Bibliografías temáticas / Opera and Ballet

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  2. Tesis
  3. Libros
  4. Capítulos de libros
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Literatura académica sobre el tema "Opera and Ballet"

Autor: Grafiati
Publicado: 28 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Opera and Ballet"

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Maximova, Alexandra E. "The Beauties and the Beasts: The Storylines of André Grétry’s Operas in Russian Ballet." Contemporary Musicology 8, no. 2 (2024): 10–27. http://dx.doi.org/10.56620/2587-9731-2024-2-010-027.

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In Russia the music of André Ernest Modeste Grétry acquired its fame during the times of Empress Catherine the Great and Emperor Paul. His theatrical works were performed with great success by the artists of the French Court Troupe, the Free Russian Theater, the serfs’ theater of the Sheremetev’s, and the female wards of the Smolny Institute. Rare editions and manuscript copies of Grétry’s copies are preserved in numerous Russian libraries. Most of them contain the ballets (among them, Les marriages samnites [The Samnite Marriages], Le comte d’Albert [Count d’Albert], Panurge dans l’île des la
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Churpita, Tetiana. "Balletmaster Activity of Mykola Trehubov in the Odessa Academic Opera and Ballet Theatre (1958-1970)." Dance Studies 3, no. 1 (2020): 36–44. https://doi.org/10.31866/2616-7646.3.1.2020.203931.

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The purpose of the article is to analyze the choreography of Mykola Trehubov at the Odessa Academic Opera and Ballet Theater. Methodology. The historical, historiographic and analytical approaches are applied. Scientific novelty. The article is the first to analyze in detail the choreographies of M. Trehubov at the Odessa Academic Opera and Ballet Theater in 1958–1970. Conclusions. The period of the chief choreographer M. Trehubov’s work at the Odessa Opera is characterized by a significant increase in ballet performances in the theater playbill, but they were n
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Kovalenko, Yeva. "The Premiere of the Ballet «Dante» on the National Opera of Ukraine` Stage." Folk art and ethnology, no. 3 (September 30, 2023): 84–93. http://dx.doi.org/10.15407/nte2023.03.084.

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The article describes the premiere of the ballet «Dante», which was performed at the National Opera of Ukraine in June 2021. The director of the ballet, dedicated to the 700th anniversary of the death of the outstanding Italian Renaissance humanist poet Dante Alighieri, was Yaroslav Ivanenko, a graduate of the Kyiv State Choreographic School who began his dancing career at the National Opera and has worked abroad since 1996, including as a soloist with the Hamburg Ballet under the direction of John Neumayer in 1998-2010. Yaroslav Ivanenko has extensive experience in ballet mastery, his choreog
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Grutcynova, Anna Petrovna. "Ballet scenes in the operas of M. I. Glinka in the reviews of his contemporaries." Manuscript 17, no. 2 (2024): 124–29. http://dx.doi.org/10.30853/mns20240018.

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The article discusses the problem of ballet scenes in the operas of M. I. Glinka, "A Life for the Tsar," and "Ruslan and Lyudmila," in the context of choreographic art of the 19th century. The author documents the composer's growing interest in dance and ballet theater, the place and significance of ballet scenes in opera productions of that time. The critical responses that emerged in the press after the premieres of Glinka's operas, containing judgments on the staging of the ballet scenes, are analyzed in the paper. As a result of the analysis, the author concludes that critics who highly ap
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Ulanova, Adina. "Opera and ballet art in the post-Soviet period of Kyrgyzstan’s development." Vestnik of Saint Petersburg State University of Culture, no. 4 (61) (2024): 134–40. https://doi.org/10.30725/2619-0303-2024-4-134-140.

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The article analyzes the post-Soviet period of development and problems of opera and ballet art in the Kyrgyz Republic. After the collapse of the Soviet Union, like all former Soviet republics, Kyrgyzstan faced many problems: socio-economic crisis, rising unemployment, disbandment of the system of centralized provision of cultural institutions, a large outflow of professional artists. Some national operas and ballet productions gradually disappeared from the theater repertoire and one of the problems of the theater repertoire is the lack of practice of introducing state orders for the creation
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Petryk, Oleh. "Ballet Company of Lviv Opera Theatre in the late 30's - early 40's of the Twentieth Century." Dance Studies 3, no. 2 (2020): 104–13. https://doi.org/10.31866/2616-7646.3.2.2020.220527.

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The purpose of the article is to reveal the peculiarities of the formation and the personal composition of the Lviv Opera Theatre ballet company in the late 30s – early 40s of the 20th century. Methodology. Analytical, historical-chronological, biographical approaches were used to reveal the topic, which made it possible to conduct scientific and objective research. Scientific novelty. For the first time, a special study regarding the creative work of the ballet company of the Lviv Opera and Ballet Theatre in the late 30s – early 40s of the 20th century was
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Gasnikova, O. V. "TRANSFORMATION OF AN OPERA PERFORMANCE INTO A BALLET (BY RUSSIAN AND WEST EUROPEAN CHOREOGRAPHERS)." Arts education and science 1, no. 1 (2020): 103–13. http://dx.doi.org/10.36871/hon.202001013.

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The article describes the appearance of such a phenomenon as the transformation of an opera performance into a ballet. The author pays particular attention to the most outstanding performances of this direction. The characteristic of the musical and choreographic basis of the mentioned performances is given. Particular emphasis was placed on the operas The Magic Flute by W. A. Mozart and Carmen by G. Bizet. The appeal to the opera performance makes it possible to replenish and to enrich the ballet repertoire. Meanwhile many ballet masters use to adopt the musical text of the opera for their pe
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Gutsche-Miller, Sarah. "Ballet Fit for a National Theater? Carré, the Critics, and Le Cygne at the Opéra-Comique." Journal of Musicology 38, no. 2 (2021): 183–208. http://dx.doi.org/10.1525/jm.2021.38.2.183.

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When Albert Carré became the director of the Paris Opéra-Comique in 1898, he did so with the goal of rejuvenating French lyric theater. He also took possession of a national institution in a state of flux. The Opéra-Comique had a new hall and a new mandate, and it had recently become the focus of debates in the press about what role the city’s second national lyric theater should play in French culture. Although debates initially revolved around opera, Carré’s plans for renewal included ballet, not seen at the Opéra-Comique for over a century. This article discusses the role ballet played in p
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Kupets, Lyubov A. "“New Ballet Criticism” (1993–2003) About “Soviet” Ballet: Forms of Cultural Recycling." Problemy muzykal'noi nauki / Music Scholarship, no. 4 (December 2023): 22–34. http://dx.doi.org/10.56620/2782-3598.2023.4.022-034.

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In post-Soviet Russia ballet criticism, similar to opera criticism, has an almost 30-year-old history, but the period perceived as the brightest and most significant is the first period, spanning the 1990s and the early part of the first decade of the 21st century. For this New Ballet Criticism (as it has been labelled by Vadim Gaevsky), as a part of New Russian Music Criticism (as defined by Olga Manulkina and Pavel Gershenzon), a number of features have become normative: provocative styles and titles, a demythologization of works and of choreographers, the use of comparisons with mass cultur
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Khotsianovska, Liudmyla, and Hanna Perova. "Interpretation of Opera Works on the Ukrainian Ballet Stage." Dance Studies 4, no. 2 (2021): 144–51. https://doi.org/10.31866/2616-7646.4.2.2021.249293.

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The purpose of the article is to reveal the peculiarities of choreographed interpretations of opera performances on the Ukrainian ballet stage. Research methodology. A set of general (analysis and synthesis, induction and deduction, comparison) and special (art analysis) scientific methods was used to conduct the research. Scientific novelty. Ballet interpretations of opera performances in Ukraine were analyzed for the first time. Conclusions. When interpreting operas on the ballet stage, there is a shift of meaningful accents depending on the choreographer’
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Tesis sobre el tema "Opera and Ballet"

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Carson, David J. "Epic Tanztheater: Bausch, Brecht, and Ballet Opera." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1399944052.

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Persson, Gerda. "Opera i Stockholm, Årstafältet." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-35298.

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eriksson, hemström Gusten. "Opera i stockholm galärvarvet." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-37640.

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Zeller, Jessica Rachel. "Shapes of American Ballet: Classical Traditions, Teachers, and Training in New York City, 1909-1934." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1336152425.

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Goncalves, De Aranjo Passos Stéphanie. "Une guerre des étoiles: les tournées de ballet dans la diplomatie culturelle de la Guerre froide, 1945-1968 /cStéphanie Gonçalves de Aranjo-Passos." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209106.

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Ma thèse de doctorat explore les tournées de ballet des « six grandes » compagnies mondiales pendant la Guerre froide (1945-1968) :ballet de l’Opéra de Paris, Royal Ballet de Covent Garden, Bolchoï et Kirov, New York City Ballet et American Ballet. Elle envisage le ballet comme un outil de diplomatie culturelle transnationale, avec un focus particulier sur les acteurs, qu’ils soient institutionnels, artistiques ou commerciaux. Outre un aspect quantitatif qui nous a amené à cartographier les tournées, il s’agit d’une histoire incarnée par des femmes et des hommes − les danseurs − dont le métier
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Celhay, de Larrard Hélène. "André Derain et la scène." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040157.

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Le monde des arts est en pleine effervescence au début du XXe siècle, après le scandale déclenché par l’exposition des œuvres des Fauves au Salon d’Automne de 1905. Loin de cette agitation, les décors de scène sont réalisés par des décorateurs professionnels qui restent attachés aux procédés traditionnels. En 1909, l’arrivée des Ballets russes au Châtelet marque une rupture dans la conception du rôle du peintre dans le ballet. En 1919, alors que la compagnie jouit d’une grande renommée, Serge Diaghilev commande à André Derain les décors et les costumes de La Boutique Fantasque. Au sortir de la
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Wiese, Helen Lloy. "Lully's Psyché (1671) and Locke's Psyche (1675) : contrasting national approaches to musical tragedy in the seventeenth century." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42070.

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The English semi-opera, Psyche (1675), written by Thomas Shadwell, with music by Matthew Locke, was thought at the time of its performance to be a mere copy of Psyche (1671), a French tragedie-ballet by Moliere, Pierre Corneille, and Philippe Quinault, with music by Jean- Baptiste Lully. This view, accompanied by a certain attitude that the French version was far superior to the English, continued well into the twentieth century. This view is misleading; although the English play was adapted from the French, both were representative of two well-developed native theatrical traditions.
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Jarrasse, Bénédicte. "Les deux corps de la danse : l'imaginaire de la danse théâtrale dans la littérature et l'iconographie européennes : 1830-1870." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC011.

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Aux alentours de 1830, le romantisme s'impose sur les scènes théâtrales. À une manière nouvelle d'envisager le ballet fait écho une manière nouvelle de le représenter. Celui-ci peine toutefois à se dire pour lui-même, et dans cette bataille du dire, c'est la danseuse, à défaut de la danse, qui devient l'objet principal des représentations. La ballerine cristallise le dualisme essentiel de l'imaginaire romantique et se retrouve au cœur d'une entreprise de mise en légende et de légitimation de l'art chorégraphique. Le dire de la danse passe désormais par une mythographie. L'enjeu ultime est dans
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Giorgi, Borel Marie-Françoise. "Les Peintres au Festival d'Aix en Provence entre tradition et modernité." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H029.

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Entre 1948 et 1962, le fondateur du festival d'art lyrique d'Aix-en-Provence, Gabriel Dussurget, invite les peintres comme Georges Wakhévitch, Cassandre, Balthus, André Derain, Antoni Clavé, André Masson, Nathalie Gontcharova... à concevoir les décors et les costumes des opéras et ballets du Festival. A l'instar des Ballets Russes de Diaghilev, ceux-ci participent à la création de spectacles où la peinture s'allie à la musique, au chant, à la danse, et à la mise en scène dans une conception de l'opéra comme art total. L’activité des peintres au festival se concentre pendant les douze premières
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Stock, Cheryl F. "Making intercultural dance in Vietnam : issues of context and process from the perspective of an Australian choreographer and her colleagues from Vietnam Opera Ballet Theatre (Nhà Hát Nhạc Vũ Kịch Việt Nam) 1995-1999". Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/17527/1/Cheryl_Frances_Stock_Thesis.pdf.

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This thesis explores the creative processes of intercultural performance in an Asian context, through projects undertaken with Vietnam Opera Ballet Theatre, the national dance company in Hanoi. Background research to the study has enabled previously elusive research areas to be made available to English-language scholars and artists - namely, contemporary preservation of Vietnamese dance traditions and professional practice of Vietnamese dance in the đổi mới (open door policy) period. This contextual background highlights the importance of cultural specificity in intercultural performance pr
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Libros sobre el tema "Opera and Ballet"

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Bianconi, Lorenzo. Opera on Stage. University of Chicago Press, 2001.

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1928-, Dahlhaus Carl, Döhring Sieghart 1939-, and Universität Bayreuth. Forschungsinstitut für Musiktheater., eds. Pipers Enzyklopädie des Musiktheaters: Oper, Operette, Musical, Ballet. Piper, 1986.

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1918-, Schierbeek Bert, ed. Theatertekeningen: Toneel, opera, ballet 1958-1965. Uniepers, 1987.

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Castle, Kate. Ballet company. F. Watts in association with the Royal Opera House, Covent Garden, 1985.

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Rhein, Deutsche Oper am. Ballet: Picasso. Deutsche Oper am Rhein, 1987.

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Budak, Muzaffer. Tiyatro, opera, operet, bale yazıları. Budak Yayınları, 1985.

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Benita, Alskne, ed. Latvijas Nacionālā opera =: Latvian National Opera. "Mantojums", 2000.

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Brunvoll, Gunnar. Den norske opera og den norske ballett. Eide, 1999.

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Rameau, Jean Philippe. Platée: Comédie lyrique (ballet bouffon) en un prologue et trois actes (1745). Actes Sud, 1999.

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Harris, Claude. Opéra à Marseille: 1685-1987. P. Tacussel, 1987.

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Capítulos de libros sobre el tema "Opera and Ballet"

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Bate, Philip. "Ballet, Opera and Music." In Television in the Making. Routledge, 2023. http://dx.doi.org/10.4324/9781032644035-8.

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Vidal Claramonte, M. Carmen África. "Fluid borders: From Carmen to The Car Man. Bourne’s ballet in the light of post-translation." In Opera in Translation. John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/btl.153.05vid.

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Savage, Roger. "The Triumph of Generosity, or ‘Let's make an opera-ballet’." In The Operas of Rameau. Routledge, 2021. http://dx.doi.org/10.4324/9781315554990-9.

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Isaakyan, Irina. "Global Elite Migrations: Mobility, Agency and Networks." In IMISCOE Research Series. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-67833-2_2.

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AbstractToday more than ever before, we are witnessing complex trajectories of global elite migrations as illuminated by a rapidly increasing stream of elite niched professionals trying to develop their elitist careers abroad. Building their second home at destination, global elite migrants sustain the transnational and highly visible nature of their politically eminent work through their global employment. Their list consists of migrating business executives, athletes, fashion models, actors and artists including ballet dancers and opera singers. Through their migration, transnational employm
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"Opera/Ballet." In Ingmar Bergman. Amsterdam University Press, 2006. http://dx.doi.org/10.1515/9789048508815-027.

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Harris-Warrick, Rebecca. "Ballet." In The Cambridge Companion to Eighteenth-Century Opera. Cambridge University Press, 2009. http://dx.doi.org/10.1017/ccol9780521873581.007.

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Skeel, Sharon. "“What a lugubrious tale!”." In Catherine Littlefield. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190654542.003.0005.

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Catherine attends a party at the Ellerslie mansion near Wilmington, Delaware, hosted by F. Scott and Zelda Fitzgerald in May 1927. Zelda and her daughter, Scottie, begin taking lessons at the Littlefield School. Mommie becomes ballet mistress and Catherine the première danseuse for the Philadelphia Civic Opera Company and then the Philadelphia Grand Opera Company. Catherine begins to choreograph opera divertissements and stand-alone ballets. Her first stand-alone ballet is a one-act Russian folklore ballet entitled L’Hiver. Zelda and Scottie appear in Philadelphia Grand Opera Company productio
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Hansell, Kathleen K. "Ballet in Italy: The Background to Verdi." In Verdi in Performance. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198167358.003.0012.

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Abstract The ballet was always an important component of the Italian musical theatre. During the seventeenth century; at the first performances of public opera after 1637, there were often short ballets included within the opera’s acts. However, by the end of the seventeenth century and the beginning of the eighteenth, when the Arcadian theorists started to write about a type of serious opera (opera seria) that would no longer include such extraneous elements as comedy; dances, and so on, ballets were removed from opera.
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West, Martha Ullman. "2." In Todd Bolender, Janet Reed, and the Making of American Ballet. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9780813066776.003.0002.

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Describes Janet Reed’s career as a dancer with the San Francisco Opera Ballet, dancing in such ballets as Coppélia and Swan Lake, and Todd Bolender’s time with Ballet Caravan and such shows as Filling Station and Billy the Kid.
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Meglin, Joellen A. "The Remaking of the Choreographer." In Ruth Page. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190205164.003.0013.

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The turn that Page took away from ballet Americana and toward European opera with her “opera-into-ballet” La Revanche (Revenge, 1951) was a pragmatic and strategic one, related to postwar politics, anti-American sentiment in French cultural circles, and indirectly the cosmopolitan climate of the Marshall Plan for European recovery. She and Fisher understood that a political as well as an artistic choreography was required for their cosmopolitan project. With her adaptation of Giuseppe Verdi’s 1853 opera, Il Trovatore, Page turned to European Romanticism and timeless themes of obsession, reveng
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Actas de conferencias sobre el tema "Opera and Ballet"

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Kosakovska, L. P. "THE FIRST NATIONAL BALLET “MR. KANYOVSKY” ON THE STAGE OF THE KHARKIV OPERA AND BALLET THEATER." In АКТУАЛЬНІ ПРОБЛЕМИ РОЗВИТКУ УКРАЇНСЬКОГО ТА ЗАРУБІЖНОГО МИСТЕЦТВ: КУЛЬТУРОЛОГІЧНИЙ, МИСТЕЦТВОЗНАВЧИЙ, ПЕДАГОГІЧНИЙ АСПЕКТИ. Liha-Pres, 2023. http://dx.doi.org/10.36059/978-966-397-317-3-131.

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Marinković, Miloš. "Dragutin Gostuški’s Ballet Rummy: From the Award of the Croatian National Theatre to the Premiere at the Music Biennale Zagreb." In Iskošeni ugao Dragutina Gostuškog. Muzikološki institut SANU Beograd, 2024. https://doi.org/10.46793/dgost23.211m.

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One of the most significant works in the opus of Dragutin Gostuški as a composer is Rummy – A Fantastic Ballet Scene (1955). The ballet’s plot is based on the universal theme of the relationship between a woman and a man, and the music, although of neo-Romantic provenance, reveals some of the composer’s modernistic compositional techniques. After winning an award in a competition announced for new drama, opera, and ballet works on the occasion of the centenary of the Croatian National Theatre (1961), this ballet premiered two years later at the Music Biennale Zagreb (MBZ), an international fes
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Beane, Jeffrey A., and Rebecca Buntrock. "The John F. Kennedy Center for the Performing Arts Expansion Project." In IABSE Congress, New York, New York 2019: The Evolving Metropolis. International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.2538.

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<p>The John F. Kennedy Center for the Performing Arts is located on the banks of the Potomac River in Washington, D.C. The Kennedy Center is home to the National Symphony Orchestra, the Washington National Opera and The Suzanne Farrell Ballet. In addition to being the nation's busiest arts facility, the Kennedy Center is also a "Living Memorial" to President Kennedy. The south expansion of the Kennedy Center, known as the REACH, provides much needed educational and rehearsal space, as well as a pedestrian link to the nearby Memorials.</p><p>The new structure combines practica
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Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.

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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореог
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Informes sobre el tema "Opera and Ballet"

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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, 2024. http://dx.doi.org/10.32370/ia_2024_03_11.

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Resumen
The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology,
Los estilos APA, Harvard, Vancouver, ISO, etc.
2

Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, 2024. http://dx.doi.org/10.32370/ia_2024_01_11.

Texto completo
Resumen
The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology,
Los estilos APA, Harvard, Vancouver, ISO, etc.
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