Journal articles: 'Traviata'

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Green, London. "La traviata." Opera Quarterly 5, no. 2-3 (1987): 210–18. http://dx.doi.org/10.1093/oq/5.2-3.210.

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Marasco, Alessandra, Barbara Balbi, and Donatella Icolari. "Augmented La Traviata." International Journal of Art, Culture and Design Technologies 7, no. 2 (July 2018): 41–64. http://dx.doi.org/10.4018/ijacdt.2018070104.

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The purpose of this article is to explore how the components of the opera can be remediated and enhanced through augmented reality. To this end, a multidisciplinary approach is adopted that integrates studies in the areas of humanities, design technology and marketing and a framework is proposed that identifies the relevant components for the remediation of opera. Based on the framework and previous studies, the case of La Traviata is analyzed in its several declinations through early and new media to discuss the requirements for a meaningful remediation of opera and the strengths of augmented reality in this context. Based on previous research and the case analysis, it is argued that augmented reality can be a powerful medium for opera, enhancing and encompassing its multimodal structure and multiple experience dimensions.

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Grier, Francis. "La Traviata y Edipo." International Journal of Psychoanalysis (en español) 1, no. 2 (March 4, 2015): 414–41. http://dx.doi.org/10.1080/2057410x.2015.1363519.

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Rishoi, Niel. "La traviata. Giuseppe Verdi." Opera Quarterly 11, no. 2 (1995): 188–94. http://dx.doi.org/10.1093/oq/11.2.188.

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Prag, R. "La traviata. Giuseppe Verdi." Opera Quarterly 13, no. 3 (January 1, 1997): 159–62. http://dx.doi.org/10.1093/oq/13.3.159.

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Rishoi, N. "La traviata. Giuseppe Verdi." Opera Quarterly 17, no. 4 (January 1, 2001): 752–53. http://dx.doi.org/10.1093/oq/17.4.752.

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Ashbrook, William. "La traviata. Giuseppe Verdi." Opera Quarterly 4, no. 4 (1986): 107–8. http://dx.doi.org/10.1093/oq/4.4.107.

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Green, London. "La traviata. Giuseppe Verdi." Opera Quarterly 7, no. 3 (1990): 171–72. http://dx.doi.org/10.1093/oq/7.3.171.

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9

Kowals, Rebecca, Giuseppe Verdi, Francesco Maria Piave, and Fabrizio Della Seta. "La traviata: Melodramma in Three Acts." Notes 55, no. 4 (June 1999): 991. http://dx.doi.org/10.2307/899625.

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PEARSON, EDWARD HAGELIN. "The Other Traviata Hamilton Forrest's Camille." Opera Quarterly 11, no. 2 (1995): 17–38. http://dx.doi.org/10.1093/oq/11.2.17.

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Allison, John. "Violetta's Further Predicament: La traviata under Apartheid." Cambridge Opera Journal 31, no. 2-3 (July 2019): 273–79. http://dx.doi.org/10.1017/s0954586720000051.

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Long before opera was first heard in South Africa, and even longer before it took root there, the country had its own operatic figure. But Adamastor was not introduced to the rest of the operatic world until 1865 and the premiere of Meyerbeer's L'Africaine, where in Nélusko's Act III ballade the terrifying story is told of the Titan whose body, legend has it, formed the rocky spine of the Cape Peninsula and barred sailors from rounding the ‘Cape of Storms’ and opening up the sea route to the East. The literary invention – perhaps via Rabelais – of Luís Vaz de Camões, the great Portuguese Renaissance poet who himself was the first European artist to round the Cape, Adamastor appears in Canto V of Os Lusíadas (1572) and has exercised a considerable fascination over South African artists and writers. But to whom does Adamastor belong? This is a question that some, increasingly, have sought to answer, re-examining Camões's myth from an indigenous perspective – for example, André Brink in his postmodernist novella The First Life of Adamastor, imagining how that meeting with the Portuguese fleet would have looked from the landward side, and the artist Cyril Coetzee in his huge T'kama-Adamastor painting commissioned for the University of the Witwatersrand.

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Rindom, Ditlev. "Italians Abroad: Verdi's La traviata and the 1906 Milan Exposition." Cambridge Opera Journal 31, no. 2-3 (July 2019): 237–72. http://dx.doi.org/10.1017/s0954586720000026.

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AbstractThis article examines the relationship between Milan's 1906 Exposition and a celebrated revival of Verdi's La traviata (1853). An event of national and international importance, the Exposition was notable for its focus on Italy's global presence, and in particular Italy's relationship with Latin America. The Traviata production, meanwhile, comprised the first Italian staging of Verdi's opera in period costume, performed at La Scala by a quintessentially modern, celebrity ensemble to mark the Exposition's opening. This article explores the parallels between the Exposition and the production, to investigate the complex, shifting position of Milan (and Italy) within the transatlantic cultural and operatic networks of the time; and more broadly, to examine the role of operatic staging in shaping understandings of global space within the mobile operatic canon of the early twentieth century.

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Groos, Arthur. "‘TB sheets’: Love and disease in La traviata." Cambridge Opera Journal 7, no. 3 (November 1995): 233–60. http://dx.doi.org/10.1017/s0954586700004584.

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One of the central events of the film Moonstruck (1987) takes place in a performance of La bohéme at the Metropolitan Opera. Loretta (Cher) is puzzled by what seems to be Mimì's unexpected death, which takes her by surprise, even though the explanation by her friend Ronny (Nicholas Cage) reveals that she suspects its cause. Most of us will smile indulgently at a first-time opera-goer's ingenuous conflation of character (‘coughing her brains out’) and voice (‘keep singing’). But we might pause for a moment on a more intriguing twist in Loretta's surprise at Mimì's death – the fact that our antibiotic age has largely forgotten the devastating epidemic formerly known as phthisis or consumption.

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Pistorius, Juliana M. "Inhabiting Whiteness: The Eoan Group La traviata, 1956." Cambridge Opera Journal 31, no. 1 (March 2019): 63–84. http://dx.doi.org/10.1017/s0954586719000016.

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AbstractActive at the height of the apartheid regime, the Eoan Group treated South Africans to operas ‘in the true tradition of Italy’. The group relied on elaborate, naturalistic stage settings and the most stereotypical of operatic conventions to construct a hereditary link between itself and Italy, thus creating an alignment with the cultural ideal of Europe and its colonial representative – whiteness. This article offers a materialist reading of the Eoan Group's first operatic endeavour, La traviata in 1956, to argue that their invocation and emulation of the ‘Italian tradition’ served to situate them within a class-based discourse of racially inscribed civility. Drawing on archival records relating to props, costumes, advertisements and funding, it shows how the group constructed an imagined Italian heritage both to emphasise the quality of their productions, and to create an affinity with their white audiences. In this reading, the construction of an Italian operatic tradition functions not as a neutral aesthetic category, but as a historically situated politics of race and class.

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Seruga, Bostjan, and Malcolm Moore. "Should my accountant sing La Traviata at the Met?" Canadian Urological Association Journal 2, no. 2 (March 28, 2013): 137. http://dx.doi.org/10.5489/cuaj.488.

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Edgecombe, R. S. "Some Observations on the Love: Duets in La traviata." Opera Quarterly 21, no. 2 (April 1, 2005): 217–21. http://dx.doi.org/10.1093/oq/kbi022.

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Rutherford, Susan. "The Sounds of Paris in Verdi’sLa traviata. By Emilio Sala." Music and Letters 96, no. 3 (August 2015): 478–80. http://dx.doi.org/10.1093/ml/gcv058.

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Stammers, Tom. "Réné Weis, The Real Traviata: The Song of Marie Duplessis." European History Quarterly 47, no. 4 (September 25, 2017): 803–5. http://dx.doi.org/10.1177/0265691417729639bb.

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Furlong, Patrick. "The La Traviata Affair: Opera in the Age of Apartheid." History: Reviews of New Books 47, no. 4 (June 14, 2019): 92–94. http://dx.doi.org/10.1080/03612759.2019.1613621.

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Edgecombe, R. S. "The Influence of Auber's Le Domino noir on La traviata." Opera Quarterly 20, no. 2 (April 1, 2004): 166–70. http://dx.doi.org/10.1093/oq/kbh028.

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Petersen, Alvin. "The La Traviata Affair: Opera in the Age of Apartheid." African Music: Journal of the International Library of African Music 11, no. 2 (December 1, 2020): 178–79. http://dx.doi.org/10.21504/amj.v11i2.2323.

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HUDEWENZ, A., G. PUFAL, A.-L. BÖGEHOLZ, and A.-M. KLEIN. "Cross-pollination benefits differ among oilseed rape varieties." Journal of Agricultural Science 152, no. 5 (July 29, 2013): 770–78. http://dx.doi.org/10.1017/s0021859613000440.

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SUMMARYWinter oilseed rape (Brassica napus) is an important crop for human consumption and biofuel production and its production is increasing worldwide. It is generally assumed that cross-pollination by insects increases oilseed rape yield but testing of this has been restricted to a few rapeseed varieties and produced varying results. The present study determines whether cross-pollination benefits a number of oilseed rape varieties by comparing yield in the presence and absence of insects. Four rapeseed varieties (Sherlock, Traviata, Treffer and Visby) were used with ten individuals each in four pollination treatments: (1) supplementary hand-pollination, (2) open pollination with insects able to access the flowers, (3) wind pollination and (4) autonomous self-pollination. Across all four varieties, open and supplementary hand-pollination treatments resulted in higher fruit set, numbers of seeds per pod and seed yield compared with wind and self-pollination. The cross-pollination benefits, however, differed among rapeseed varieties: Treffer and Visby had a higher dependence on open (insects) and supplementary cross-pollination than Sherlock and Traviata. Across all four varieties, seed weight compensated for reduced fruit set and was highest when plants were self-pollinated. The present results highlight the importance of considering varietal differences in crop pollination research. Information on the pollination requirements of crop varieties is required by farmers to optimize management decisions in a world of increasing agropollination deficits.

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Landrivon, Sylvaine. "L’Écriture mythologisée : de la Madeleine à La Traviata, histoire d’une dérive." Nouvelle revue théologique 141, no. 2 (2019): 177. http://dx.doi.org/10.3917/nrt.412.0177.

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Dillon, Emma. "Violetta, Historian Verdi, ‘Sempre libera’ (Violetta), La traviata, Act I (1853)." Cambridge Opera Journal 28, no. 2 (July 2016): 191–97. http://dx.doi.org/10.1017/s0954586716000239.

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Beghelli, Marco. "La Traviata di Lisbona: note quasi autobiografiche attorno a un bicentenario." Estudos Italianos em Portugal, no. 8 (2013): 61–69. http://dx.doi.org/10.14195/0870-8584_8_4.

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Sala, Emilio. "Verdi and the Parisian boulevard theatre, 1847–9." Cambridge Opera Journal 7, no. 3 (November 1995): 185–205. http://dx.doi.org/10.1017/s0954586700004560.

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A number of scholars have drawn attention to the importance of Parisian popular theatre for an understanding of Verdian dramaturgy, especially in the operas leading up to Rigoletto, Il trovatore and La traviata. According to Giovanni Morelli, in Paris, Verdi frequented the popular theatre not for the sake of participating in the active milieu of Romantic cultural thought (Milanese circles had adequately fulfilled that need), but in order to mingle with a typical metropolitan theatre audience in the venues dedicated to the dissemination of a watered-down, middlebrow form of Romanticism.

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MARVIN, ROBERTA MONTEMORRA. "Verdian opera burlesqued: a glimpse into mid-Victorian theatrical culture." Cambridge Opera Journal 15, no. 1 (March 2003): 33–66. http://dx.doi.org/10.1017/s0954586703000338.

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Through brief case studies of burlesques of Ernani, Il trovatore and La traviata written for nineteenth-century London, this essay makes a preliminary examination of the nature of Victorian operatic burlesques, why they existed, and how they functioned artistically and sociologically. My larger purpose is threefold: to investigate the manner in which burlesque interpreted the foreign art form of Italian opera in a culture self-consciously identified as English, to consider how these works traversed class differences in an evolving socio-cultural milieu, and to ask how we might understand the these works in relation to the cultural codes of Victorian London.

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KERMAN, JOSEPH. "Verdi and the undoing of women." Cambridge Opera Journal 18, no. 1 (March 2006): 21–31. http://dx.doi.org/10.1017/s0954586706002072.

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For a brief period in his career, Verdi wrote operas about compromised or ‘fallen’ women, women condemned for their sexuality: not only Lina in Stiffelio and Violetta in La traviata, but also – if we take into account the way their men regard them – Lida in La battaglia di Legnano, Luisa in Luisa Miller and Leonora in Il trovatore. These women suffer or die. Gilda also dies, in Rigoletto, ultimately a victim of her sexual availability. This essay examines Verdi's contribution to ‘the undoing of women’ and relates it speculatively to his experience as Giuseppina Strepponi's lover around the same time.

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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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Xue, Jing. "Violetta's part from G. Verdi's opera "La Traviata": prototypes of the image." Искусство и образование, no. 3 (2021): 48–53. http://dx.doi.org/10.51631/2072-0432_2021_131_3_48.

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Fairtile, Linda B. "Review: Giuseppe Verdi: ‘La traviata’. Schizzi e abbozzi autografi/Autograph Sketches and Drafts." Music and Letters 85, no. 2 (May 1, 2004): 317–20. http://dx.doi.org/10.1093/ml/85.2.317.

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Adetu, Edith Georgiana. "Structure of the Vocal Discourse of the Character Leonora From the Opera "Il trovatore" by Giuseppe Verdi." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 273–83. http://dx.doi.org/10.24193/subbmusica.2021.1.17.

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"The opera ""Il Trovatore"" crowns the famous Verdi trilogy (”Rigoletto”, ”Il Trovatore”, ”La Traviata”) leaving as a legacy in the history of lyrical theatre vocal archetypes relevant to the Italian romantic opera. This research aims at the formal and stylistic analysis of the vocal discourse of the character Leonora, considering the solo moments and outstanding overall moments, attributed to the role. In carrying out this approach we will highlight the vocal peculiarities of the character, as well as relevant technical and interpretive aspects. In essence, the research represents a correlation between the structure of the moments that make up the vocal discourse and the nature of the character’s Verdi vocality, Leonora’s role summing up various technical and interpretive requirements. Keywords: Verdi, Il Trovatore, Leonora, Structure, Discourse, Vocality "

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Cancellieri, Giulia. "Giving La Traviata a Contemporary Twist?How Market Identity Shapes Hybridity in Italian Opera." Academy of Management Proceedings 2016, no. 1 (January 2016): 16133. http://dx.doi.org/10.5465/ambpp.2016.16133abstract.

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Hepokoski, James A. "Genre and content in mid-century Verdi: ‘Addio, del passato’ (La traviata, Act III)." Cambridge Opera Journal 1, no. 3 (November 1989): 249–76. http://dx.doi.org/10.1017/s0954586700003025.

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In the attempt to construct the ‘story’ of post-Rossinian Italian opera it has been standard practice to identify as the central plot the dissolution of traditional structural types and genres. The charting of those musical ‘facts’ that illustrate this dissolution is a familiar musicological endeavour, and there remains a persistent temptation not merely to notice the ever-weakening pull of convention but also to identify it with the notion of ‘historical progress’: a move towards the mature virtues of dramatic complexity, idiosyncrasy and flexibility. Considerations of established conventions and their modifications tend to encourage anti-generic evaluative positions, judgements which are then bolstered by appealing to influential aesthetic systems. Thus Benedetto Croce: ‘Every true work of art has violated some established kind and upset the ideas of the critics’. Or Theodor Adorno: ‘Actually, there may never have been an important work that corresponded to its genre in all respects’. Or Hans Robert Jauss: ‘The more stereotypically a text repeats the generic, the more inferior is its artistic character and its degree of historicity […]. A masterwork is definable in terms of an alteration of the horizon of the genre that is as unexpected as it is enriching’? So bewitching is this image of genre dissolution that artistic production is often assessed by the degree to which it rebels against the idées reçues of tradition or encourages the momentum of the ‘historically inevitable’.

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Panasiuk, Valerii. "«La Traviata» remastered. G. Verdi’s opera in the stage interpretation by V. Nemirovich-Danchenko." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 63–82. http://dx.doi.org/10.34064/khnum2-21.04.

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The historical evidence of the XX – the beginning of the ХХІ century musical theatre proves that the drastic interpretation as “a coherent artistic project” can include creating a new text for a libretto, which is aligned to fundamentally important provisions of the director’s concept. It was true for G. Verdі’s “LaTraviata” theatrical performance implemented on the stage of the State Musical Theatre named after People’s Artist of the Republic V. Nemirovich-Danchenko (1934). Due to their provocative approach and radicalism of breaking with wellestablished traditions the ideas of the stage producers (directors, a conductor, an artist and a librettist) are in tune with the guidelines of the modern interpreters of opera classic. Consequently, that far away experience becomes relevant nowadays. Considering it, one can enable solve certain problems in condition when the new ideological principles and innovative art directions are spread. There is an urgent necessity to define the principles of coping with a libretto as an integral part of a holistic director’s vision on the example of “LaTraviata” staging implemented by V. Nemirovich-Danchenko (1858–1943), who was one of the most prominent reformers of both drama and musical theatres in the XX century. So, the aim of this article is to analyze the libretto for the opera “La Traviata” by G. Verdi created by V. Inber using the research approaches of theater studies and literary theory and to define the principles of working with the verbal text as with the part of a holistic director’s conception implemented by V. Nemirovich-Danchenko. The results of the research. Taking into account the guiding directions of the Soviet ideology, the producers obviously over accentuate the social component of the conflict. As a result, “the scenic situation is exacerbated” and consequently “Violetta’s social characteristics” are adjusted; being originally a demimondaine, the main heroine turns into an opera singer, whose tragedy makes the class conflict obvious. The total redefining of the conflict, transferring the place of the action (Venice) and the time (the 1870s), and characters’ social tagging enables implementing another fundamentally important provision – an aesthetic one. The visual identity of the 1870s is strongly associated with the impressionists’ images, Venice is identified with a carnival and relevant artistic attributes (the third act of the play). Focusing on the certain “painting archetype of the epoch”, the set designer (P. Williams) created the suitably matched environment for scenic playing. The innovative approach provided by the director’s concept is implemented within the libretto text by means of updating the stage narrative itself. The author of the libretto, Vera Inber (1890–1972) does not emphasize the opera singer’s destiny, but pays attention to the main character’s relations with the bourgeois society. The latter observes the lifetime conflicts development of one of the artistic bohemia’s representatives with a great deal of interest, but without any compassion. That fact justifies using the new scene – the stage, which enables applying the principle “a theatre within a theatre” (also in the sphere of the artistic design). This approach is naturally combined with the use of the “heraldic construction” in V. Inber’s libretto. In the process of realizing the stage narrative, a separate plot situation is repeated in a small-scale version. The mindset to double and complicate the narrative is carried out in the libretto. Due to that fact, a new conflict (social in its origin and provided by the authors of the director’s vision) development is enabled. The relevant literary allusions in poetical text (although obviously shallow) are set to create a meaningful artistic prospect. In the turning points, the storylines development in V. Inber’s libretto coincides with F. М. Piave’s libretto drama collisions: happy lovers; their happiness, destroyed by Alfred’s father; having an argument and the heroine’s death. The key distinction of a new version is the refusal to use Violetta’s disease as the character’s feature and the plot component, which determines the tragic ending. That is why the fourth act becomes fundamentally different, unlike the original one. Being ignored by the bourgeois environment, Violetta secludes herself from the society and abandons her successful career. The singer informs her coactors (who appear on the stage later) about that fact in the letter. Implementing the principle “a theatre within a theatre” consistently, V. Inber treats the entire final set (especially the heroine’s death) as the last scene of the theatrical performance. Thus, the inevitability of the tragic resolution of the conflict between the artistic personality and the bourgeois society is proved. It facilitates realizing dramatically vital guidelines of a director’s general vision, which becomes determinant in the process of staging G. Verdі’s masterpiece. Conclusions. The practice of rewriting librettos in the first decades of XXI century acquires a new relevance. First, creating a new libretto resolves all the disagreements between a conception of the production team and the original verbal text nowadays. Mostly those contradictions emerge in the process of changing the locality, in which the action proceeds and the time of the plot. Secondly, one of the most burning problems of the ХХІ century musical theatre, concerning the performance language choice, is resolved. Performing an opera using the audience’s native language promotes full-fledged communication between the actors and the spectators. Thirdly, the necessity for rewriting librettos supposes involving the prominent masters of the word, especially poets. Thus the effective dialogue between different national cultures is put into practice and the active circulation of the previous centuries classic (including the opera one) in the socio-cultural sphere is insured.

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Lippucci, Alessandra. "Social theorizing on the operatic stage: Jean‐Pierre Ponnelle's postmodern humanist production of Verdi'sLa Traviata." Text and Performance Quarterly 12, no. 3 (July 1992): 245–73. http://dx.doi.org/10.1080/10462939209359650.

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Darden, Douglas, Enrico Ammirati, Michela Brambatti, Andrew Lin, Jonathan C. Hsu, Palak Shah, Enrico Perna, et al. "Cardiovascular implantable electronic device therapy in patients with left ventricular assist devices: insights from TRAViATA." International Journal of Cardiology 340 (October 2021): 26–33. http://dx.doi.org/10.1016/j.ijcard.2021.08.033.

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Mesyanzhinova, Alexandra Vadimovna. "The Art of Opera: Variability of Artistic Languages of Screen Forms." Journal of Flm Arts and Film Studies 6, no. 4 (December 15, 2014): 72–83. http://dx.doi.org/10.17816/vgik6472-83.

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Specifics of an artistic language of screen forms of opera and its variations (movies, TV performances, live broadcasts in movie theatres) could be explicated successfully using a case study of different interpretations of the same work. The article retrospectively illustrates variability of an artistic language of the operatic screen forms using a case study of screen adaptations of Giuseppe Verdi's La Traviata (1853). The article analyzes a film-opera by Franco Zeffirelli (1982), a film-opera by Mario Lanfranchi (1968), TV-broadcast of Adrian Marthalers staging of La Traviata at Zurich Central station (2008), and the live broadcast in movie theaters of Willy Deckers production at the Metropolitan Opera (2012). The author presumes that the format of an opera-film through interacting with the audience primarily on emotional and symbolic levels appears as static. TV live broadcasts of opera productions, which have replaced filmed opera, convey the completeness and stasis of what is happening on screen thus allowing the viewer to feel the spontaneity of theatrical action and actually ushering the spectator into the space of each frame. Live broadcasts of opera performances in movie theatres create a unique symbiosis of arts: a live, devoid of stasis and predetermination, feature film emerges. Nowadays, when theatres are increasingly offering live broadcasts of their performances in Internet, it is possible to state that the operatic art is not just oriented towards the screen arts but is searching new opportunities to adapt itself to the screen format, and can no longer exist independently off the screen. All this affects the artistic language of screen and theatrical forms of the operatic art. Although the operatic art interacts well with the multimedia technologies, the issues of interpretation and transformation of the artistic forms, which arise when recordings of elapsed performances are converted to digital format and viewed on modern devices, require a very delicate approach. Tablet computers and other media devices, which are able to reproduce nearly every recording, in a certain sense, allow customization of the technical and aesthetic forms of an art piece according to the users preferences, thus introducing personalized artistic accents of a viewer.

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Torsello, Giovanni B., Giovanni F. Torsello, Nani Osada, Omke E. Teebken, Christoph-Maria Ratusinski, and Christoph A. Nienaber. "Midterm Results From the TRAVIATA Registry: Treatment of Thoracic Aortic Disease With the Valiant Stent Graft." Journal of Endovascular Therapy 17, no. 2 (April 2010): 137–50. http://dx.doi.org/10.1583/09-2905.1.

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Sloan, Crofton, and Susan S. Harkness. "Field Performance of Cut Flower Rose Cultivars in Mississippi." HortTechnology 18, no. 4 (January 2008): 734–39. http://dx.doi.org/10.21273/horttech.18.4.734.

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Rose (Rosa) cultivars from two breeders, Meilland Star and W. Kordes Söhne, were planted in field beds at Verona, Mississippi, to evaluate cut flower production potential. Seventeen cultivars of an outdoor cut flower series of roses from W. Kordes Söhne and nine cultivars of the Romantica series from Meilland Star were planted in adjacent field beds. The number of stems produced per plant and stem length were measured to assess the field production potential of cut flower stems in Mississippi. Based on 2 years of assessment, the best performing W. Kordes Söhne roses were ‘Fantasia Mondiale’, ‘Masquerade’, and ‘Pinguin’, averaging three to 12 stems/plant per month that were at least 30 cm long, and the best Meilland Star cultivars for outdoor cut flower production were ‘Frederic Mistral’, ‘Michelangelo’, ‘The McCartney Rose’, and ‘Traviata’, averaging three to 20 stems/plant per month that were at least 30 cm long. These cultivars performed well during the heat of the Mississippi summer.

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Cachopo, João Pedro. "A aura da ópera na época da sua queda anunciada." Dramaturgias, no. 10 (May 28, 2019): 31–44. http://dx.doi.org/10.26512/dramaturgias.v0i10.24868.

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Este artigo debruça-se sobre três objectos operáticos recentes: os live films de Tosca, La Traviata e Rigoletto, produzidos por Andrea Andermann (lançados numa caixa de DVD/Blu-ray em 2016); o projecto “Maria by Callas” de Tom Volf (em curso desde 2017); e as transmissões em directo de teatros de ópera para salas de cinema, em particular as do Metropolitan Opera House e da Royal Opera House (desde 2006 e 2008, respectivamente). Com base no seu exame, discute-se o paradoxo da persistência da aura no contexto da crescen- te mediatização da paisagem cultural contemporânea. Este paradoxo tradu- z-se na coexistência entre o entusiasmo pela reprodução e pela remediação tecnológicas e o fascínio pelos valores da originalidade, da autenticidade e da presença. De que modo este paradoxo se desdobra no caso da ópera e até que ponto é possível ultrapassá-lo são as questões que norteiam este ensaio.

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De Lima, Sonia Albano, Claudio Piccolo, and Flavia Albano De Lima. "The Interdisciplinary reading of Opera contexts: an innovative way of teaching arts in educational projects and environments." Journal on Innovation and Sustainability. RISUS ISSN 2179-3565 2, no. 3 (October 19, 2011): 34. http://dx.doi.org/10.24212/2179-3565.2011v2i3p34-43.

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The Grupo de Ensino e Pesquisa em Interdisciplinaridade da Pontifícia Universidade Católica de São Paulo - GEPI-PUCSP [Group of Studies and Research in Interdisciplinarity of the Pontifical Catholic University of São Paulo] in the project PENSAR E FAZER ARTE [THINKING AND MAKING ART], among other purposes, aims at analyzing several works of art, in the format of conversation, under an inter-disciplinary perspective. This differentiated reading allows for the socio-cultural updating and re-signification of the work of art, providing education with artistic information linked to the other areas of knowledge, as well as with the possibility of endorsing a kind of cultural production where the subjectivity and the human emotions are present. In general lines, this communication intends to present the research work accomplished with the opera La Traviata, by Giuseppe Verdi. The discussions have integrated researchers who approached questions involving the opera, the novel and the theater play from which it was originated.

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Baranova, Vera P., and Svetlana G. Voitkevich. "G. Verdi’s “La Traviata”: History of Creation, First Productions and Stage Interpretation of the Character of Violetta." Journal of Siberian Federal University. Humanities & Social Sciences 9, no. 1 (January 2016): 107–16. http://dx.doi.org/10.17516/1997-1370-2016-9-1-107-116.

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Drukman, Steven. "Gay-Gazing at The Lisbon Traviata, or: How Are Things in Tosca, Norma?" Theatre Topics 5, no. 1 (1995): 23–34. http://dx.doi.org/10.1353/tt.2010.0093.

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Bui, Quan M., Gary S. Ma, Michela Brambatti, Oscar O. Braun, Enrico Ammirati, Palak Shah, Caroline Van de Heyning, et al. "Sex Differences in LVAD Implantation Strategies and Associated Outcomes from the TransAtlantic Registry on VAD and Transplant (TRAVIATA)." Journal of Cardiac Failure 25, no. 8 (August 2019): S163. http://dx.doi.org/10.1016/j.cardfail.2019.07.466.

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IGNASI PRADO I FELIU, JOSEP. "LA VEU EX-«TRAVIATA» DE L’ALTRA DONA «È MOBILE»: LA INTERTEXTUALITAT OPERÍSTICA A L’ÒPERA/OBRA DE MONTSERRAT ROIG." Catalan Review: Volume 7, Issue 2 7, no. 2 (January 1, 1993): 165–76. http://dx.doi.org/10.3828/catr.7.2.12.

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Ward-Griffin, Danielle. "As Seen on TV: Putting the NBC Opera on Stage." Journal of the American Musicological Society 71, no. 3 (2018): 595–654. http://dx.doi.org/10.1525/jams.2018.71.3.595.

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This article examines the relationship between opera on television and opera on the stage in America in the 1950s and 1960s. Using the NBC Opera (1949–64) as a case study, I trace both what television borrowed from the operatic stage and what television sought to bring to the stage in a relationship envisioned by producers as symbiotic. Focusing on the NBC's short-lived touring arm, which produced live performances of Madam Butterfly, The Marriage of Figaro, and La traviata for communities across America in 1956–57, I draw upon archival evidence to show how these small-scale stage productions were recalibrated to suit a television-watching public. Instead of relying on the stylized presentation and grand gestures typical of major opera houses, the NBC touring performances blended intimate television aesthetics with Broadway typecasting and naturalistic direction. Looking beyond the NBC Opera, I also offer a new model for understanding multimedial transfer in opera, one in which the production style of early television opera did not simply respond to the exigencies of the screen, but rather sought to transform the stage into a more intimate—and supposedly more accessible—medium in the mid-twentieth century.

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TOSCANI, CLAUDIO. "Review: La traviata: Melodramma in Three Acts, by Giuseppe Verdi, libretto by Francesco Maria Piave, edited by Fabrizio Della Seta." Journal of the American Musicological Society 58, no. 1 (2005): 214–26. http://dx.doi.org/10.1525/jams.2005.58.1.214.

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Resche, Christine. "Le temps réécrit dans les livrets de Giuseppe Verdi. Éléments, temps et musique dans La Traviata, Rigoletto et Don Carlos." Cahiers d'études romanes, no. 24 (December 1, 2011): 63–80. http://dx.doi.org/10.4000/etudesromanes.1191.

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ÖZGÜR-, Canan. "A COMPARISON OF THE COURTESANS’S MISFORTUNE IN THE NOVEL LA DAME AUX CAMELIAS AND THE OPERA LA TRAVIATA THROUGH PLOT ANALYSIS." Journal of Academic Social Science Studies Year: 13 - Number: 80, Year: 13 - Number: 80 (2020): 341–51. http://dx.doi.org/10.29228/jasss.43506.

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Journal articles on the topic 'Traviata'

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