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Journal articles on the topic 'Royal Opera House (London, England)'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Barlow, Jill. "London, Royal Opera House: ‘The Blackened Man’." Tempo 57, no. 223 (2003): 87–89. http://dx.doi.org/10.1017/s004029820327008x.

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Will Todd, born in Durham in 1970, has an extensive output of compositions to his credit, including highly-charged operas and oratorios, largely centred around themes from northeastern England, notably the workers' struggle against early 19th and 20th-century injustice and oppression. I had heard his emotive cantata The Burning Road performed at St Albans Cathedral in February 2002 – it depicts the relentless, footsore Jarrow Marchers of 1936 who stopped in the city en route to London – and was interested to hear the follow-up in his new opera on an allied theme: The Blackened Man.

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2

Venn, Edward. "London, Royal Opera House: ‘The Tempest’." Tempo 58, no. 229 (2004): 72–73. http://dx.doi.org/10.1017/s0040298204210245.

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By all (press) accounts, the overture to The Tempest, Thomas Adès's first full-scale opera, was completed at speed – just five days before the 20 February première, at the Royal Opera House, Covent Garden. Comparisons with Rossini naturally followed, but the question remained whether such facility would be married to the necessary substance for a setting of Shakespeare's play Robin Holloway's claim (in the Financial Times) that the opera was ‘make or break’ for Adès may in hindsight come to appear somewhat overstated, but there is no doubt that this was an important milestone in the composer's

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3

Service, Tom. "London, Royal Opera House: ‘Sophie's Choice’." Tempo 57, no. 224 (2003): 41–42. http://dx.doi.org/10.1017/s0040298203210159.

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Few contemporary operas achieve the newsworthiness of Nicholas Maw's Sophie's Choice. Even before its 7 December première at the Royal Opera House, Covent Garden, the piece dented public consciousness thanks to a barrage of press coverage surrounding the production, the cast, and the subject matter. The irony is that it was the other names associated with the opera – conductor Simon Rattle, director Trevor Nunn, and William Styron, author of the 1979 novel – that made Sophie's Choice a news story, rather than the fame of its composer. Yet Maw's was the ultimate responsibility for the creation

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4

Sporton, Gregory. "Don Pasquale, Opera by Gaetano Donizetti, Damiano Michieletto (dir.)." Scene 10, no. 1 (2022): 141–44. http://dx.doi.org/10.1386/scene_00046_5.

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5

Knies, Stephan. "DIVINE IRENE." Opernwelt 63, no. 3 (2022): 58–59. http://dx.doi.org/10.5771/0030-3690-2022-3-058.

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6

Roloff Halsey, Wiebke. "BEGEHRLICHE BLICKE." Opernwelt 63, no. 4 (2022): 45. http://dx.doi.org/10.5771/0030-3690-2022-4-045.

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7

Fuchs, Jörn Florian. "WIR SIND GEMEINT." Opernwelt 66, no. 4 (2025): 40–41. https://doi.org/10.5771/0030-3690-2025-4-040.

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8

Price, Curtis, Judith Milhous, and Robert D. Hume. "A Royal Opera House in Leicester Square (1790)." Cambridge Opera Journal 2, no. 1 (1990): 1–28. http://dx.doi.org/10.1017/s0954586700003086.

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The King's Theatre, Haymarket, was destroyed by fire in June 1789. Shortly thereafter some wealthy and powerful patrons – notably the Prince of Wales (the future George IV), the Duke of Bedford and the Marquis of Salisbury – launched an ambitious scheme to build a fabulously expensive Royal Opera House in Leicester Square. The venture was designed to re-establish London as a major centre for Italian opera and ballet, to reform the wayward financial and artistic management of the King's Theatre and to give the capital city a grand opera house of modern design that would rival any in Europe. Bec

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9

Cagney, Liam. "Georg Friedrich Haas Morgen und Abend, Royal Opera House, London." Tempo 70, no. 276 (2016): 73–74. http://dx.doi.org/10.1017/s0040298215001047.

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Morgen und Abend is Georg Friedrich Haas's seventh opera, a co-commission by the Royal Opera in London and Deutsche Opera in Berlin. It is an hour-and-a-half long, and its libretto is adapted from the novel Morgon og Kveld (2000) by Norwegian author Jon Fosse, whose work Haas previously adapted in Melancholia for the Paris Opéra. Morgen und Abend's two continuous scenes present the life of fisherman Johannes by focusing on its two most salient moments – Johannes's birth (in the morning) and death (in the evening). In this strategy there is a slight, if inadvertent, echo of the lights on/lights

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Otten, Jürgen. "Glaube, Liebe, Hoffnung." Opernwelt 64, no. 1 (2023): 18–20. http://dx.doi.org/10.5771/0030-3690-2023-1-018.

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London leidet und versucht zu lächeln: Die English National Opera steht vor dem Aus, am Royal Opera House Covent Garden gibt es eine bezaubernde Händel-«Alcina» und eine bewegende Britten-«Lucretia» VON JÜRGEN OTTEN

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11

Lücker, Arno. "«HELDEN WIE IHR»." Opernwelt 64, no. 6 (2023): 6–8. http://dx.doi.org/10.5771/0030-3690-2023-6-006.

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12

Sporton, Gregory. "Madama Butterfly, Moshe Leiser and Patrice Caurier (dirs), Royal Opera House, London, 26 March 2024." Scene 12, no. 1 (2024): 119–21. https://doi.org/10.1386/scene_00067_5.

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13

Anderson, Martin. "London, Royal Opera House, Covent Garden: Lorin Maazel's ‘1984’." Tempo 59, no. 234 (2005): 45. http://dx.doi.org/10.1017/s0040298205280300.

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I have had occasion to be sniffy about Lorin Maazel's music in these pages before (Tempo No. 218), not least because of its sheer lack of profile, of any hint of individuality. So it was with exceedingly modest expectations that I took my seat for his first opera, 1984, the world-première run of which began on 3 May. Even so, I was disappointed: no ditchwater is as dull. The basic problem is the absence of any discernible personality in what Maazel writes: the musical language of1984 is a thin gruel boiled up from left-over Prokofiev, Copland, Bartók, Ravel, Janáček, whatever was lying around

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14

Harris, Rob. "Acoustic considerations in the redevelopment of the Royal Opera House, London." Journal of the Acoustical Society of America 105, no. 2 (1999): 929. http://dx.doi.org/10.1121/1.426291.

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15

Knoth, Ina. "Just for the Ladies? Compilation, Knowledge Practice and Pasticcio in England around 1720." Musicology Today 18, no. 1 (2021): 11–19. http://dx.doi.org/10.2478/muso-2021-0003.

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Abstract In 1719, the Royal Academy of Music was founded with the purpose of setting Italian opera in England on solid ground. Previously, at least two thirds of the Italian operas staged in London had been pasticci. Much of the criticism of the Italian opera before 1719 concerned stylistic fickleness. This is just one reason why it seems likely that the declining number of pasticci after 1719 can be interpreted as an effect of the move against stylistic compilations in music. In fact, in the first period of the Academy’s opera management (from 1720 to 1728) the share of pasticci fell to appro

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16

Protano-Biggs, Laura. "An Earnest Meyerbeer: Le Prophète at London’s Royal Italian Opera, 1849." Cambridge Opera Journal 29, no. 1 (2017): 53–73. http://dx.doi.org/10.1017/s0954586717000040.

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AbstractWhen the grands opéras of Giacomo Meyerbeer were introduced to London audiences as a cluster in the mid-1800s, critics identified moments of understated musical and dramatic expression, and made little mention of more sensational dimensions, such as their impressive staging. With a focus on the 1849 staging of Le Prophète at the brand-new Royal Italian Opera in London, this article demonstrates that numerous critics were keen to endorse this new opera house, where most of the composer’s works were mounted, and that, to this end, they zeroed in on the most bare and restrained elements i

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17

Milhous, Judith, and Robert D. Hume. "Opera Salaries in Eighteenth-Century London." Journal of the American Musicological Society 46, no. 1 (1993): 26–83. http://dx.doi.org/10.2307/831805.

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Until the last fifteen years, very few salaries have been known for Italian opera singers or ballet dancers in eighteenth-century London. Two major new sources are presented here for the first time: Chancery testimony concerning salaries in the 1780s, and a series of manuscript annotations giving salaries of principals for eight seasons between 1796 and 1808. Added to recent discoveries concerning the first decade of the century, the Royal Academy of Music in the 1720s, and Chancery testimony about the pay scale in the 1760s, this information makes an overview possible. The top and bottom of t

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18

Adwan, Ziad. "The Opera House in Damascus and the ‘State of Exception’ in Syria." New Theatre Quarterly 32, no. 3 (2016): 231–43. http://dx.doi.org/10.1017/s0266464x1600021x.

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In this article Ziad Adwan examines the relationship between the Opera House in Damascus and the Al-Assad dynasty. Hafez Al-Assad ordered the building of the Opera House but it remained unfinished at his death. His son Bashar opened it after three decades of construction. Leaving the institution unfinished was, it is argued here, due to uncertainty regarding its identity, place in the bureaucratic hierarchy, and meaning in a totalitarian regime. Theatre institutions were driven to take oppositional positions against one another, and the Opera House intensified the enmity. No theatres were buil

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19

Graham, Stephen. "Georg Friedrich Haas Atthis and Matthew Rogers The Virtues of Things, The Linbury Studio, Royal Opera House, London." Tempo 69, no. 274 (2015): 69–70. http://dx.doi.org/10.1017/s004029821500042x.

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The Linbury Studio Theatre at the Royal Opera House in London has hosted an impressive range of intimate experimental music theatre works over the last few years. The 2014/15 season, for example, has featured prominent premieres of new works by Harrison Birtwistle and David Harsent, and a ballet staging of John Adams' Shaker Loops, amongst a range of other interesting concerts and shows. The late-April premiere run of Matthew Rogers's The Virtues of Things and an early-May staging by Netia Jones of Georg Friedrich Haas's song-cycle on fragments of Sappho, Atthis, showed how well the Royal Oper

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20

Rutherford-Johnson, Tim. "Philip Venables 4.48 Psychosis, Royal Opera House at Lyric Hammersmith, London; Liza Lim Tree of Codes, Musikfabrik, Cologne Opera, Cologne." Tempo 70, no. 278 (2016): 90–92. http://dx.doi.org/10.1017/s0040298216000449.

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As the first Doctoral Composer-in-Residence of the Royal Opera House and Guildhall School of Music and Drama, Philip Venables has – some might say bravely – chosen to adapt 4.48 Psychosis, the last play by the late British playwright Sarah Kane. Brave for several reasons. Kane's work is renowned for its naked, sometimes brutal, expression and themes, and the nihilism and violence of her plays have caused critical uproar in the past. Moreover, her estate has until now been understandably protective of her legacy; Venables's opera, premiered in May, is the first adaptation they have permitted, a

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21

Ewans, Michael. "Kaspar Holten’s production of Szymanowski’s King Roger: A test of ‘fidelity’." Studies in Musical Theatre 13, no. 3 (2019): 317–32. http://dx.doi.org/10.1386/smt_00010_1.

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Kaspar Holten’s production of Szymanowski’s King Roger (completed in 1924) is an important realization of this complex and challenging opera. It was premiered at the Royal Opera House, Covent Garden in 2015; a DVD recording of the London performances makes a detailed study of the production possible. This article is concerned with the issue of what constitutes fidelity in a director’s approach. It begins by discussing Szymanowski’s mise en scène, and outlines the main themes of King Roger and its relationship to Euripides’ Bacchae; then it engages with Holten’s interpretation, and the fascinat

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22

Papaeti, Anna. "Humour and the Representation of Fascism in Schweyk im zweiten Weltkrieg: Adorno contra Brecht and Hanns Eisler." New Theatre Quarterly 30, no. 4 (2014): 318–32. http://dx.doi.org/10.1017/s0266464x14000669.

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Bertolt Brecht and Hanns Eisler's Schweyk im zweiten Weltkrieg occupies a key but under-recognized place in debates about humour in anti-fascist art in the late 1950s and early 1960s – debates largely dominated by Theodor W. Adorno's critique of Brecht's satirical plays on the Third Reich. In this article Anna Papaeti examines the artistic strategies and reception history of Schweyk im zweiten Weltkrieg in the context of such debates. Focusing in particular on Eisler's musical additions for the parodic ‘higher regions’ interludes, as well as on the controversies sparked by the 1959 West German

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23

Mawer, Deborah. "Music-Dance (and Design) Relations in Ballet Productions of Ravel’s Daphnis et Chloé." Les Cahiers de la Société québécoise de recherche en musique 13, no. 1-2 (2012): 77–85. http://dx.doi.org/10.7202/1012353ar.

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This article investigates music−dance (and design) interplay and balletic challenges in Daphnis et Chloé, focusing upon the Ravel−Ashton−Craxton production for The Royal Ballet (1951, revived in 2004), in comparison with the Ravel−Fokine−Bakst original of 1912. Sources drawn upon include accessible choreographic materials of Frederick Ashton (1904−88), held at the Royal Opera House Archives in London, as well as first-hand correspondence with the designer John Craxton (1922−2009). In order to explore the main music−dance relationships and emergent meanings, the study engages with multimedia id

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24

Rhodes, J. T. "Syon Abbey and its Religious Publications in the Sixteenth Century." Journal of Ecclesiastical History 44, no. 1 (1993): 11–25. http://dx.doi.org/10.1017/s0022046900010174.

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Syon Abbey was a royal foundation established by Henry v in 1415. It was situated at Isleworth on the Thames, just across the river from the royal palace of Richmond and the Charterhouse of Sheen, and some three hours rowing time upstream from London Bridge. It was the only Bridgettine foundation in England. It was a double house consisting of sixty nuns and twenty-five men, of whom thirteen were to be priests; the abbess ruled over the whole establishment, but the confessor general, one of the priests, had spiritual jurisdiction. From the time of its foundation until its dissolution in 1539,

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25

Haggett, George K. "Gavin Higgins and Francesca Simon, The Monstrous Child, London, Royal Opera House, Linbury Theatre, 21 February–3 March 2019." Tempo 73, no. 290 (2019): 76–78. http://dx.doi.org/10.1017/s0040298219000603.

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Melting blocks of ice drip from the ceiling. Sounds of wind, rain, and shrieking howls accompanied by rasping trombone pedal tones and wailing clarinet glissandi build to a cacophony of death-noises. ‘Oh, enough local colour’, retorts Hel.

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26

Xinhang, Cui. "The role of Nicolo Grimaldi (Nicolini) in the Italian opera development in London in the early 18th century." PHILHARMONICA. International Music Journal, no. 3 (March 2023): 34–47. http://dx.doi.org/10.7256/2453-613x.2023.3.43425.

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The subject of the research is the artistic phenomenon of Nicolo Grimaldi, an outstanding Italian operatic castrato of the early 18th century. The author examines the creative biography and focuses on the analysis of the stage skills of the singer, who set the bar high for dramatic art in England. Nicolo Grimaldi (1673–1732) became famous under the pseudonym Nicolini (or Nicolino). His name became widely known thanks to the legendary performances on the stage of the Royal Theater in London in 1708–1712 and 1715–1717. The reconstruction of the vocal-dramatic profile of the singer, based on reli

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27

Dean, David M. "Parliament, Privy Council, and Local Politics in Elizabethan England: The Yarmouth-Lowestoft Fishing Dispute." Albion 22, no. 1 (1990): 39–64. http://dx.doi.org/10.2307/4050256.

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In his celebrated presidential addresses to the Royal Historical Society between 1974 and 1976 Sir Geoffrey Elton explored three “points of contact” between central authority and local communities: Parliament, the royal council, and the royal court. Parliament, he argued, was “the premier point of contact,” which “fulfilled its functions as a stabilizing mechanism because it was usable and used to satisfy legitimate and potentially powerful aspirations.” Elsewhere Elton, and other parliamentary historians such as Michael Graves, Norman Jones, and Jennifer Loach, have stressed parliament's role

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Maynard, Elise. "Fantasy through naturalism: Julia Trevelyan Oman and The Nutcracker." Studies in Costume & Performance 9, no. 1 (2024): 29–48. http://dx.doi.org/10.1386/scp_00107_1.

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The Nutcracker is one of the most successful ballets in the world, accounting for almost half of the annual revenue of ballet companies across North America and Europe. As the third-largest ballet company in the world, the Royal Ballet’s version is one of the most recognizable, with designs created in 1984 by Julia Trevelyan Oman. Oman is the set and costume designer responsible for some of the longest continually running designs created for the Royal Opera House in London. Her method can be characterized as a highly detailed naturalism facilitated by meticulous research often centring on a pe

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Andreev, Alexander Alekseevich, and Anton Petrovich Ostroushko. "LISTER Joseph (1827-1912). To the 190th of the birthday." Vestnik of Experimental and Clinical Surgery 10, no. 2 (2017): 175. http://dx.doi.org/10.18499/2070-478x-2017-10-2-175.

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Joseph Lister – the largest English surgeon and scientist, the founder of antiseptics, President of the Royal society of surgeons, a member of the house of lords. Joseph Lister was born on 5 apr 1827 in England. In 1844 he graduated from high school, and in 1852, the medical faculty of the University of London and was appointed resident assistant College University hospital. The first scientific work of Lister was published in 1852 and was dedicated to the structure of the iris of the eye and its muscles. Soon Lister began working in the clinic of Professor George. Syme in Edinburgh and publis

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Hawkins, Alfred R. J. "The Peculiar Case of a Royal Peculiar: A Problem of Faculty at the Tower of London." Ecclesiastical Law Journal 24, no. 3 (2022): 345–63. http://dx.doi.org/10.1017/s0956618x22000345.

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Her Majesty's Royal Palace and Fortress the Tower of London, less formally known as the Tower of London or simply ‘the Tower’, was the seat of royal power in England for several centuries following its construction by William the Conqueror in 1078. While now a popular tourist attraction, it remains the home of the Crown Jewels, is a working barracks and maintains many ceremonial traditions of state. Two chapels are located within its walls. Foremost of these is the late eleventh-century chapel of St John the Evangelist (St John's), located within the White Tower, noted as a rare surviving exam

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Wharton, Annabel Jane. "Postmortem Architect." Journal of the Society of Architectural Historians 83, no. 4 (2024): 465–80. http://dx.doi.org/10.1525/jsah.2024.83.4.465.

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Abstract This article assesses the role of the female cadaver in the design of 16 Great Windmill Street in London, the house/museum/anatomy theater complex built in 1767 by Robert Mylne, student of Piranesi, and William Hunter, man-midwife, physician to the queen of England, and first professor of anatomy at the Royal Academy. The focus on the female cadaver exposes the rigid gendering of emergent spaces of modern Western science. More important, this investigation suggests that the subaltern subject of a building might act less as a passive object and more as an active agent in the generation

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32

ROSE, EDWARD P. F. "LAWRENCE RICKARD WAGER (1904–1965): A DISTINGUISHED GEOLOGIST WHO HELPED TO PIONEER AERIAL PHOTOGRAPHIC INTERPRETATION FOR ALLIED FORCES IN WORLD WAR II." Earth Sciences History 38, no. 1 (2019): 59–73. http://dx.doi.org/10.17704/1944-6178-38.1.59.

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ABSTRACT ‘Bill’ Wager, after undergraduate and postgraduate studies at the University of Cambridge, became a lecturer at the University of Reading in southern England in 1929. He was granted leave in the 1930s to participate in lengthy expeditions that explored the geology of Greenland, an island largely within the Arctic Circle. With friends made on those expeditions, he became in June 1940 an early recruit to the Photographic Development Unit of the Royal Air Force that pioneered the development of aerial photographic interpretation for British armed forces. He was quickly appointed to lead

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33

Wexner, Steven D., Delia Cortés-Guiral, Neil Mortensen, and Ara Darzi. "Lessons Learned and Experiences Shared From the Front Lines: United Kingdom." American Surgeon 86, no. 6 (2020): 585–90. http://dx.doi.org/10.1177/0003134820925087.

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This is the second installment of a series of interviews, conducted by the senior author (S.D.W.) and the American College of Surgeons (ACS), that feature international leaders in surgery telling of the challenges they faced during the global COVID-19 pandemic. The disease arrived in the United Kingdom with devastating effects within a few weeks of its spread to Western Europe from China. In Oxford, Professor Neil Mortensen used his position as the President-elect of the Royal College of Surgeons of England to help coordinate efforts among the 4 Royal Colleges in the United Kingdom (his own, L

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34

Spinks, Bryan. "Durham House and the Chapels Royal: their liturgical impact on the Church of Scotland." Scottish Journal of Theology 67, no. 4 (2014): 379–99. http://dx.doi.org/10.1017/s0036930614000179.

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AbstractEver since the laying of the foundation stone of the present Norman building, Durham Cathedral has had an ambiguous relationship with Scotland – some good (the huge contribution of Dean William Whittingham through liturgy, metrical psalms and the Geneva Bible) and some extremely negative (the cathedral served as the prison for the Scottish prisoners after the battle of Dunbar). Amongst the more negative are the liturgical ideals and practices of the Durham House group, more commonly though inaccurately known as ‘Laudians’. The members of the group, which did include William Laud, were

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Arkæologisk Selskab, Jysk. "Anmeldelser 2004." Kuml 53, no. 53 (2004): 309–80. http://dx.doi.org/10.7146/kuml.v53i53.97503.

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Nicolai Carlberg og Søren Møller Christensen (red.): Kulturmiljø – mellem forskning og politisk praksis.(Jytte Ringtved)Anders Fischer & Kristian Kristiansen (eds.): The Neolithisation of Denmark. 150 Years of Debate. (T. Douglas Price)Gérard Franceschi, Asger Jorn og Oddgeir Hoftun: Stavkirkene – og det norske middelaldersamfunnet.(Lotte Hedeager)Bo Gregersen og Carsten Selch Jensen (red.): Øm Kloster. Kapitler af et middelalderligt cistercienserabbedis historie. (Stig Bergmann Møller)Ingrid Gustin: Mellan Gåva och marknad. Handel, tillit och materiell kultur under vikingatid. Lund Studi

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Pearson, Mike Parker. "Reassessing ROBERT DRURY'S JOURNAL as A Historical Source for Southern Madagascar." History in Africa 23 (January 1996): 233–56. http://dx.doi.org/10.2307/3171942.

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In 1729 a book entitled Madagascar: or Robert Drury's Journal During Fifteen Years Captivity on that Island was published in London. It describes the shipwreck of an East Indiaman on the south coast of Madagascar, the enforced stay of the crew at the royal capital of the Antandroy people, the crew's escape and massacre, the survival of the midshipmen, including Drury, as royal slaves, and Drury's eventual escape to the English colony of St. Augustine. It purports to be his authentic account, digested into order by a transcriber or editor and published at the request of his friends. A certifica

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Imre, Zoltán. "A Midsummer Night's (Different) Dream(s): The Royal Shakespeare Company's 1972 Tour of Eastern Europe." Theatre Survey 56, no. 3 (2015): 336–61. http://dx.doi.org/10.1017/s0040557415000290.

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Sitting between the First Deputy Minister for Foreign Affairs and a Vice-President of the Council of State for Cultural and Socialist Education in the official box at the Opera House for the gala première of the Royal Shakespeare Company's production of “A Midsummer Night's Dream” on 23 October and watching those adroit fairies prepare Bottom for his night of love with Titania, I began to get an uneasy feeling that things were not going well as I observed their consternation and embarrassment at the erotic miming before us. This impression was confirmed by their almost monosyllabic comments at

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Collinson, D. W. "Stanley Keith Runcorn. 19 November 1922 – 5 December 1995." Biographical Memoirs of Fellows of the Royal Society 48 (January 2002): 391–403. http://dx.doi.org/10.1098/rsbm.2002.0023.

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Stanley Keith Runcorn was born in 1922 in Southport, Lancashire, the son of a monumentalmason of staunch Congregationalist persuasion. He was educated at the King George VGrammar School, where his strongest subjects were history and mathematics. When in thesixth form his headmaster persuaded him to take science subjects, and he was subsequentlyawarded a State Scholarship to study at Cambridge University. At an early age his father hadtaken him to a small local observatory, encouraging his interest in astronomy. On the sportingside, in spite of his later interest in rugby he refused to play the

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39

Khokhlova, Daria. "To the question of choreographic interpretation of male images of W. Shakespeare’s drama of the later period “The Winter's Tale” in the eponymous ballet of C. Wheeldon." Культура и искусство, no. 10 (October 2020): 1–16. http://dx.doi.org/10.7256/2454-0625.2020.10.33879.

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The subject of this article is the interpretation of male images from W. Shakespeare&rsquo;s &ldquo;The Winter&rsquo;s Tale&rdquo; by the choreographer C. Wheeldon in the context of its conceptual commonality with the literary original. The goal of this research is to determine the stage means and elements of choreographic language used by the choreographer for creation of male roles, as well as to draw ideological-imagery parallels with the original text. Methodological foundation of this study features the principles of critical analysis of text of the play along with the sem

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Khokhlova, Daria. "The peculiarities of interpretation of female images of W. Shakespeare play “The Winter’s Tale” in the eponymous ballet by Christopher Wheeldon." Культура и искусство, no. 9 (September 2020): 1–14. http://dx.doi.org/10.7256/2454-0625.2020.9.33669.

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The subject of this research the interpretation of female images of W. Shakespeare's &ldquo;The Winter's tale&rdquo; by C. Wheeldon in the context of its ideological-imagery identity to the literary source. An attempt is made to determine the expressive means and choreographic elements used by ballet master in staging female roles, as well as their contextual juxtaposition to the primary source. The application of comprehensive approach is substantiated by versatility of the problem on interpretation of W. Shakespeare&rsquo;s play on the ballet stage. The theoretical framework of t

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Swinton, Tilda. "Subverting Images of the Female." New Theatre Quarterly 6, no. 23 (1990): 215–28. http://dx.doi.org/10.1017/s0266464x00004516.

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This is the third in a series of interviews with women who are involved in various capacities in feminist theatre today, whose career paths intersect and connect with the feminist movement and the feminist theatre movement, tracing developments and shifts in the feminist theory and practice of the past fifteen years. The first interview, with Gillian Hanna of Monstrous Regiment, set out to provide an update of previously published information, and thereby to keep alive and accurate the current debate about British feminist theatre groups. The second interview, with playwright Charlotte Keatley

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Bainbridge, Virginia R. "Lives of the Brothers of Syon Abbey: Patterns of Vocation from the Syon Martiloge and Other Records ca. 1415-1622." Medieval People 37 (2022): 185–231. http://dx.doi.org/10.32773/zfge5428.

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This paper is part of a major prosopography project which is nearing completion. The project traced around 600 sisters, brothers and benefactors of Syon Abbey ca. 1400-1600. Their names were recorded by the community in three obit lists: the Cambridge obit list ca. 1451 was copied into the second, the Syon Martiloge (BL Add MS 22285), in the 1470s. The third was copied from the Martiloge in Lisbon ca. 1608. The Lisbon obit list contains new information unused by earlier historians. Five lists of names provide snapshots of the community in 1428, 1539, 1557, 1587 and 1622. Short biographies base

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Høiris, Ole. "Den skæggede eskimo." Kuml 53, no. 53 (2004): 275–308. http://dx.doi.org/10.7146/kuml.v53i53.97502.

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The bearded Eskimo Looking at old Inuit and North American Indian portraits one can see that the men very often have a full beard; these representations are in this respect factually inaccurate and also in conflict with the written texts from the Renaissance that describe these people as beardless. Based on actual examples, this article shows how this can be explained with reference to Renaissance anthropology: the beard showed what kind of humans those natives really were, which was far more important than showing exactly what they looked like in a mirror.Martin Frobisher’s expeditions in sea

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Fowler, Peter. "Dorset in depth - John C. Barrett, Richard Bradley & Martin Green. Landscape, monuments and society: the prehistory of Cranborne Chase. x + 255 pages, 2 plates, 116 figures, 29 tables. 1991. Cambridge & New York (NY): Cambridge University Press; ISSN 0-521-32128-X hardback £35 & $59.50. - John Barrett, Richard Bradley & Melanie Hall (ed.). Papers on the prehistoric archaeology of Cranborne Chase. iv + 251 pages, 11 plates, 78 figures. 1991. Oxford: Oxbow Books (Oxbow Monograph 11); ISSN 0-946897-31-X paperback £24 & $48. - Royal Commission on the Historical Monuments of England (by H.C. Bowen, edited by B.N. Eagles). The archaeology of Bokerley Dyke. xiv + 127 pages, 53 plates, 66 figures, 7 area plans. 1990. London: HMSO; ISSN 0-11-300019-7 paperback £35. - Royal Commission on the Historical Monuments of England (by H.C. Bowen, edited by B.N. Eagles). The archaeology of Bokerley Dyke. xii + 37 pages, 1991. London: Royal Commission on the Historical Monuments of England; ISSN 1-873592-00-0 paperback free on request from RCHME Fortress House, 23 Savile Row, London W1x 2JQ. - Peter J. Woodward. The south Dorset Ridgeway survey and excavations 1977-84. x + 174 pages, 33 plates, 72 figures, 31 tables, 3 microfiches.1991. Dorchester: Dorset Natural History & Archaeological Society (Monograph 8); ISSN 0-900341-30-0 paperback £12.95 + £?price? postage & handling from the Society at the County Museum, Dorchester, Dorset." Antiquity 65, no. 249 (1991): 988–92. http://dx.doi.org/10.1017/s0003598x00080807.

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Revell, Timothy. "Hogarth and Bad Taste: The Sculptures at St. Bartholomew’s as Satirical Inspiration." Inquiry@Queen's Undergraduate Research Conference Proceedings, February 20, 2018. http://dx.doi.org/10.24908/iqurcp.10521.

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The engraving Masquerades and Operas (1724), also known as The Bad Taste of the Town, was William Hogarth’s first self-published work. Despite this milestone, it has become a footnote to more studied works such as The Rake’s Progress. I have discovered that Hogarth used sculptures from the Henry VIII Gate at St. Bartholomew’s Hospital in London on his depiction of the Great Gate of Burlington House (home to the Royal Academy of Arts); I believe this is an overlooked element of the print that signals his distaste for foreign art. Hogarth strongly opposed Italianate painting and architecture, ev

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"EIN KUNSTSTÜCK." Opernwelt 65, no. 3 (2024): 46–47. http://dx.doi.org/10.5771/0030-3690-2024-3-046.

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"FIRST PERFORMANCES." Tempo 65, no. 256 (2011): 53–69. http://dx.doi.org/10.1017/s0040298211000167.

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London, Royal Opera House: ‘Promised End’ Tim MottersheadAmsterdam: Raskatov's ‘A Dog's Heart’ Alexander IvashkinGlasgow: James Dillon's ‘Nine Rivers’ Paul ConwayZurich: Dalbavie's ‘Gesualdo’ Peter PalmerTanglewood Festival 2010 Christian CareyManchester: Friedrich Cerha Kaleidoscope Tim MottersheadHuddersfield Contemporary Music Festival 2010 Paul ConwayFurther reports from London, Manchester, Birmingham, St Albans Martin Anderson, Jill Barlow, Tim Mottershead, Paul Conway

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"FIRST PERFORMANCES." Tempo 66, no. 262 (2012): 49–62. http://dx.doi.org/10.1017/s004029821200037x.

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Los Angeles: John Adams's ‘The Gospel According to the Other Mary’ Michael PalmeseLondon, Royal Opera House: Judith Weir's ‘Miss Fortune’ Paul ConwayLondon, Coliseum: Detlev Glanert's ‘Caligula’ Guy RickardsLondon, Barbican Theatre: Glass's ‘Einstein on the Beach’ Keith PotterBirmingham, Symphony Hall: Jonathan Harvey's ‘Weltethos’ Arnold WhittallFurther reports from Huddersfield, Manchester, Nottingham, Birmingham and London Paul Conway, Tim Mottershead, Peter Palmer, Jill Barlow

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Festeu, Adriana. "Richard Strauss’ Komponist: the journey of a role, from soprano to mezzo." Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts, January 10, 2024, 35–44. http://dx.doi.org/10.31926/but.pa.2023.16.65.2.4.

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This article examines the changes in the casting of the role of Komponist in Richard Strauss’ Ariadne auf Naxos. The article aims to establish the timeline of when this original soprano role became a staple of the mezzo-soprano category. The research involves an examination of the historical archives of international opera houses such as the Metropolitan Opera in New York, the Vienna State Opera, the Teatro alla Scala in Milan, and the Royal Opera House in London. The conclusion reveals that the shift in voice type took place gradually between the 1960s and 1970s. The conclusion also proposes

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Toutant, Ligia. "Can Stage Directors Make Opera and Popular Culture ‘Equal’?" M/C Journal 11, no. 2 (2008). http://dx.doi.org/10.5204/mcj.34.

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Cultural sociologists (Bourdieu; DiMaggio, “Cultural Capital”, “Classification”; Gans; Lamont & Foumier; Halle; Erickson) wrote about high culture and popular culture in an attempt to explain the growing social and economic inequalities, to find consensus on culture hierarchies, and to analyze cultural complexities. Halle states that this categorisation of culture into “high culture” and “popular culture” underlined most of the debate on culture in the last fifty years. Gans contends that both high culture and popular culture are stereotypes, public forms of culture or taste cultures, each

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