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Bland, Anita. "Original Opera in Middle School." Music Educators Journal 79, no. 6 (February 1993): 27–30. http://dx.doi.org/10.2307/3398546.
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Lutsker, Pavel V. "Bertoldo, Bertoldino e Cacasenno: the Original Score Examined." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (2022): 104–22. http://dx.doi.org/10.33779/2782-3598.2022.2.104-122.
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Bertoldo, Bertoldino e Cacasenno was the first comic opera, which opened the Venetian era in the history of opera buffa. Contemporary dictionaries name Carlo Goldoni (text) and Vincenzo Legrenzio Ciampi (music) as its authors. The detailed review of the manuscript (preserved in the Estense Library in Modena) undertaken in the article for the first time, reveals the original “pasticcio” nature of this opera. An analysis of the handwriting and various markings shows that the score contains musical material representing two different productions of the opera: the Venice premiere in 1749 and a performance in London in 1755. Ciampi, who wrote about one third of all the musical numbers for the Venetian premiere of the opera in 1749, was apparently joined in his work by other composers. For the London production in 1755 Ciampi added a newly composed portion of musical numbers, however, still almost a quarter of the entire score remained consisting of insertions of music by other composers. The surviving music also makes it possible to establish exactly what material from the Venetian production was used in the parodies on this opera composed in Paris: Bertholde à la ville by Louis Anseaume (1754) and Le Caprice Amoureux, ou, Ninette à la cour by Charles-Simon Favart (1755). The study of Bertoldo, Bertoldino e Cacasenno expands our understanding of the practices of opera buffa at the early stage of its history.
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Ivanytska, Yana. "Original and Editions of the Opera “Taras Bulba” by M. Lysenko." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (June 6, 2022): 69–82. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258149.
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The purpose of the research is to establish the reasons for the editions’ creation of the opera “Taras Bulba” by M. Lysenko; analyze the differences between the author’s version and the options proposed by Revutskyi - Liatoshynskyi. After all, on the stage, the opera is performed being edited, in musicological literature (especially in recent years) the work is analyzed by the author’s piano (Z. Yuferova, L. Korniy), and scientific monographs of the Soviet-era provide either incorrect or semi-hidden information. The research methodology consists in a comparative textual analysis of the original score and editions of the work. The scientific novelty of the research lies in the comparative characteristics of the author's version of M. Lysenko's opera "Taras Bulba" and several versions created by L. Revutskyi, B. Liatoshynskyi and M. Rylskyi. Conclusions. As a result of the research, the author concludes that the original of Lysenko’s opera differs in genre from the work’s editions, because the author has a certain synthesis of lyrical and psychological opera with features of comedic and heroic-patriotic folk drama. Revutskyi - Liatoshynskyi has a historical and patriotic opera. So, today it would be necessary to make another version of “Taras Bulba”, closer to the author’s one. Of course, this is not an easy task. The new editor will have to compare not only Lysenko’s manuscripts, but also different versions of Revutskyi - Liatoshynskyi. However, there must come a time when the genre of the first Ukrainian opera will not be defined by the derogatory word “posterity”. Especially since it contradicts the truth.
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Platoff, John. "How original was Mozart?: Evidence from opera buffa." Early Music XX, no. 1 (February 1992): 105–18. http://dx.doi.org/10.1093/earlyj/xx.1.105.
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Ożarowska, Aleksandra. "Od czynów do słów: intersemiotyczne nadpisy w uwspółcześnionych spektaklach operowych." Przekładaniec, no. 43 (December 31, 2021): 162–79. http://dx.doi.org/10.4467/16891864pc.21.034.15148.
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Putting Action into Words: Intersemiotic Surtitles in Modernised Opera Productions Since their debut over operatic stages in the early 1980s, surtitles have become an important part of the audiovisual translation field. It is also, among others, thanks to them that opera is currently regaining its popularity – they make opera productions more accessible and audience-friendly. Surtitles can also considerably shape an opera production, especially when it is modernised. Modernising operatic productions is nowadays one of the most popular trends in major opera houses, though it is not free of many challenges. Libretti are always sung in original, but bringing the action a few centuries ahead may mean that the original text does not correspond to what the viewers can see on the stage. In such cases surtitles may serve as a bridge between the original and stage design. Recently, some opera houses have started treating surtitles as an integral part of their productions and sometimes the whole translation follows the modernised production both semantically and stylistically. The original for such translations is then not just the libretto, but the whole production and surtitles become intersemiotic. This clash between different messages is the source of innovations, and surtitles, which closely follow modernised productions may be considered to be a translational experiment.
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Guinle, Francis. "Review: Record: The Beggar's Opera: Original Songs and Airs." Cahiers Élisabéthains: A Journal of English Renaissance Studies 37, no. 1 (April 1990): 126. http://dx.doi.org/10.1177/018476789003700132.
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ROGERS, VANESSA L. "John Gay, Ballad Opera and theThéâtres de la foire." Eighteenth Century Music 11, no. 2 (August 7, 2014): 173–213. http://dx.doi.org/10.1017/s1478570614000049.
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ABSTRACTDaniel Heartz was the first musicologist to link John Gay'sThe Beggar's Opera(1728) withopéras comiques en vaudevilles, light musical theatre entertainments popular at the annual Paris fairs. Other scholars such as Edmond Gagey and Calhoun Winton had also suggested that Frenchcomédies en vaudevillesmight have been models for Gay's ‘original’ new genre of the ballad opera, but were unable to find compelling evidence for their suspicions. This article shows that the music ofPolly(1729), Gay's sequel toThe Beggar's Opera, can finally provide a link between ballad operas and thecomédies en vaudevilles, as four of the unidentified French airs in the opera can now be identified as popular Frenchvaudevilles. I investigate the fruitful exchange between Paris and London in the early eighteenth century (despite prevailing anti-French sentiment in Britain), focusing on musical borrowings, translations and the performers who worked in both cities. We shall see that ballad opera and thecomédies en vaudevillesshare common ground, includingvaudevilles finals, common tunes sung by actor-singers and the use of musical parody and double entendre. A closer examination of Gay's (and his contemporaries') knowledge of thecomédies en vaudevillesilluminates previously unknown French contributions to eighteenth-century English popular musical theatre, and demonstrates the unique way in which French practices were appropriated in early eighteenth-century England.
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[方博], Fang Bo. "The Transtextual Gender Construction in the Opera Madame White Snake." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 1–18. http://dx.doi.org/10.30819/aemr.7-1.
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The opera Madame White Snake (hereafter Madame), co-commissioned by Opera Boston and Beijing Music Festival, premiered at Boston Cutler Majestic Theater in February 2010. It was the first commissioned opera by Opera Boston.1 Based on the story from the famous Chinese ancient myth Bai She Zhuan 2 (in Chinese: 白蛇传), this opera’s libretto was created by a Singaporean American librettist, who has shed the story’s “traditional skin and taking on modern trappings” (Smith, 2019: 27) on purpose. When sniffing at male librettists’ discourses about female characters’ vulnerable and tragic lives in their operas, opera Madame’s initiator and librettist Cerise Lim Jacobs argues that women should seize the initiative to make their own decisions in life. The white snake, in her mind, ought to be a whole woman who is powerful and demonic, and yet, is also nurturing and caring, is capable of deep and intense love. In the first section of this article, I introduce the original legend’s background and the story outline in its operatic adaptation; I also trace back the opera’s commissioning process. After providing the background information of the story and the operatic version, then, in the second section I analyze the opera in terms of its transtextual figural gender construction in her characterization through comparative studies of the white and green snakes’ images from the sources of literary works, traditional xiqu scripts and operatic librettos. Referring to Lim’s personal growth and migrating history, as well as she and her husband co-founded charitable foundation’s missions and its recent IDEA (Inclusion, Diversity, Equity, and Access) opera grant program partnering with Opera America, I aim to examine her gender construction of the “female” roles in the opera from the perspectives of feminism, interracial marriage; and heterosexual, transsexual, and homosexual relationships.
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Brett, Philip, Benjamin Britten, John Gay, Tyrone Guthrie, David Matthews, and Paul Hindmarsh. "The Beggar's Opera, Opus 43: Realized from the Original Airs of John Gay's Ballad Opera (1728)." Notes 55, no. 3 (March 1999): 735. http://dx.doi.org/10.2307/900454.
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Jagosz, Michał. "Rywale, czyli opera mieszczańska w Krakowie. Historia, kontekst kulturowy, znaczenie." Kwartalnik Młodych Muzykologów UJ, no. 52 (1) (2022): 55–77. http://dx.doi.org/10.4467/23537094kmmuj.22.004.15648.
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Rivals [Rywale], or the Burgeois Opera in Kraków: History, Cultural Context, Meaning During the period of stagnation in Kraków’s theatre culture in the 2nd half of the 18th century, an opera entitled Rivals, or the Tattoo in Kraków [Rywale czyli czapstrzyk w Krakowie] was created by Kacper Meciszewski (libretto) and Zagórski (music; not preserved to this day), unknown by first name. Although mentioned several times in the theatre studies literature, it has not been by far a subject of separate musicological research. This opera is an example of a work that can be described as a 'burgeois opera', i.e. a model of magnate operas, regarding to both theme and structure of the libretto, as well as to musical arrangement, transferred to the middle class standards and entrepreneurial capabilities of that time. Seemingly non-original, secondary and, due to its provincial character, relevant only to the 18th century residents of the former capital city, it seems to have a slightly deeper meaning. In order to understand the significance of Rivals in its full, this article will present the history of the comedy’s creation and staging, an analysis of the libretto and a hypothetical form of musical setting in the context and in comparison with analogous operas of that period. For a better understanding of the title tattoo meaning, the history of its creation and reception as well as the condition of Kraków regiment band will be outlined.
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Todea-Sahlean, Diana. "The Evolution of Opera Performance from Scenographic Miracles to the Opera Productions of the Nineteenth Century." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 2021): 213–24. http://dx.doi.org/10.24193/subbmusica.2021.2.14.
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"The presentation of the book The Evolution of Opera Performance, from Scenographic Miracles to the Opera Productions of the 19th Century, offers a synthesis of our work as a musical theatre director. Our aim is to stimulate the public’s interest in the opera genre and opera staging, by revealing aspects in the history of opera performance(s), as they have been shaped, century after century, by following the gradual effort and the tireless passion of its creators. Our aims are also to illustrate the original charm and the infinite resources of this genre, which continues to delight the public at large and the knowledgeable even today. Keywords: opera performance, opera staging, liturgical drama, vernacular drama, secular drama, dramatic madrigal, intermedi, the Florentine Camerata, Claudio Monteverdi, comédies-ballets, tragédie en musique, semi-opera, opera seria, the comic opera, opera buffa, ópera comique, ballad opera, Singspiel, tonadilla, Wolfgang Amadeus Mozart "
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Shutko, Serhii. "Contemporary Music Directing — Innovation or Adventure?" Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 203–16. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251822.
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The author considered the problem of the artistic integrity of the opera in terms of finding ways to renew the musical theater of Ukraine, caused by socio-cultural challenges of today. The article clarifies the fragmentary nature of scientific research on the issue with the priority of musicological aspect and insufficient research of theatrical aspects, which requires a new comprehensive understanding of the director's concept in musical theater.The problem of artistic integrity of opera performance in the conditions of search ways to update the musical theater of Ukraine caused by sociocultural challenges of the present is considered. The article clarifies the fragmentary nature of scientific investigations of the problem with the priority of musicology and insufficient research of theatrical aspects, which requires a new comprehensive understanding of the director's concept in musical theater. The methodology of research key moments of the chosen subject is outlined: modern directorial approaches to creation of artistic integrity of opera performance — structural and functional; the concept of training musical theater directors in the realities of today — systems analysis; vectors of renewal of directorial approaches to the interpretation of works — semiotic. The purpose of the research is formulated — to determine the director's concept of creating the artistic integrity of opera performance in the context of updated synthesis of means of expression of different arts, based on harmonious artistic and research training. The main components of directorial content in solving art work in accordance with the modern possibilities proposed by the theater stage are analyzed. Director's approaches, techniques, means of expression aimed at an organic combination of different arts and achievements of science to find a new synthesis in the embodiment of opera performances are revealed. It is proved that in modern researches of the artistic integrity of the opera performance the mainly musicological aspect is revealed. The analysis of directorial incarnations of operas reflects the achievements of scientific thought at the end of the last century and needs to be reconsidered from the standpoint of the present. The study of directorial interpretations of opera performances in Ukraine makes it possible to state the existence of problems both at the stage of conception and during its implementation, which is due to aesthetic approaches of the end of the last century. The importance of universal training of a musical theater director, able to combine all the components of artistic synthesis into a complete performance with the help of a production team and creative staff, is revealed. Renewal of directorial approaches in the interpretation of operas involves the use of original techniques with the synthesis of traditional and innovative means of expression. The scientific novelty of the research is to establish causal links between integrative artistic and research, research training of the specialist and his ability to produce the latest original ideas in the context of staging. Prospects for further scientific explorations of key aspects of the typology of modern opera directing in the socio-cultural realities of today are predicted.
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Boder, Wolfram. "Zwischen nationalem Anspruch und lokalpolitischen Zwängen: Entstehungs- und Rezeptionsbedingungen der Kasseler Opern Louis Spohrs." Studia Musicologica 52, no. 1-4 (March 1, 2011): 311–21. http://dx.doi.org/10.1556/smus.52.2011.1-4.22.
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In 1823 Louis Spohr published an article entitled “Aufruf an deutsche Komponisten” (Appeal to German Composers) in the Allgemeine Musikalische Zeitung (AMZ). He did so for the purpose of encouraging young German composers to contribute to the genre of German opera. But he probably had other intentions, too. He was determined to promote his latest opera Jessonda, which he mentioned as a model for his ideas of German opera. Thus one could say that the project of “German opera” was in some aspects merely a marketing strategy.A closer look at Jessonda reveals that Spohr did certainly not think along nationalist lines. In a way its dramaturgy depicts Kant’s definition of the Enlightenment and aims at a united and enlightened mankind. So did Spohr in his personal life. And by so doing he became very popular with the liberal citizens in Kassel, the city in which he worked as “Hofkapellmeister” from 1822 to 1857. This popularity in some cases misguided him. The liberal and enlightened ideas of Spohr are so prominent in his operas that they became increasingly neglected in the 1870s when chauvinistic tendencies became more prominent. This development culminated in the 1940s when the Nazis banned Jessonda from the German stage. They did however try to make it suitable for their ideas of German opera. As Spohr’s original did resist to this violation, the “Reichsstelle für Musikbearbeitungen” commissioned an amended version. Luckily the end of World War II terminated these efforts.
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Titova, Halyna. "The Opera "The Barber of Seville" by Giocchino Rossini in Domestic Paradigms." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 217–32. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251823.
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The article reveals the stage interpretations of G. Rossini's "The Barber of Seville" on the Kyiv opera stage in the second half of the 20th — early 21st centuries by the directors Mykola Smolych (1944) and Dmytro Smolych (1955), Dmytro Hnatyuk (1979), (1990), A. Solovyanenko (2019). The author clarifies the relevance of the appeal to opera in the socio-cultural realities of today, substantiates the request of the audience of the information technology era on the chosen topic and the need to rethink the work at the beginning of the Romantic era in accordance with modern theater scene possibilities. The available musicological research of the opera drama "The Barber of Seville" in the context of the creative heritage of G. Rossini is mentioned in the article. A significant gap in the existing works on this topic is the fragmentary nature of scientific investigations of directorial interpretations of the composition in the musical theaters of Ukraine. The methodology of research of key aspects of opera is chosen: directorial incarnations of the specified period in the conditions of Ukraine — retrospective, interpretive; comparison of different domestic paradigms in the interpretation of the work — genre-stylistic, comparative; directions of development of domestic directing in the context of world tendencies — system analysis. The compositional construction of productions, their difference and proximity in relation to the original compositional source are analyzed. Individual approaches to the director's vision are revealed as well as features, principles of directing tasks and conceptual solutions to the reproduction of artistic images in the play. The performers of the parties in different stage incarnations are outlined. The personal directorial accents of the directors in the interpretation of "The Barber of Seville" on the Kyiv opera stage of the second half of the 20th — the beginning of the 21st centuries are determined, taking into account the specifics of theatrical aesthetics of the times of performances. The existence of certain "models", "examples", "paradigms", which were transformed under the influence of external and internal factors, is proved. The first two productions were embodied in the Ukrainian language against the background of traditional abbreviated musical material, simplifying the musical and stylistic structure of the opera buff. The last production is distinguished by a return to the original musical material — the opening of most bills and performance in Italian. The directions of development of domestic directing in the context of world tendencies are determined: original synthesis of traditional and innovative staging approaches in authentic versions of operas; the possibility of combining different styles, genres, forms in modern versions of opera in the context of postmodern aesthetics. The ways of further research of the chosen subject through the prism of synthesizing the experience of domestic and foreign directing with the use of stage design and innovative art technologies are predicted.
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Till, Nicholas. "‘First-Class Evening Entertainments’: Spectacle and Social Control in a Mid-Victorian Music Hall." New Theatre Quarterly 20, no. 1 (January 5, 2004): 3–18. http://dx.doi.org/10.1017/s0266464x03000289.
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First-Class Evening Entertainments was the title given to a variety programme presented at Hoxton Hall in East London when it first opened in 1863. In 2000 Nicholas Till and Kandis Cook were commissioned by Hoxton Hall and the English National Opera Studio to make a new music theatre piece for the Hall, which led to an investigation of the content and context of the original programme. In the following article Nicholas Till offers a reading of the 1863 programme as an example of the mid-Victorian project to exercise social control over the urban working classes. Nicholas Till is Senior Lecturer in Theatre at Wimbledon School of Art, and co-artistic director of the experimental music theatre company Post-Operative Productions. He is the author of Mozart and the Enlightenment: Truth, Virtue, and Beauty in Mozart's Operas (Faber, 1992), and is currently editing The Cambridge Companion to Opera.
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Villanueva, Isabel, and Ivan Lacasa-Mas. "The audiovisual recreation of operas filmed in theaters: An analysis of Don Giovanni by W. A. Mozart." Communication & Society 34, no. 1 (January 12, 2021): 77–91. http://dx.doi.org/10.15581/003.34.1.77-91.
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This article analyzes select opera films produced during the 20th and 21st centuries by international opera houses in order to determine whether, when the diegesis of these films is recreated, there is also an attempt made for the films to reflect the conventions of operatic performance. We performed content analysis of the end of the first act in 29 filmed versions of the opera Don Giovanni by W.A. Mozart by evaluating 44 variables related to three categories that are central to translating the original story to the new audiovisual discourse: recreation of time and space and use of scenery. The main results reveal that in translating Don Giovanni to audiovisual media, the films continue to be influenced by the institutional conventions of operatic theater. In relying on the original performance, these films, even in the 21st century, do not exhibit full narrative autonomy. Our article proposes several ways to better adapt—from a cinematographic perspective—these scenic representations based on elements such as depth of field or scenery, without the need for greater resources than those already available to opera houses.
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Forsiuk, Tamara. "Opera by G. Rossini "Il Barbiere di Seviglia" Through the Prism of Director's Analysis of a Creative Artistic Project." Ukrainian musicology 47 (October 21, 2021): 39–48. http://dx.doi.org/10.31318/0130-5298.2021.47.256719.
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The phenomenon of popularity of the opera «Il Barbiere di Seviglia» by G. Rossini in the context of the global communication of cultures from different countries of the world, the search for a dialogue to their interaction is considered. The relevance of the research suggests the need to solve the problem of director's interpretations of the opera in the context of the revival of the Rossini style of singing in accordance with the author's score. The scientific novelty is determined by defining new approaches to the interpretation of the opera, identified in the conceptual vision of the director's idea of his own project. The purpose of the study is to determine the concept of director's interpretations of the opera by G. Rossini «Il Barbiere di Seviglia» in the context of the new paradigmatics of musical theater. Research methods selected: historical and biographical — to clarify the features of the work by G. Rossini in the context of the formation of Italian opera; genre-stylistic, comparative — to outline the specifics of the musical drama «Il Barbiere di Seviglia» by G. Rossini, its differences from the work of the same name by G. Paisiello; interpretive — to consider the directorial versions of postmodern opera; prognostic — to determine the vector of the conceptual vision of the director's idea of his own project. The main results and conclusions of the study are in the following aspects. It has been found that G. Rossini's opera «Il Barbiere di Seviglia», written on the border of classicism and romanticism, laid the foundation for a new style - Italian romantic opera, which influenced the formation of European national opera schools. It is proved that the musical dramaturgy of G. Rossini's opera «Il Barbiere di Seviglia» by S. Sterbini's libretto differs from J. Paisiello's opera of the same name by Petrofellini's libretto, which is not illustrative as in the latter, specifics of the original source by P. Beaumarchais. The director's incarnations of the opera are the Italian and Russian versions at the Helicon Theater, Russia, and two versions at the National Opera of Ukraine and the Academy's Opera Studio. The conceptual vision of the graduate student of her own project «Il Barbiere di Seviglia» by G. Rossini is predicted, which provides an original synthesis of authentic and modern interpretive styles, traditional and innovative means of expression with their tendency to syncretism based on a combination of scientific achievements and domestic directors.
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NORRIS, RENEE LAPP. "Opera and the Mainstreaming of Blackface Minstrelsy." Journal of the Society for American Music 1, no. 3 (July 17, 2007): 341–65. http://dx.doi.org/10.1017/s1752196307070113.
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In the mid-nineteenth century, blackface minstrelsy entered the mainstream of antebellum popular culture by borrowing from a European musical repertory, drawing on the language of advertisements for legitimate entertainments, and engaging two themes of antebellum popular culture, sentimentality and nationalism. Minstrels' opera parodies used devices similar to the British burlesque tradition: opera in blackface relied on the recontextualization of the original and an unpredictable mingling of sources and subjects. Discussion of three popular blackface opera songs, “I Dreamed Dat I Libed in Hotel Halls,” “See! Sir, See!,” and “Stop Dat Knocking,” demonstrates these processes.
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Eardley-Weaver, Sarah. "Opening eyes to opera." Describing Cognitive Processes in Translation: Acts and events 8, no. 2 (November 29, 2013): 272–92. http://dx.doi.org/10.1075/tis.8.2.08ear.
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In today’s rapidly developing digital age and increasingly socially-aware society, the notion of media accessibility is evolving in response to shifting audience expectations. Performing arts and media, such as opera, are called upon to include all audiences, and related audiovisual translation methods are progressing in this direction. These comprise audio description and touch tours for the blind and partially-sighted, two relatively new translation modalities which are consumer-oriented and require an original research design for the analysis of the translation processes involved. This research design follows two fundamental principles: (1) audience reception studies should be an integral part of the investigation into the translation process; and (2) the translation process is regarded as a network. Therefore, this paper explores the unique translation processes of audio description and touch tours within the context of live opera from the perspective of actor-network theory and by providing an overview of a reception project. Through discussion of the methodology and findings, this paper addresses the question of the impact of audience reception on the translation process.
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Chen, Qiao, Wenfeng Zhao, Qin Wang, and Yawen Zhao. "The Sustainable Development of Intangible Cultural Heritage with AI: Cantonese Opera Singing Genre Classification Based on CoGCNet Model in China." Sustainability 14, no. 5 (March 2, 2022): 2923. http://dx.doi.org/10.3390/su14052923.
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Chinese Cantonese opera, a UNESCO Intangible Cultural Heritage (ICH) of Humanity, has faced a series of development problems due to diversified entertainment and emerging cultures. While, the management on Cantonese opera data in a scientific manner is conducive to the sustainable development of ICH. Therefore, in this study, a scientific and standardized audio database dedicated to Cantonese opera is established, and a classification method for Cantonese opera singing genres based on the Cantonese opera Genre Classification Networks (CoGCNet) model is proposed given the similarity of the rhythm characteristics of different Cantonese opera singing genres. The original signal of Cantonese opera singing is pre-processed to obtain the Mel-Frequency Cepstrum as the input of the model. The cascade fusion CNN combines each segment’s shallow and deep features; the double-layer LSTM and CNN hybrid network enhance the contextual relevance between signals. This achieves intelligent classification management of Cantonese opera data, meanwhile effectively solving the problem that existing methods are difficult to classify accurately. Experimental results on the customized Cantonese opera dataset show that the method has high classification accuracy with 95.69% Precision, 95.58% Recall and 95.60% F1 value, and the overall performance is better than that of the commonly used neural network models. In addition, this method also provides a new feasible idea for the sustainable development of the study on the singing characteristics of the Cantonese opera genres.
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Ciobanu, Liliana. "POSTMODERNIST PRACTICES IN CONTEMPORARY OPERA." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(42) (September 2022): 158–63. http://dx.doi.org/10.55383/amtap.2022.1.29.
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Opera, an important link of contemporary culture, has a considerable influence on the individual and society, directing and enriching the cognitive, affective and attitudinal universe of the audience. Postmodernist ideology projects opera into a crisis, stimulating the development of controversial artistic forms. But, at the same time, the information environment gives Opera the possibility of transiting the closed spaces of the halls, propagating and broadcasting the lyrical performances in front of an impressive audience. The social and cultural-artistic context of the last decades has favored the rise of postmodern directorial opera, which invented multiple methods of interpretation, becoming a real challenge for many reviewers, but especially for the conservative opera audience. Without having negative connotations at its beginnings, the New postmodernist concept Regietheater/Regieoper surmounted the stage interpretations with aesthetic character of classical works, reaching today a maximum level of speculative excesses, radically distanced from the original content.
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Xie, Xiaodi. "BDA of the Dissemination of Opera in the Internet Self-Media Environment." Scientific Programming 2022 (September 30, 2022): 1–12. http://dx.doi.org/10.1155/2022/3096890.
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With the advent of the era of big data, the TV media industry has begun a new round of survival of the fittest. Some new and original traditional cultural TV programs have successfully attracted the attention of the audience, but some programs have lost the impact of the big data environment and are facing the crisis of revision or suspension. Based on the background of big data and from the macro perspective of society, this article made a specific description and objective analysis of the concept, characteristics, and real development of opera communication and proposed an understanding. On this basis, through the analysis of actual cases and data, combined with the dissemination of opera and the new and original traditional cultural TV programs in recent years, this article analyzed the impact of big data on the dissemination of opera and further explored the survival state of opera dissemination in the context of the era of big data, and the experiment was to crawl the data of 10 traditional Chinese opera categories in the Shipin Opera Network through web crawler. It was sorted according to the amount of play, the top 10 songs of each genre and their play volume were selected, and then the Internet correlation between the genres was quantified. And a big data analysis of the traditional opera program “Liyuanchun” was carried out. The experimental results showed that the show was broadcast 65,984 times a day, the highest broadcast volume in a week. At the same time, according to the big data analysis of users of self-media opera dissemination, the majority of the audiences had a high school or technical secondary school education, which accounted for 27%, followed by junior high school, which accounted for 18.7%. It can be seen that the current Chinese traditional culture TV programs have a good development trend and a lot of room for development.
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Platoff, John. "Sarti's Fra i due litiganti and Opera in Vienna." Journal of the American Musicological Society 73, no. 3 (2020): 535–81. http://dx.doi.org/10.1525/jams.2020.73.3.535.
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Abstract Giuseppe Sarti's opera Fra i due litiganti, premiered in Milan in 1782, was the first great success of the reconstituted Italian opera company in Vienna in 1783. The opera sustained its enormous Viennese popularity for years, while also being performed in over one hundred other European cities by 1800. Mozart's quotation of the work in Don Giovanni testifies to its continuing appeal. But the version of the opera that was so successful in many parts of Europe differed substantially from the Milanese original. The surviving manuscript scores and printed librettos reveal that a standardized Viennese version of Fra i due litiganti, in which more than a third of the original arias were replaced, became the basis for productions across much of Europe. This unexpected standardization may reflect the prestige of Vienna and its role as a distribution point for opera scores, especially since many of the manuscripts were produced by Wenzel Sukowaty, the copyist for the Viennese court theaters. The Viennese changes surprisingly include arias for Nancy Storace and Francesco Benucci—later Mozart's Susanna and Figaro—who had themselves created the same roles in Milan. (Normally arias would be substituted to suit the preferences of new singers.) These alterations not only changed the profiles of the characters, but allowed Storace and Benucci to define themselves for the Viennese public, establishing the musical and dramatic personae that quickly made them the beloved favorites of Viennese audiences.
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Burden, Michael. "Casting Issues in the Original Production of Purcell's Opera ‘The Fairy‐Queen’." Music and Letters 84, no. 4 (November 1, 2003): 596–607. http://dx.doi.org/10.1093/ml/84.4.596.
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Miklaszewska, Joanna. "Inspiracje Moniuszkowskie w muzyce XX wieku. Opera Pomsta Jontkowa Bolesława Wallek Walewskiego." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 1 (December 8, 2017): 59. http://dx.doi.org/10.17951/l.2017.15.1.59.
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<p>Bolesław Wallek Walewski był jedną z czołowych postaci krakowskiego życia muzycznego w okresie międzywojennym. Do jego najwybitniejszych dzieł należy opera <em>Pomsta Jontkowa</em>, której libretto jest kontynuacją <em>Halki</em> Stanisława Moniuszki. W artykule scharakteryzowano muzyczne związki pomiędzy obu operami, widoczne m.in. we wprowadzeniu przez Wallek Walewskiego cytatów motywów z <em>Halki</em>, a także wskazano różnice stylistyczne między obydwoma dziełami. Wyznaczają je trzy elementy: warstwa językowa librett, główne założenia dramaturgiczne oraz styl muzyczny. Libretto <em>Halki</em> napisane zostało przez W. Wolskiego bez aluzji do elementów gwarowych, natomiast B. Wallek Walewski w libretcie <em>Pomsty Jontkowej</em> wykorzystał w szerokim zakresie gwarę podhalańską. W przeciwieństwie do <em>Halki</em>, osią dramatu Wallek Walewskiego jest motyw zemsty górala na możnych panach. Styl muzyczny opery Walewskiego wykazuje pokrewieństwo z muzyką Wagnera, z nurtem muzycznego folkloryzmu (poprzez nawiązanie do folkloru podhalańskiego), oraz impresjonizmu. W artykule poruszono ponadto problem recepcji dzieła. <em>Pomsta Jontkowa</em> była najbardziej znanym i często wystawianym w Polsce dziełem operowym krakowskiego kompozytora. Jej prapremiera odbyła się w Teatrze Wielkim w Poznaniu w 1926 roku. Na przełomie lat dwudziestych i trzydziestych opera ta cieszyła się w Polsce dużą popularnością, wystawiły ją także inne teatry operowe w kraju (z wyjątkiem sceny warszawskiej). Po II wojnie światowej <em>Pomstę Jontkową</em> wystawiła Opera Wrocławska.</p><p>SUMMARY</p><p>Born in Lvov but fi rst of all associated with the musical circles in Krakow, Bolesław Wallek Walewski (1885-1944) referred to one of Stanisław Moniuszko’s most famous operas – <em>Halka</em> [Helen] – when composing his own opera Pomsta Jontkowa [Jontek’s Vengeance] (1924). The contemporaries regarded Halka and Pomsta Jontkowa as a series. Both operas share common elements: <em>Halka</em> (Warsaw version) and <em>Pomsta Jontkowa</em> are four-act operas, the same characters appear in their librettos (Jontek, Zofia), and in both works the confl icts between the gentry and the peasants are highly important. The musical connections between the operas are evidenced by Walewski’s use of the leading motifs. Moreover, both in <em>Halka</em> and in <em>Pomsta Jontkowa</em>, there are highlanders’ dances. Walewski also includes melodies from Halka into his work.</p><p>The principal difference between the two operas is determined by three elements: the language of the librettos, the main dramatic assumptions, and the musical style. The libretto of <em>Halka</em> was written by Włodzimierz Wolski (1824-1882) without references to dialectal elements whereas Walewski liberally used the Podhale highlanders’ dialect in his libretto. Moreover, unlike <em>Halka</em>, which emphasizes the personal experiences of the main heroine and social confl icts, the axis of Walewski’s drama is the motif of the highlander’s revenge on the wealthy lords. The musical style of <em>Pomsta Jontkowa</em> shows, on the one hand, a similarity with Richard Wagner’s music (harmony, instrumentation, and the way of treatment of leitmotifs), while on the other – a similarity to the trend of musical folklorism and impressionism. An innovative idea is the combination of impressionist features with the stylization of highlanders’ folklore.</p><p><em>Pomsta Jontkowa</em> was the best known opera of the Krakow composer in Poland in the nineteen-twenties and thirties, and at the same time it was one of the most original Polish operas of the interwar period. It combines traditional elements with modern ones, and it is an expression of the late inspirations by Wagnerian music and esthetics in Polish music, as well as referring to the best traditions of the Polish national opera.</p>
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Edwards, Paul J. "The Circumstances of Colour: The Jim Crow Translation of Jonny spielt auf." Modern Drama 64, no. 2 (June 2021): 151–72. http://dx.doi.org/10.3138/md.64.2.1112.
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This article examines the American premiere of the German opera Jonny spielt auf as a form of what I call Jim Crow translation. As originally written and composed by Ernst Krenek, the opera centres on Jonny, a Black jazz musician, who disorders the logic of European cultural superiority. Although thoroughly modern in its original German staging, using stereophonic radios and film projectors, Krenek’s appropriation of Blackness relied on blackface baritones to play Jonny. When the opera came to New York’s Metropolitan Opera, the history of minstrelsy and the legal system of Jim Crow haunted the production. While Jonny was depicted as thoroughly cosmopolitan and modern in Krenek’s conception of the opera, the American production, under the management of Giulio Gatti-Casazza, attempted to turn Jonny into a white vaudevillian in blackface, a publicity stunt that brought the opera further attention under the guise of protecting American morals against a narrative of interracial sexual desire. Though Krenek created an opera based on the value of Black modernity, Gatti-Casazza displayed American racial anxieties through the opera’s promotion. The proposed revisions to the text, through which racialist regimes demonstrated their power over cultural production, reflect the role that translation can play in reinforcing the colour line.
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Bao, Yueli. "Not Forgetting the Original, Absorbing Foreign Things, Facing the Future—Comment on Wu Guodong’s “Chinese National Music”." World Journal of Social Science Research 7, no. 3 (August 3, 2020): p61. http://dx.doi.org/10.22158/wjssr.v7n3p61.
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Mr. Wu Guodong has devoted his life to the research of national music and ethnomusicology. His works are various and achieved. Also, he practices the academic concepts himself introduced and takes the research of traditional Chinese music and culture to a more profound level. “Chinese National Music” is a masterpiece of Wu Guodong, which concentrates on teaching and combines the ethnomusicology discipline theory and traditional music research techniques. This book describes Chinese national music from five perspectives: folk songs, folk instrumental music, song and dance music, opera music, and opera music. As a new variety of textbooks, its combination of rational cognition and perceptual experience dramatically improves readers’ interest in reading. Thus, it intends to allow more students to comprehend and understand China’s rich and diverse national music from each perspective.
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Kireyeva, Natalia Yurievna, and Angelina Leonidovna Kuts. "J. Offenbach’s opera “The Tales of Hoffmann”: on the question of interpretation. Part 1." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 81–101. http://dx.doi.org/10.7256/2453-613x.2021.1.34909.
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The opera by Jacques Offenbach “The Tales of Hoffmann” is a unique phenomenon in the history of the opera genre attracting the attention of interpreters and researchers. Dealing with the text, musicians face particular problems caused by an unusual story behind the opera and its other peculiarities. The purpose of this article is to study the specificity of the opera at the literary, music, and stage levels using the hermeneutical approach. The three independent original works of Hoffmann were combined in a grand drama composed by J. Barbier and M. Carré, and then in a libretto (J. Barbier) by means of deconstruction of romantic stereotypes of the main character, which reveals the peculiarities of the opera under consideration and explains the topicality of this research. The music analysis is aimed at the detection of expressive means through which the composer had managed to explain the idea of the authors of the literary text and get it across to the audience. The key formative way of building a music drama is a “romantic irony” (M. Ya. Kuklinskaya). That’s where the genre dualism of the opera under consideration comes from, which manifested itself in the form of the synthesis of the genres opera comique and opera lyrique. The authors also detect the interaction of elements of both genres helping to create an unusual atmosphere of the opera, and the play with the audience, allowing manipulating the spectators’ expectations, which is more typical of operetta than of opera genre.
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Kolesnyk, Yevdokiia. "Integrity of the vocal-stage image of Kateryna Ismailova in the same opera by D. Shostakovich." Ukrainian musicology 46 (October 27, 2020): 7–17. http://dx.doi.org/10.31318/0130-5298.2020.46.234584.
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The relevance of the research lies in the desire of creators and scientists to comprehend the deep layers, subtexts and hints of the composer, who, against the background of the modern interest in psychological drama, want to rethink his creative heritage. Scientific novelty consists in the establishment of specific approaches to creating the image of the main character through the organic interaction of music, vocals, acting, plastic, scenographic solutions of the performance in various versions of the opera. The purpose of the publication is to determine the features of the integrity of the vocal and stage image of Kateryna Ismailova in the opera of the same name by D. Shostakovich with the use of modern means of expression, their potential for new synthesis. Research methods. To clarify the differences in solving the image of the main character in the essay by N. Leskov and the opera by D. Shostakovich, the comparative method is used. To determine the features of the incarnations of different versions of the opera, from the time of its creation to the present, the comparative method was used. To determine the specifics of different directorial approaches to the interpretation of the image of Kateryna, genre-stylistic and interpretation methods were used. The main results and conclusions of the study. The characteristic features of the interpretation of D. Shostakovich's opera are considered: in the first edition - "Lady Macbeth of Mtsensk county", in the second - "Kateryna Ismailova", their difference from the original source - N. Leskov's essay, who gave the original title of the work. The transformations of the image of the main character in the context of N. Leskov's essay and in different versions of the opera are analyzed. Specific approaches to the creation of a holistic vocal and stage image of Kateryna have been identified due to the organic interaction of music, vocals, acting, plastics, scenographic solutions of the performance in various versions of the opera. It is proved that all three versions of the opera - the first and second editions and the “zero” version are equally actualized in the world's musical theaters and are selected in accordance with the institution's repertoire policy and the directors' personal intentions. It has been established that the director's approaches to the interpretation of the opera can vary, but the directors should not cross the moral and ethical line, adhering to the ideological plan of the composer. During the existence of the opera, the image of the main character develops along the path of deepening psychologism, acquiring greater integrity due to the organic interaction of improved means of stage expression.
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Liu, Jian. "Metamorphoses of Puccini’s “La bohème” in Jonathan Larson’s musical “Rent”." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 83–97. http://dx.doi.org/10.34064/khnum2-21.05.
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Theoretical background. Depending on the choice of the original source underlying the work, all Broadway musicals can be divided into three main types – with the original libretto and plot (“Next to normal” by T. Kitt), based on (or even on the material) of the same name cartoons (E. John’s “The Lion King”, D. Stewart’s and G. Ballard’s “Ghost”) and operas (E. John’s “Aida” after G. Verdi’s opera of the same name, J. Larson’s “Rent” written after “La bohème” by G. Puccini). In the latter group there is a contrasting branching, which can be observed even on the example of the two named musicals. If E. John seeks to preserve the historical correspondence to the epoch depicted in the opera, as well as to embody the conditionally Egyptian oriental color with the help of exotic orchestration, then J. Larson makes a radical modernization of the plot. His radicalism lies not so much in the time distance over which he “transposes” events, as in the “reduction” to naturalistic brutality and nudity of forbidden, but very “painful” in the 90s of the twentieth century topics – drugs, AIDS, same-sex relationships. In comparison with the problems of the musical, G. Puccini’s opera is perceived as a romanticized fairy tale. The social acuity of the musical is closer to the verismo aesthetics than the opera by G. Puccini, and encourages a more thorough analysis of its relationship with the opera prototype. The objective of the article is to reveal the specifics of the metamorphosis of the plot and musical drama of Puccini’s “La bohème” in the musical “Rent” by J. Larson. In accordance with the goal, research methods such as structural and functional are used to identify the components of the composer’s text and their role in the drama of the whole, comparative method to consider selected works in terms of plot interpretation, libretto features, general developing of the drama and musical text. Results of the study. J. Larson’s musical “Rent” demonstrate a free interpretation of G. Puccini’s opera original, with which a number of metamorphoses take place. The first is related to the modernization of the plot, which is transposed from Paris in the mid-nineteenth century to the 90s of the twentieth century and the “lower classes” of New York. The plot is reduced due to the saturation of its topical issues, which reflected the American spirit of the 90’s – AIDS, drug addiction, same-sex relationships. At the same time, the lyricization of drama is carried out, because in the musical J. Larson shows the development of the love affair of three couples. Almost all of them end tragically: Angel dies, Mimi is also on the verge of death. In turn, Joan and Maureen constantly quarrel and reconcile only at the end of the musical. At the same time, the plot outline of the development of Roger and Mimi’s relationship duplicates a similar line of the opera, starting from the scene of their acquaintance and ending with a duet in the finale, where the characters once again confess their love for each other. The key scene is the manifesto of bohemian life, as in the opera, is the scene in a cafe (“La Vie Boheme”, № 23). Musical dramaturgy of “Rent”, in contrast to the plot, is far removed from the operatic original, due to the genre tradition of the musical, which is reflected in the two-act structure, the principle of dramatic “relaxation” in the second act, where the denouement of all plot lines comes, number structure, where musical numbers alternate with conversational dialogues. At the same time, J. Larson strives for the integrity of the musical’s dramaturgy, which is reflected in the “musicalization” of dialogues, which mostly sound with musical accompaniment and flexibly flow into duet-ensemble scenes. The solo numbers, which brings a stop to the action, is mostly replaced by duets that “promote” the action and reveal the development of the characters’ relationships (the key pair has four such duets). Conclusions. All mentioned qualities of the musical “Rent” significantly distinguish the composition of J. Larson from another example of the musical based after the opera – “Aida” by E. John, which allows us to talk about the presence of individual compositional and dramatic solutions, even when working with a similar source. This shows the significant potential of the Broadway musical as a musical-theatrical genre, as opposed to its accusations of commercialism and the assertion of the priority of entertainment, which makes it an interesting and perspective material for research.
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GIGER, ANDREAS. "Verismo: Origin, Corruption, and Redemption of an Operatic Term." Journal of the American Musicological Society 60, no. 2 (2007): 271–315. http://dx.doi.org/10.1525/jams.2007.60.2.271.
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Verismo, a term originally applied to nineteenth-century art and literature of various degrees of realism, has been the subject of controversy when applied to opera. While literary scholarship has come to measure verismo against the narrowly defined models provided by the theories, novels, and short stories of Luigi Capuana and Giovanni Verga, operatic scholarship has either superimposed these same theories on the dramatic genre of the libretto or it has constructed concepts of questionable historical foundation. Drawing mainly on a large corpus of neglected nineteenth- and early twentieth-century discussions of verismo, this article uncovers the original meanings of the termand outlines how we have come to adopt a view of verismo that is problematic in regard to both literature and opera. Contrary to this view, verismo was seen in the nineteenth century primarily as a reaction to the idealism and conventionality of earlier artworks; in this sense it had already been applied to opera before 1890, and it is, in fact, a perfectly appropriate designation for opera in the late nineteenth and early twentieth centuries. In comparison to Romantic Italian opera, with its conventional forms of both libretto and music, verismo opera reacts to idealism in any combination of categories ranging from plot to vocabulary, verse, harmony and melody, performance practice, and production.
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Voronova, Tatiana. "Opera by Lev Kolodub "The Poet" as a Vector of the Director's Actualization of the Kobzar’s Image in Modern Ukrainian Realities." Ukrainian musicology 47 (October 21, 2021): 28–38. http://dx.doi.org/10.31318/0130-5298.2021.47.256716.
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Creative and ideological prerequisites of the director's appeals to L. Kolodub's opera "The Poet" are considered. The reasons for the need for a new scientific and creative understanding of opera in the sociocultural realities of a modern Ukraine are clarified. The scientific novelty of the research is determined, which consists of the original conceptual vision of updating the performance in accordance with the requirements of the present on the basis of synthesis of achievements of scientific thought and creative heritage of iconic figures of Ukraine and abroad. The purpose of the research is the need for new readings of the opera "The Poet" by Lev Kolodub as an ideological and integral work, devoid of the narrative of the Soviet era and the pathos of canonization of Kobzar as a "Superman", which is not characterized by human and romantic experiences, the research methods chosen: to determine the influence of world socio-cultural processes on the musical theater of Ukraine – system-analytical; to consider the creative heritage of L. Kolodub - biographical; to analyze the musical drama of the work — genre stylistic; to analyze the director's embodiments of the Opera — interpretative; to create your own concept of a creative art project — experimental modeling. The main results and conclusions of the study are obtained, which are as follows: a long break between the time of writing the opera "The Poet" by L. Kolodub (1984-1988) and its first stage reading (2001) is associated with subjective reasons due to the inconsistency of actions between musical theaters of Ukraine. The opera "The Poet" from the point of view of the composer's idea is definitely a new look at the image of Taras Shevchenko. In fact, Levko Kolodub invented a new genre of musical theater with this work — "biographical opera". Its versatility can be regarded as an attempt by the composer himself to "revive the classics" and bring them closer to the audience's perception. In this vein, this work provides a wide range of opportunities for director's reading and can live an active repertoire, ideologically true life at opera venues in Ukraine and diasporas. A comparative analysis of the Opera implementations in the Lysenko Kharkiv National Academic Opera and Ballet Theatre and the National Philharmonic of Ukraine allowed us to determine the difference between the director's approaches to solving mise en scene due to traditional (theater stage in Kharkiv) and non — traditional (concert hall in Kyiv, in the past-a room for balls of the merchant's House) locations. The post-graduate student predicted her own conceptual vision of the creative art project - the opera "The Poet" by L. Kolodub, which provides for the use of the latest achievements of scientific thought and original creative findings of leading figures of musical theater in Ukraine and abroad.
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Luck, Neil. "Sensory Excess: The London Premiere of Confessions." TDR/The Drama Review 64, no. 3 (September 2020): 150–55. http://dx.doi.org/10.1162/dram_a_00948.
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Spatial Opera Company’s original work Confessions is an internationally acclaimed collaborative performance work that surrounds a blindfolded audience, employing spatialized sound and music in a reverberant natural acoustic to stimulate a heightened, imaginative response.
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Skwara, Ewa. "Opera – Oratorio Oedipus Rex by Stravinsky and the Greek Original (SPhP XI, 1996)." Symbolae Philologorum Posnaniensium Graecae et Latinae 27, no. 3 (December 15, 2017): 7. http://dx.doi.org/10.14746/sppgl.2017.xxvii.3.1.
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Maksiutenko, E. O. "The embodiment of the prose libretto in opera genre (on the example of the works by M. Mussorgsky, D. Shostakovich, S. Prokofi ev and G. Shantyr)." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 214–31. http://dx.doi.org/10.34064/khnum2-15.11.
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Background. The correlation between music and text is one of the important issues in musicology. The attention of scholars to the opera text specifi cs in conjunction with musical action brings forward a number of questions regarding the use of prose in the libretto by composers. The innovative approach of composers testifi es to the evolution of the opera genre. It was very prominent for a new notion of “literature opera” to appear; it often means all opera works with a prose text. Its expansion actualizes the question of the interaction between words and music in this particular variety of the opera genre of the 20th century. Objectives. The purpose of the article is to reveal the peculiarities of the prose libretto and its infl uence on opera dramaturgy, methods of harmonizing the unrhymed text with the peculiarities of vocal expression. Methods. The author of the study uses the complex approach involving the theoretical, the genre and the stylistic, and the comparative research methods. Results. The embodiment of the prose works on the opera stage opened the way for composers to master the various composing techniques and fi nd the methods of a possible unrhymed text usage. At the same time, there are still some issues that require more detailed study. One of them is connected with revealing the general principles of work with the prose libretto text, which remain unchanged regardless of the type of plot, composing and dramatic solutions, and individual author’s style. A striking example in the sphere of linguistic intonation and pitch, we can refer to the fi rst music work by M. Mussorgsky, written exclusively with the use of dialogues – the opera “Zhenitba” (“Marriage”, 1868). The composer is trying to convey the peculiarities of human communication using all possible means. The vocal part is full of expressive pauses and specifi c exclamations. When choosing the prose text, the author is guided by the model of dialogue, in which a recitative is the key point. According to I. Belenkov, considering the principle of dialogue implementation on the opera stage, we can conclude that the composer tried to preserve the matching points of the rhythm and intonational elements of human speech in musical terms. The composing techniques, found by M. Musorgsky, impulsed the development in Russian opera music with the prose libretto. D. Shostakovich demonstrates his version of bringing in the original text to the opera, referring to the works of M. Gogol. In this opera named “Nos” (“The Nose”, 1927–1928), written by the same-name Gogol’s novel, the composer keeps the whole storyline, adding new scenes. Considering the peculiarities of the story, it was important for the composer to preserve the general style inherent to M. Gogol, and the “psychological” meaning of images. He achieved this through using various vocal techniques. Composer engages elements of sound images and everyday “talks”. However, in many cases, Shostakovich gives a melody to the vocal line, makes wide leaps and enriches the vocal part with chromatic movements, which add nervous tension to it. In this way, the composer develops the achievements of M. Mussorgsky, he does not adhere to the common tessitura and tries to maximize the possibilities of the recitative. The author uses contrasting comparisons in the rhythmic structures of the parts. D. Shostakovich interprets duets and ensembles in another way than M. Mussorgsky did: the stretto phrases in the parts, which are sometimes interpreted in a hyperbolized version (gradually increasing the number of participants with the growing dynamics). As some scholars point out, S. Prokofi ev’s choice was not typical: of all works by F. Dostoevsky, “The Gambler” is considered to be the least tense psychologically. Unlike with “Marriage” and “The Nose”, “The Gambler” does not retain the original text. In order to make the text as fl exible as possible, S. Prokofi ev creates new dialogues with more of short phrases and frequent repetitions of some words. Whereas M. Mussorgsky deliberately adheres to the unrhymed prose text, Prokofi ev sometimes rhymes lines or uses the alliterative poetry technique. Following the tradition, G. Chantyr refers to the genre of the novel when composing his operas “Two Captains” and “The Pickwick Club”, which have different composing solutions. In “The Two Captains”, the author is follows Prokofi ev’s scenario: he does not retain the main text of the novel by V. Kaverin. He is attentive to the rhythmic component of the text, trying to convey the peculiarity of the live conversation in the best way, which explains the usage of short, non-melodic expressions. The composer deliberately highlights syllables of word that are important in the intonational sense, emphasizing them with the help of rhythmic “stretches” at the end of a phrase. In “The Pickwick Club” opera, two story lines of the novel by Ch. Dickens are preserved. The author refers to the scenes of the dialogic type, such as a casual conversation, by transmitting intonational features of the language through music instruments. Using the original text does not violate the general development of the composition; on the contrary, it accumulates the principle of continuity, the fl ow-through development of the plot. This relates Shantyr’s opera with “The Nose” by D. Shostakovich. One of the main methods of action development is the usage of ostinato technique, which reinforces the inheritance of Prokofi ev’s tradition. Conclusions. In order to submit a prose text to the opera format, composers adhere to the two main guidelines. The fi rst one is related to being faithful to the corresponding literature work, preserving the style of the writer’s language. Therefore, from the beginning of the twentieth century, a new kind of genre was developed – “literature opera”. The main issue is the harmonization of the music and the literature foundations. The second guideline is marked by partial or complete adaptation of the text, intending to retain only the idea of the work. The aim is to subordinate the text structure to purely musical patterns, and therefore it is appropriate to use the notion of literariness, which is responsible for the correspondence of selected examples to the imaginative literature. In this case, the common method of intonation “bonds” is complemented by the use of alliteracy, which, in its free relation to the original source, makes it possible to create text that gets easily consistent with the musical design.
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Keréfky, Márton. "BARTÓK'S REVISIONS TO THE INSTRUMENTATION OF ‘DUKE BLUEBEARD'S CASTLE’." Tempo 67, no. 264 (April 2013): 52–65. http://dx.doi.org/10.1017/s0040298213000077.
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AbstractThe full score of Béla Bartók's one-act opera Duke Bluebeard's Castle (1911) reached its final form through many intermediate stages and after many years. The most comprehensive revision had been carried out in 1917 before Bluebeard was finally put on the programme of the Budapest Opera House. Bartók's revisions concerned not only the ending of the opera and the vocal parts but also the instrumentation. On the basis of all available primary sources, the present article examines how the instrumentation changed between 1911 and 1925, when the full score was published by Universal Edition. As a result of experiences gained during rehearsals of The Wooden Prince in 1917, Bartók added two instruments, the celesta and the xylophone, which he had originally not used in Bluebeard. However, the original score included two tenor tuba parts, which he later replaced with trumpets and trombones. In the revised score Bartók applied new instrumental techniques, corrected an unplayable passage, made the orchestral material thinner in favour of the vocal parts, and altered the instrumentation in order to emphasize motivic connections. Most of these alterations, however, do not represent a conceptual change in the opera's instrumentation but rather realize Bartók's original ideas in a more precise and more elaborate way.
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Rędzioch-Korkuz, Anna. "Constraints on Opera Surtitling: Hindrance or Help?" Meta 63, no. 1 (July 11, 2018): 216–34. http://dx.doi.org/10.7202/1050522ar.
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The article addresses the problem of constraints typical of opera surtitling, an audiovisual translation modality that seems rather neglected as far as the academic discourse is concerned. Although the termconstraintmay appear to have mainly negative connotations, it seems that the idea of a constraint may often prove helpful, since it may facilitate the process of translation by restricting the scope of possibilities and hence justify the chosen techniques. The article is meant to propose a classification of potential constraints on the surtitling process, including the constraint of a live performance, music, audience design or relevance, and the resulting implications for the whole process. It is argued that the awareness of the constraints operating in the process of drafting surtitles helps to understand the rationale behind this particular translation activity and consequently helps to draft good quality surtitles which serve their original purpose.
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Ellis, Katharine. "Mireille's Homecoming? Gounod, Mistral, and the Midi." Journal of the American Musicological Society 65, no. 2 (2012): 463–509. http://dx.doi.org/10.1525/jams.2012.65.2.463.
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Abstract In 1899, six years after Gounod's death, his Provençal opera Mireille (1864) suddenly became a focal point for regionalist celebration and debate in the South of France. It also, in a paradoxical sense, came “home” to Arles—a town that the original poem's author, Frédéric Mistral, made clear his heroine had never visited. In this article the resulting invented tradition, which began thirty-five years after the opera's Paris premiere and rested on standard notions of authenticity and belonging, is contextualized by reference to the very different life it led in the Midi as a standard “municipal” opera sent out, after significant revision, from Paris. Joep Leerssen's theory of cultural nationalism provides a frame for analyzing how and why this opera, which set a regionalist manifesto to music but was not a manifesto itself, could be only incompletely appropriated by Mistral and his félibres as an emblematic “national” work.
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MURPHY, SCOTT. "In the Beginning of Penderecki's Paradise Lost." Twentieth-Century Music 10, no. 2 (August 12, 2013): 231–48. http://dx.doi.org/10.1017/s1478572213000030.
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AbstractInstead of using Milton's famous opening lines, librettist Christopher Fry begins the text for Krzysztof Penderecki's opera Paradise Lost with the invocation that opens Book III, which alludes to acts of creation both biblical and literary. While the primordial effects of Penderecki's instrumental introduction to the opera parallel this allusion in easily discernible ways, his melodic lines used within this introduction also parallel this allusion in ways understood using recent theoretical perspectives on the composer's neo-Romantic style. These melodies exhibit a rare feature of paradoxicality, in that they are at once finite and infinite within stylistic constraints. This musical paradox corresponds to notions of paradox in accounts of cosmological creation, in a literary-operatic creation in which the author is character, and in the hypostatic union of the divine and human in Jesus Christ, a union foregrounded more in Fry's and Penderecki's opera than in Milton's original poem.
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POLZONETTI, PIERPAOLO. "Mesmerizing adultery: Così fan tutte and the Kornman scandal." Cambridge Opera Journal 14, no. 3 (November 2002): 263–96. http://dx.doi.org/10.1017/s0954586702000174.
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A notorious adultery scandal involving Guillaume Kornman (a co-founder and sponsor of the French mesmeric society) and Beaumarchais, who defended Kornman’s unfaithful wife, should be considered one of the main sources of inspiration for Così fan tutte. A pamphlet war between the two broke out in 1787, when Salieri was living with Beaumarchais in Paris. Significantly, the earliest sources of the opera – Salieri's first unfinished setting of La scola degli amanti, Da Ponte's original libretto, and Mozart's autograph – all spell the name of Guglielmo as ‘Guilelmo.’ A study of this real-life Parisian drama helps to clarify several dramatic and musical elements of the opera, including the use of mesmeric references, which is more pervasive than previously recognized. In this new light, the opera appears to offer a political response to the radical ideas on the regulation of sexual and social matters disseminated by Kornman's mesmeric circle.
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Solomon, Yosef. "Information Encountering at the Opera: What Donizetti and Romani’s Opera Buffa L’elisir d’amore Can Teach Us About Pseudo-Serendipity in Human Information Behaviour." Libri 70, no. 3 (September 25, 2020): 181–95. http://dx.doi.org/10.1515/libri-2018-0105.
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AbstractThis study connects two purportedly unrelated disciplines: information studies and opera, by examining what can be learned about information encountering, and in particular on pseudo-serendipity in human information behaviour, through analysing selected scenes of the nineteenth century opera buffa L’elisir d’amore (“Elixir of love”). As part of the emergent “information studies in the arts” framework, the study uses a hermeneutic interpretation of the libretto through informational perspective and analysis of the musical treatment of the text. All choices and sense-making are subjective. Analysis of L’elisir d’amore’s first six scenes uncovers valuable descriptions and insights regarding information encountering within a nineteenth century south-west Europe temporal culture. Findings augment the current knowledge on pseudo-serendipity in human information behaviour, and provide a more profound understanding of this nonlinear information behaviour. Operatic works have not yet served the development of information studies. This study establishes that opera can be a meaningful scholastic source for developing information research and discourse. It provides both valuable insight, from an operatic angle, into information encountering in the context of a bygone era, and an original information-behavioural layer of analysis to the Italian opera L’elisir d’amore.
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Tronchin, Lamberto, Francesca Merli, and Marco Dolci. "Acoustic Reconstruction of Eszterháza Opera House Following New Archival Research." Applied Sciences 10, no. 24 (December 9, 2020): 8817. http://dx.doi.org/10.3390/app10248817.
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The Eszterháza Opera House was a theatre built by the will of the Hungarian Prince Nikolaus Esterházy in the second half of the 18th century that had to compete in greatness and grandeur against Austrian Empire. The composer that inextricably linked his name to this theatre was Haydn that served the prince and composed pieces for him for many years. The Opera House disappeared from the palace complex maps around 1865 and was destroyed permanently during the Second World War. This study aims to reconstruct the original shape and materials of the theatre, thanks to the documents founded by researchers in the library of the Esterházy family at Forchtenstein, the Hungarian National Library, and analyze its acoustic behavior. With the 3D model of the theatre, acoustic simulations were performed using the architectural acoustic software Ramsete to understand its acoustical characteristics and if the architecture of the Eszterháza Opera House could favor the Prince’s listening. The obtained results show that the union between the large volume of the theatre and the reflective materials makes the Opera House a reverberant space. The acoustic parameters are considered acoustically favorable both for the music and for the speech transmission too. Moreover, the results confirm that the geometry and the shape of the Eszterháza Opera House favored the Prince’s view and listening, amplifying onstage voices and focusing the sound into his box.
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Yang, Yu. ""THE QUEEN OF SPADES" BY A. S. PUSHKIN — P. I. TCHAIKOVSKY: TO THE QUESTION OF CULTURAL AND PSEUDO-CULTURAL REINTERPRETATION." Arts education and science 1, no. 4 (2020): 103–10. http://dx.doi.org/10.36871/hon.202004013.
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The article attempts a comparative analysis of two theatrical performances of "The Queen of Spades" by A. S. Pushkin and P. I. Tchaikovsky. The first one is directed by Lydia Steier and conducted by Aziz Shokhakimov at the German Opera on the Rhine in Düsseldorf / Duisburg (2019). The second one is a promenade opera, implemented in the spirit of immersive theater and directed by Alexandr Legchakov in an ancient Moscow mansion on the Yauzsky Boulevard (2017). The purpose of the research is to reveal modern methods of working with the original source to demonstrate a starting point in artistic reflection, that carries out the revision of interpretations and reinterpretations of the opera text. Putting forward the thesis that the presented projects go beyond the interpretation method, through which the basic text is preserved at the level of an integral system, the author shows that both German and Russian directors rely on the method of reinterpretation in their works. Contributing to the total deformation of the original source, this method gives birth to a new system in which the original source is identified exclusively at the level of the element. At the same time, there is a distinction between cultural reinterpretation and pseudo-cultural one. Fundamental difference lies in the following: while cultural reinterpretation, actualizing a new view of "old truths", does not break the continuity of the past and present, pseudo-cultural reinterpretation destroys the desired links, "erasing" the previously existing experience. On the example of director's works by Lydia Steier and Alexandr Legchakov the author shows both a sample of pseudo-cultural and cultural reinterpretation.
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Kolesnyk, Yevdokiia. "Interpretation of the Main Heroine's Image in Operas by Christophe Willibald Gluck "Iphigenia en Tauride"." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 146–59. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251818.
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The author emphasizes the urgency of the appeal to С. Gluck's opera "Iphigénie en Tauride" as a work of sublime-majestic, tragic-dramatic character with strong passions, emotional struggle and inner experiences of the heroes. The approach proposed by the author serves as an alternative to the trends of modern theater, in which is rapidly spreading a mass culture of entertainment, show business, ideology consumption and pleasure. The process of the embodiment "Iphigénie en Tauride" in the Komische Oper Berlin with the participation of director V. Felzenstein, conductor K. Mazur and Ukrainian singer Ye. Kolesnyk, the author of the study, is covered. The source and analytical bases of the research are investigated and systematized in the context to identify some key aspects of Gluck's opera reform, their influence on the musical drama "Iphigénie en Tauride" and the peculiarities of the stage embodiment of the work by international ensemble. The aim of the study is to determine the concept of creating an artistically holistic image of the character on the example of interpreting the inner features of the main character of Gluck's opera "Iphigénie en Tauride" with the participation of domestic singers in international art projects. The methodology of scientific exploration of the main content of Gluck's opera reform concerns various points of study: the specifics of the musical dramaturgy of the work, the director's and conductor's concept of collaboration with the singer at the Komische Oper Berlin and the National Opera of Ukraine. The author involves the following methods: experimental modeling, interpretive, comparative. It was proved that the process of radical renewal of the opera was initiated by Gluck in "Orpheus and Eurydice", continued in "Alceste", acquired visible outlines in "Iphigenia in Aulis" and completed in ""Iphigénie en Tauride". Musical drama "Iphigenia in Tauris" absorbed all the achievements of the composer on the path of a radical rethinking of the ways of embodying operas. The general principles of the artistic approach to acting with the priority of realistic-psychological vector of development in the musical theater of both countries were revealed. The competitiveness of domestic artists in the world market of theatrical services is proved on the basis of the performance by the Ukrainian singer abroad during six years of the part of Iphigenia in the original language. The prospects of further scientific research of adaptation of domestic singers to the conditions of creation of international art projects against the background of world integration of modern musical theater are determined.
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D’Orazio, Dario, Anna Rovigatti, and Massimo Garai. "The Proscenium of Opera Houses as a Disappeared Intangible Heritage: A Virtual Reconstruction of the 1840s Original Design of the Alighieri Theatre in Ravenna." Acoustics 1, no. 3 (September 1, 2019): 694–710. http://dx.doi.org/10.3390/acoustics1030041.
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In a Historical Opera House (HOH), the proscenium is the foreground part of the stage. Until the end of the 19th Century, it was extended through the cavea, being the orchestra placed at the same level of the stalls, without an orchestra pit. Soloists often moved in the proscenium when they sung, in order to increase the strength of the voice and the intelligibility of the text. The Alighieri theatre in Ravenna, designed by the Meduna brothers, the former designers of Venice’s “La Fenice” theater, is chosen as a case study. During a refurbishment in 1928, the proscenium of the stage was removed in order to open the orchestra pit, which was not considered in the original design. The original design and the present one are compared by using numerical simulations. Acoustic measurements of the opera house and vibro-acoustic measurements on a wooden stage help to reach a proper calibration of both models. Results are discussed by means of ISO 3382 criteria: the proscenium increases the sound strength of the soloists but reduces the intelligibility of the text.
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Teterina, N. I. "B. V. ASAFYEV'S UNPUBLISHED NOTES IN THE MARGINS OF M. P. MUSORGSKY'S ORCHESTRAL SCORE FOR "BORIS GODUNOV"." Arts education and science 1, no. 3 (2021): 110–17. http://dx.doi.org/10.36871/hon.202103014.
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This article is devoted to the initial stage in the history of studying M. P. Musorgsky's orchestral style. The first researchers who gain access to the composer's autograph of the orchestral score were B. V. Asafyev and P. A. Lamm. The musicians edited the score of the opera "Boris Godunov" for the premiere, which took place at the State Academic Opera and Ballet Theatre on February 16, 1928, when after a half-century interval, the author's original orchestration was performed. Two short, but fundamentally important articles by B. V. Asafyev, as well as his notes in the margins of the handwritten score, opened a new stage in the scholarly and artistic understanding of Musorgsky's orchestral dramaturgy and orchestral stylistics.
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Brooks, Marc. "Competing Ways of Hearing Nature in Berg's Wozzeck." Cambridge Opera Journal 32, no. 1 (March 2020): 52–89. http://dx.doi.org/10.1017/s0954586720000117.
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AbstractMusicologists have tended to assume that Berg's ‘translation’ of Büchner's play was an unproblematic affair and have felt free to set about uncovering how the music articulates the drama and the themes as if the meanings of play and opera were identical. In this article I listen to Wozzeck as a dialogue between Büchner's original fragment and Berg's operatic translation in a manner that acknowledges the differences between them. In particular I propose an alternative way of hearing nature in the opera that accords with Büchner's and Berg's own valorisation of the creative power of Life, rather than focusing on the political power of the idealist subject like many earlier appraisals of the opera. I first argue that, with Woyzeck, Büchner was opening up an exploratory space in which he asked his audience: ‘If the autonomous self-identical subject is indeed illusory, what is the mechanism through which social progress can take place?’ Second, I challenge the assumption that Berg managed to set the text in a neutral way, arguing that he imposed upon the fragments an alien set of aesthetic values and inadvertently dismantled the mechanism Büchner had designed to provoke audiences into thinking about volition and creativity. In the final two sections of the article, I argue that, despite the violence Berg did to Büchner's plan, the music in the opera's nature scenes can be heard to generate the philosophy of potential that Büchner was searching for in the original fragments.
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Kolesnyk, Evdokia. "Education of a Singer-Actor in the Context of the Ukrainian Opera School." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(55) (June 16, 2022): 111–24. http://dx.doi.org/10.31318/2414-052x.2(55).2022.266551.
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The article examines the process of formation of the Ukrainian national opera school, establishing its fundamental principles in the context of the successive activities of several generations of vocal teachers. The author substantiates in detail the necessity of training a universal opera singer with fluency in the vocal technique of performing the Ukrainian and foreign repertoire in the original language. The specificity of the training of a singer-actor of the opera genre is determined in the context of the integrative interaction of domestic and foreign vocal systems. The algorithm of this study consists in clarifying the prerequisites and sources of the formation of the Ukrainian national opera school, as well as in the analysis of the formation of its fundamental principles through the prism of the activities of outstanding teachers. The author outlines the definition of the concept of training opera singers in today's realities. The prerequisites for the formation of domestic professional vocal education have been revealed, which consist in the pedagogical activities of the music classes at the Kyiv branch of the Russian Music Society (reformed into the Kyiv Music School), the M. Lysenko Music and Drama School (reorganized into the M. Lysenko Music and Drama Institute), which laid the foundation for the opera training of singers at the Kyiv Conservatory. It was found that the Ukrainian national opera school was formed on the basis of an organic synthesis of national church and folk singing and creatively reinterpreted various European vocal systems. The analysis of the formation of the Ukrainian opera school was carried out. It is proved that it is based mainly on the Italian vocal tradition, developed on domestic soil by O. Muravyova with the participation of O. Filippi-Mishuga. The concept of training a singer-actor in the context of the modern assets of the Ukrainian opera school is argued, it involves the integration of various means of expressiveness in the creation of a complete vocal and stage image of a character. Prospects for further research in the aspect of integrating techniques of different vocal systems with their gradual convergence and assimilation are predicted.
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Abraitienė, Lina, and Laura Antanavičiūtė. "Text Compression in Surtitles: A Case Study of the Opera La Traviata." Sustainable Multilingualism 16, no. 1 (May 1, 2020): 145–74. http://dx.doi.org/10.2478/sm-2020-0008.
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SummarySurtitling as a mode of audiovisual translation is commonly used for intercultural communication both intralingually and interlingually in theatres. The largest Lithuanian theatres often provide surtitles as a means to present translated text of the original language, although in the scientific field surtitling is still a little studied mode. In order to provide qualitative surtitles that convey the essentials of the original language, translators and surtitlers applied a number of compression strategies. The duration and length of the surtitles are limited; therefore, the surtitle specialists must take into account the time and space constraints and provide the shortest text without losing the essence so that the viewer would be able to spend less time reading and mostly focusing on the performance. The article investigates cases of compression of translated text at both the syntactic and lexical levels. Using the descriptive, analytical and comparative methods, Lithuanian surtitles of the opera Traviata for two theatres, namely Kaunas State Musical Theatre and Lithuanian National Opera and Ballet Theatre, are prepared, and a study of the cases of text compression is performed.
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Braun, Michael. "Bartóks originale Vokalmusik Gemeinsamkeiten in Textwahl, Textbehandlung und Stil." Studia Musicologica 53, no. 1-3 (September 1, 2012): 199–210. http://dx.doi.org/10.1556/smus.53.2012.1-3.15.
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The inventory of Béla Bartók’s original vocal compositions produces a heterogeneous impression: as regards to scoring, form, the derivation of the text, and the attitude of expression, the opera Bluebeard’s Castle, the two collections of songs opp. 15 and 16, Cantata profana for Soli, Choir and Orchestra, and the a cappella series Elmúlt időkből (From Bygone Times) and Twenty-Seven Two- and Three-Part Choruses apparently do not form a homogeneous group. However, they do share the common characteristic of being born as original music out of pre-existing texts. Stylistic features and peculiarities in the choice and the treatment of the texts do reveal some links and parallels between the original vocal works which reflect Bartók’s principles in the setting of texts and in the treatment of voices.