org/10.2307/1193723.

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McEwen, Mitch, and Marcelo López-Dinardi. "House Opera | Opera House." ARQ (Santiago), no. 91 (December 2015): 26–31. http://dx.doi.org/10.4067/s0717-69962015000300004.

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Ellis, Katharine. "Unintended consequences: Theatre deregulation and opera in France, 1864–1878." Cambridge Opera Journal 22, no. 3 (2010): 327–52. http://dx.doi.org/10.1017/s0954586711000243.

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AbstractThe French legislation of 6 January 1864 which deregulated spoken and lyric theatre nationwide showed little sensitivity to the distinctive financial ecology of regional theatre. Its effects were precisely the opposite of those its architects intended, and caused most disruption to the very constituencies the legislation was intended to help. Comparative analysis of the immediate aftermath of this ‘liberté des théâtres’ reveals a state of near chaos across France. Town councils oscillated between abandoning to the market their traditions of theatre as artistic social service, and pouri

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Nurmuxamedov, Beknazar Bahodir o'g'li, Muhammadali Sherzodbek o'g'li Jo'rayev, and Gulmira Komiljonovna Normuminova. "HISTORICAL DESCRIPTION OF THE PLACE AND STAGES OF DEVELOPMENT OF THE ART OF OPERA IN UZBEKISTAN." GOLDEN BRAIN 1, no. 12 (2023): 80–82. https://doi.org/10.5281/zenodo.7902200.

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Locke, Ralph P. "The Exotic in Nineteenth-Century French Opera, Part 1: Locales and Peoples." 19th-Century Music 45, no. 2 (2021): 93–118. http://dx.doi.org/10.1525/ncm.2021.45.2.93.

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Nineteenth-century French opera is renowned for its obsession with “the exotic”—that is, with lands and peoples either located far away from “us” Western Europeans or understood as being very different from us. One example: hyper-passionate Spaniards and “Gypsies” in Bizet’s Carmen. Most discussions of the role that the exotic plays in nineteenth-century French opera focus on a few standard-repertory works (mainly serious in nature), rather than looking at a wider range of significant works performed at the time in various theaters, including the Opéra, the Opéra-Comique, and Offenbach’s Bouff

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Helman, Alicja. "Opera w filmie — opera filmowa." Literatura i Kultura Popularna 24 (April 18, 2019): 83–96. http://dx.doi.org/10.19195/0867-7441.24.7.

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Opera in film — film operaThe author discusses possible relationships between cinema and opera. Both of them belong to the realm of synthetic art Gesamtkunstwerk, which has been evolving since the reforms of Richard Wagner, but nowadays has a completely new status. The author claims that cinema incorporates numerous strategies characteristic of opera. Yet proper film opera does not exist as a separate genre, and cinema only occasionally uses opera’s compositional patterns.

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Llano, Samuel. "Hispanic Traditions in a Cross-Cultural Perspective: Raoul Laparra's La habanera (1908) and French Critics." Journal of the Royal Musical Association 136, no. 1 (2011): 97–140. http://dx.doi.org/10.1080/02690403.2011.562715.

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The French composer Raoul Laparra held an advanced knowledge of Spanish culture and music that was rare among French musicians. In his first opera, La habanera (Opéra-Comique, 1908), he tried to represent a Spain that was ‘different from Carmen’, focused on the ‘colder’ central region of Castile rather than southern, gypsy stereotypes. However, owing to several inconsistencies in his ideological agenda, and the weight of conventional representations of Spanish music and culture, Laparra rendered a contradictory image of Spain, which drew partly on the very southern and gypsy stereotypes he had

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Feist, Romain. "Lucien, l’autre Petipa." Slavica Occitania 43, no. 1 (2016): 83–91. https://doi.org/10.3406/slaoc.2016.1073.

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Lucien, the Other Petipa Lucien Petipa (1815-1898), Marius’s elder brother, was principal dancer first with the Grand Théâtre de Bordeaux, and then the Opéra de Paris. From 1839, he danced with illustrious ballerinas, notably the much-celebrated Carlotta Grisi, whom he partnered on a regular basis. His natural assets, physical presence and excellent elevation, together with his elegance and proficiency for mime soon won him the hearts of both the public and critics alike. He could not rival his brother’s talent for choreography, but still composed several ballets and sixteen interludes for ope

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Döhring, Sieghart. "Zwischen kosmopolitischer Ästhetik und nationaler Verpflichtung: Giacomo Meyerbeer und seine Preußenoper Ein Feldlager in Schlesien." Studia Musicologica 52, no. 1-4 (2011): 341–50. http://dx.doi.org/10.1556/smus.52.2011.1-4.24.

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The chief representative of cosmopolitan grand opéra as the composer of an opera for Prussia — this uncomfortable phenomenon owes its origin to an unusual historical situation. Giacomo Meyerbeer was invited to succeed Gaspare Spontini as the chief director of music in Berlin, the city of his birth, and he could not evade the honour of being commissioned to compose a festive opera for the re-opening of the Berlin Opera after its destruction in a fire, even though he considered Paris, now as before, to be his artistic home and the future headquarters of his work as a composer for the theatre. To

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Locke, Ralph P. "The Exotic in Nineteenth-Century French Opera, Part 2: Plots, Characters, and Musical Devices." 19th-Century Music 45, no. 3 (2022): 185–203. http://dx.doi.org/10.1525/ncm.2022.45.3.185.

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Nineteenth-century French opera is renowned for its obsession with “the exotic”—that is, with lands and peoples either located far away from “us” Western Europeans or understood as being very different from us. One example: hyper-passionate Spaniards and “Gypsies” in Bizet’s Carmen. Most discussions of the role that the exotic plays in nineteenth-century French opera focus on a few standard-repertory works (mainly serious in nature), rather than looking at a wider range of significant works performed at the time in various theaters, e.g., the Opéra, the Opéra-Comique, and Offenbach’s Bouffes-P

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Walker, Jennifer. "Church, State and an Operatic Outlaw: Jules Massenet's Hérodiade." Cambridge Opera Journal 31, no. 2-3 (2019): 211–36. http://dx.doi.org/10.1017/s0954586720000014.

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AbstractWhen Jules Massenet began work on Hérodiade in the late 1870s, he likely expected to see his work premiered at the Paris Opéra. But the coveted Parisian premiere was not to be. Based on a liberal reworking of the infamous tale of Herod, Salome and John the Baptist, Hérodiade undoubtedly challenges traditional Catholic doctrine. Yet Massenet's opera was not as ‘secular’ as it may seem. I argue here that it draws instead on a Republican-friendly brand of Catholicism that encouraged individual religiosity as an anticlerical strategy. Herein, I argue, lay the reasons why Hérodiade was outl

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Kim, Katalin. "A National Opera Abroad Ferenc Erkel's Opera Hunyadi László Performed Outside of Hungary." Musicologica Olomucensia 35, no. 2 (2024): 79–107. http://dx.doi.org/10.5507/mo.2023.011.

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Anderson, Robert. "Opera." Musical Times 127, no. 1717 (1986): 155. http://dx.doi.org/10.2307/965500.

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Osmond-Smith, David, and Rudy Shackelford. "Opera..." Musical Times 129, no. 1746 (1988): 405. http://dx.doi.org/10.2307/965970.

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FRANK, EDWIN. "OPERA." Yale Review 98, no. 4 (2010): 80–87. http://dx.doi.org/10.1353/tyr.2010.0084.

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