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1
Krueger, Nathan Elliott. "Gaetano Donizetti, Saverio Mercadante, and the Evolution and Development of the Verdi Baritone". Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/203444.
Testo completoAbstract (sommario):
The leading baritone roles in the operas of Giuseppe Verdi, known as Verdi baritone roles, presented new challenges for the singers who first interpreted these roles. Their demanding tessitura and complex characterizations tested the skill of a generation of singers who began their careers singing the roles of Gioacchino Rossini, Gaetano Donizetti, Saverio Mercadante, Vincenzo Bellini and Giovanni Pacini in the lighter, bel canto style. The purpose of this study is to examine the careers of singers active in Italy between 1830 and 1845 and to provide insight as to which roles written before the premiere of Verdi's Nabucco contained similar vocal and characterization demands. Through examination of available Italian opera house annals, ten singers were identified by the author as precursors to the Verdi baritone, and are categorized into three groups: the pre-Verdi baritones, the transitional baritones and the established Verdi baritones. A brief biography of each singer is included, as well as an appendix for each singer that includes roles performed, dates and locations of the performances. The title role in Donizetti's Torquato Tasso and the role of Manfredo in Mercadante's Il giuramento were determined to be the roles most similar to Verdi's Nabucco. Each role is analyzed in terms of characterization and tessitura demands, and is compared using tessitura charts that account for the frequency and duration of individual pitches. The roles are divided into sections, and each section is designated by its overall range, primary tessitura, secondary tessitura, and weighted pitches. These designations provide quantifiable evidence that each role presents similar challenges for the baritone.
2
Cazaux, Chantal. "Pour une approche de l'écriture dramatique de Gaetano Donizetti de 1830 à 1837 : contribution à l'étude d'Anna Bolena, de Maria Stuarda et Roberto Devereux". Saint-Etienne, 2002. http://www.theses.fr/2002STET2073.
Testo completoAbstract (sommario):
Ce travail tente de déterminer les différentes caractéristiques musicales et littéraires propres à l'écriture dramatique de Gaetano Donizetti, compositeur italien (1797-1848), dans la décennie 1830. Ces caractéristiques sont observées telles qu'elles se dégagent de l'étude de trois opéras dramatiques choisis dans cette période - la plus féconde de la carrière italienne du compositeur : Anna Bolena (1830), Maria Stuarda (1834-1835) et Roberto Devereux (1837). Sont notamment visés par cette étude les livrets - leurs sources historiques et littéraires, remontant à la Renaissance anglaise et à ses dynasties régnantes tantôt par le biais du roman "gothique" anglais, tantôt par celui du théâtre romantique européen, leur niveau de langue audacieux, ou bien encore leurs réseaux psychologiques et formels de personnages et de narrations -, les structures musicales - reproduites plus ou moins fidélement ou éclatées pour le besoin de l'action dramatique, utilisant le rythme scènique, l'orchestration et le rapport de la voix à l'orchestre comme autant d'éléments dramaturgiques - et enfin, plus particulièrement, l'écriture vocale et les nouveaux usages propres au compositeur dans l'utilisation des registres, des tessitures et de l'écriture mélodique. Il s'agit ainsi de distinguer d'une part les éléments de langage servant chez Gaetano Donizetti les dimensions réalistes et/ou fantastiques du lyrisme dramatique et italien de l'époque, d'autre part ceux hérités du bel canto rossinien et ceux ouvrant la voie à une vocalité et une dramaturgie pré-verdiennes, distinctions permettant alors de tenter une définition du "drame donizettien".
3
Mota, Carla Sofia Catarino Silva. "Literatura e música em Victor Hugo: mitologia do escritor romântico na génese do repertório operático oitocentista". Doctoral thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de lisboa, 2014. http://hdl.handle.net/10362/12110.
Testo completoAbstract (sommario):
Tese apresentada para cumprimento dos requisitos necessários à obtenção do
grau de Doutor em Línguas, Literaturas e Culturas, área de especialização em
Estudos Literários ComparadosAtravés da Dissertação de Doutoramento intitulada Literatura e música em Victor Hugo: mitologia do escritor romântico na génese do repertório operático oitocentista, pretende-se evidenciar a riqueza e a relevância da análise comparativista inter-artes, nomeadamente entre Literatura e Música, sendo possível traçar as ligações estreitas, mas nem sempre conceptuais, entre uma e outra, realçar a presença indiscutível da literatura no fascinante mundo da ópera, lugar incontestado de admiráveis expressões literárias, e questionar as temáticas do mito, do modelo e da intertextualidade, do género operático e do estatuto do libreto de ópera, passando pela incontornável abordagem da estética da recepção. Dando particular enfoque à época romântica, a nossa análise concentra-se na grandeza e no génio criador daquele que Paul Valéry apelidou de “mais imponente astro da literatura universal”: Victor Hugo. Mediante um indispensável estudo da influência do homem de letras que se tornou mito, bem como da relação que o “Mestre” cultivou com a música, para além do inegável lirismo que atravessa toda a sua obra, veremos o quanto o drama moderno por ele definido terá um papel capital na elaboração de um novo ideal operático do século XIX, estando grande parte da sua obra na origem de inúmeras adaptações para a cena lírica oitocentista. Guiados pela leitura atenta e paralela de algumas obras de destaque de Hugo e das suas adaptações em libreto, equacionar-se-ão temas, estéticas, teorias e modas, sem esquecer a beleza ofuscante da união de um verbo sublime com a grandeza e a eloquência da música. Uma forma peculiar, portanto, mas também inabitual e fascinante de abordar a literatura - uma literatura que se relaciona intimamente com arte lírica e que se torna, por isso mesmo, próxima mas também difícil de apreender na sua totalidade, confundindo-se com o mito que ela própria constrói.
4
Gerber, Melissa. "Power in Madness : a critical investigation into the musical representation of female madness in the mad scenes of Donizetti’s ‘Lucia’ from Lucia di Lammermoor (1835) and Thomas’s ‘Ophélie’ from Hamlet (1868)". Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/51380.
Testo completoAbstract (sommario):
The 19th-century fascination with madness led to a theatrical phenomenon most palpably represented in the operatic mad scene, where the insane heroine expresses her madness in an aria of ‘phenomenal difficulty’ (Ashley 2002). This research explores the representation of female madness as power in the mad scenes of two famously mad opera characters: Lucia from Gaetano Donizetti’s Lucia di Lammermoor (1835) and Ophélie from Ambroise Thomas’s Hamlet (1868). The objective is to investigate the representation of female madness in the libretti, the musical scores and in visual performances, in order to challenge the notion of female madness as weakness.
The research was conducted using a qualitative research paradigm. The study explored the depiction of female madness in various fields of artistic representation, and the concept of power and female power in literature, resulting in the novel interpretation of these enigmatic mad scenes. This was a hermeneutic study considered within an interpretive paradigm. The research was conducted in three stages: a literature review, a full score analysis and a visual performance analysis.
The results show that the 19th-century gendered paradigm shift of madness to an overtly female disorder, led to various artistic interpretations of the madwoman, most notably in art, literature, theatre and opera. Opera proved to be the ultimate platform for the musical depiction of female madness, particularly due to the virtuosic vocal capacity of the coloratura soprano. In spite of social and political advancement, women were portrayed as weak in operatic plots. It was established that a delicate balance exists between power and powerlessness in the operatic mad scene. Both Lucia and Ophélie are women trapped in a patriarchal environment, and the onset of their madness is traditionally attributed to the weak default of their gender and their inability to process dramatic emotional events. However, the composers’ musical realisation of madness, as well as the embodied performance of both characters by the soloists, accentuates the interplay between madness as weakness and, most importantly, madness as empowerment. The study shows that the powerlessness associated with female madness is paradoxically reversed by the very factors that denote female madness in the operatic mad scene, namely gender and vocal virtuosity. Numerous musical and visual performance elements employed by composers and directors, notably depicting the madwoman as feeble, point to the empowerment of the seemingly ‘weak’ soprano. Musical elements used to portray madness include deconstruction, orchestration and high pitch. The study revealed additional musical elements, such as the inclusion of themes from previous acts of the opera, the use of specific instrumentation and a capella passages for soprano. The study argues that the characteristics that define female madness in music, namely gender and vocal excess, specifically contribute to the representation of madness as power. Elaborate coloratura vocal passages and scant orchestration are the two musical elements used by Donizetti and Thomas to assist in the depiction of female madness as power in the operatic mad scene. Consequently the study establishes that the extravagant vocal virtuosity displayed by the coloratura soprano casts the madwoman as powerful in the operatic mad scene.Mini Dissertation (MMus)--University of Pretoria, 2016.
Music
Unrestricted
5
Santos, Marcos. "Estudo e análise técnica e interpretativa do papel principal de tenor nas óperas Lucia di Lammermoor (Edgardo) e L' Elisir d' Amore (Nemorino) de Gaetano Donizetti". Doctoral thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/19771.
Testo completoAbstract (sommario):
Nesta dissertação pretendemos analisar a interpretação do papel do tenor nas óperas Lucia di Lammermoor e L´Elisir d´Amore de Gaetano Donizetti, estudando os principais fatores que influenciaram a interpretação do papel do tenor e como esta mudou ao longo dos anos, por comparação de gravações destas óperas com 50 anos de intervalo entre si. O período do bel canto está associado à linha de canto ornamentada para exprimir emoções, o que, em conjunto com outros aspetos, fez com que a voz de tenor passasse a ter uma emissão distinta, especialmente no registo agudo. O contexto histórico e musical desta época, bem como os desenvolvimentos técnicos que se verificaram, influenciaram a forma de cantar e introduziram o tenor como papel principal nas óperas, com todos os desafios de cantar na zona de passagem, de domínio da respiração e de respeito pelas diversas formas de expressão musical que os compositores do período do bel canto usavam como veículos de interpretação e expressão dos sentimentos.
A escolha destas duas óperas de Donizetti assenta num gosto pessoal e no meu interesse em estudar os contrastes dos personagens Edgardo e Nemorino, que são apresentados nesta dissertação sob o ponto de vista interpretativo, analisando a problemática de cada papel e a forma como o percurso tonal destas obras influencia as performances dos intérpretes; Abstract:
STUDY AND ANALYSIS TECHNICAL-INTERPRETATION OF THE LEADING ROLE OF THE TENOR IN THE OPERAS LUCIA DI LAMMERMOOR (EDGARDO) AND L´ELISIR D´AMORE (NEMORINO) OF GAETANO DONIZETTI
In this dissertation we analyze the interpretation of the tenor role in the operas Lucia di Lammermoor and L´Elisir d´Amore by Gaetano Donizetti, studying the major factors that influenced the tenor role interpretation and how it developed along the years, by comparing two recordings of these operas recorded 50 years apart from each other. The period of the bel canto is associated with the vocal ornamentation to express emotions which, as a consequence and together with other aspects, required technical changes to the tenor voice, in particular the high register. The historic and musical context of this time, as well as the technical developments that happened then, influenced the way of singing and introduced the tenor as the main role in operas, with all the challenges to sing in the passagio, to master the breathing process and to use all the forms of musical expression that the bel canto composers used as vehicles to interpret and express feelings.
The choice of these two operas by Donizetti is based on personal taste and also on the interpretative contrasts between the roles of Edgardo and Nemorino, studied in this dissertation in terms of their interpretation, their problematic and how the harmony of these operas influences the interpretation of the singers.
6
Hsiao, Han. "An Analysis of the Representation of Queen Elizabeth I of England in the Operas by Rossini, Donizetti, and Thomas in the Context of Nineteenth-Century Vocal Style and Historical Influence". Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707281/.
Testo completoAbstract (sommario):
The purpose of this research is to analyze representations of Queen Elizabeth I of England in nineteenth-century Franco-Italian opera, and the relationship of these representations to contemporaneous singing style and the historical background. The basis for this analysis is three arias: "Quant'é grato all'alma mia" from Elisabetta, regina d'Inghilterra (1815) by Gioachino Rossini (1792-1868), "Sì, vuol di Francia il rege...Ah! quando all'ara scorgemi...Ah! dal ciel discenda un raggio" from Maria Stuarda (1835) by Gaetano Donizetti (1797-1848), and "Malgré l'éclat qui m'environne" from Le songe d'une nuit d'été (1850) by Ambroise Thomas (1811-1896). This research is divided into two main sections: the historical background of Italy and France in the nineteenth century, especially in the contemporaneous vocal style and fashions of literature; and a discussion of the composers' musical and dramatic choices for Queen Elizabeth I in the three selected arias. Chapter 2 is a brief introduction to the early nineteenth-century Franco-Italian historical background, vocal style, and popular literature. Chapter 3 presents an analysis of the three arias. The last chapter summarizes the representations of Elizabeth I in nineteenth-century politics, literature, and vocal style.
7
Tackett, Joshua Lucas. "A master’s vocal recital analyzing the historical and stylistic aspects of works by George Frideric Handel, Wolfgang Amadeus Mozart, Franz Schubert, Vincenzo Bellini, Giuseppe Verdi, Gaetano Donizetti, Reynaldo Hahn, and Michael Head". Kansas State University, 2014. http://hdl.handle.net/2097/18335.
Testo completoAbstract (sommario):
Master of MusicDepartment of Music, Theatre, and Dance
Reginald L. Pittman
The songs presented in this report are works I performed in my Master’s Recital on March 30, 2014. This report will take an in-depth analysis at the selected composers’ life and styles of writing and the works they created. The scores studied in this report include: “Thus saith the Lord: But who may abide” from George Frideric Handel’s Messiah, “Soave sia il vento” from Wolfgang Amadeus Mozart’s Cosí fan Tutte, “Liebesbotschaft,” “Ihr Bild,” and “Das Fischermädchen” from Franz Schubert’s Schwanengesang, Vincenzo Bellini’s “Vaga luna che inargenti,” Giuseppe Verdi’s “Il Poveretto,” Gaetano Donizetti’s “Che vuoi di più,” Reynaldo Hahn’s “Á Chloris,” “Si mes vers avaient des ailes,” and “L’Heure Exquise” from Chanson grises, and “Ships of Arcady,” “Beloved,” “A Blackbird Singing,” and “Nocturne” from Michael Head’s Over the Rim of the Moon.
8
Evans, John Scoville. "Parisina: Literary and Historical Perspectives Across Six Centuries". BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4074.
Testo completoAbstract (sommario):
This thesis explores the relationship between the many literary texts referring to the deaths of Ugo d'Este and Parisina Malatesta, who were executed in Ferrara in 1425 in accordance with an order by Niccolò III d'Este after he discovered their incestuous relationship. The texts are divided in three categories: (1) the fifteenth- and sixteenth-century Italian novellas and their translations; (2) the seventeenth-century Spanish tragedy; and (3) the nineteenth- and twentieth-century Romantic works. Although these categories divide the various texts chronologically, they also represent a thematic grouping as the texts within each category share common themes that set them apart from those in the other groups. While the various texts all tell the same story, each approaches the tragedy slightly differently based largely on the audience for which it was intended. Thus, the time and place of each text greatly affects its telling. Still, the fact that substantial differences exist between texts that were produced in both geographic and temporal proximity suggests that these are not all-determining factors. Although scholarship exists analyzing individual texts, a comprehensive study of the literary accounts relating to the tragedy has never been undertaken. Rather than detracting from the story, the differences put forth in each of the literary texts enrich the global reading experience by offering many perspectives on the tragedy. In addition, these differences influence how the reader reacts to each of the other texts. Familiarity with one version of the story changes the way a reader approaches the others. A parallel reading of the different versions of the story also shows the power culture has on interpretation. Texts referring to a singular event from one time and place sharply contrast with those that are the product of other circumstances.
9
Lin, Ya Chien, e 林雅倩. "Gaetano Donizetti《Lucia di Lammermoor》". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/21526510243250475806.
Testo completo
10
Cheng, Hung-Yi, e 鄭宏毅. "An analysis and interpretation of three baritone arias by Gaetano Donizetti". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/29724441011608469659.
Testo completoAbstract (sommario):
碩士臺北市立大學
音樂學系
103
Gaetano Donizetti（1797-1848）was one of the leading composers of the earlier stage of Romantic Period. He devoted himself to opera buffa and opera seria. Donizetti’s composition style was influence by Gioachino Rossini（1792-1868）and Vincenzo Bellini（1801-1835）. The three famous composers planted the seeds that enabled opera to flourish in the latter half of the nineteenth century. The researcher analyzes and investigates the reference to discuss about the aria of baritone in the three famous operas of Donizetti, L’elisir d’amore, Lucia di Lammermoor, and Don Pasquale. The study is divided into three parts. The first part includes the compositional background and the plots of L’elisir d’amore, Lucia di Lammermoor, and Don Pasquale. The second part includes the analysis of the aria of baritone and the interpretation of role in the three operas. The last but not the least, the researcher would apply the result of the study into the performance. The researcher could deeply investigate the aria of baritone through the analysis of the three important operas of Donizetti. With the study, the researcher could approach to the original motivation and the composition style of Gaetano Donizetti.
11
Lo, Yi-Chen, e 羅亦辰. "The Study and Interpretation of Six Vocal Chamber Musicby Gaetano Donizetti". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/22960709827315636872.
Testo completoAbstract (sommario):
碩士臺北市立大學
音樂學系
104
Gaetano Donizetti(29 November 1797-8 April 1848) was an Italian master of the bel canto opera style during the first half of the nineteenth century. He was famous for the remarkable speed of his composition. Although Donizetti is best known for his operas, his vocal chamber compositions also play an important role. They are useful during vocal instruction because they provide students with bel canto skills. They enable students to learn different styles and forms of musical composition. Donizetti’s vocal chamber compositions are ideal teaching material when learning vocal technique. Donizetti composed 13 songs in different styles, each inspired by Italian, French and Viennese folksongs, which were collected into a suite. This essay will analyze Donizetti’s six songs with different characteristics from his 10 suite which can be found of his suite of 13. The first part provides a general overview of the evolution of Italian vocal music during the early nineteenth century. The second part introduces Donizetti’s life and the style of his compositions. The third part analyzes the creation of these six songs and their structure. The fourth and final part summarizes the findings of this essay. This research can be used as reference material when studying Donizetti’s vocal chamber works. Finally, the author hopes that through this research people will achieve a better understanding of the core concepts and style behind the composer’s works.
12
LIAO, Min-Wen, e 廖敏雯. "The Interpretation of the Solo Soprano in “Don Pasquale”by Gaetano Donizetti (1797-1848)". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/22063533311830195635.
Testo completoAbstract (sommario):
碩士東吳大學
音樂學系
94
This research studies the importance of Soprano Norina in the opera Don Pasquale by Gaetano Donizetti (1797-1848) and writer's view of the characteristics and interpretation of Cavatina. It focuses on the interpretation of the Cavatina “Quel guard oil cavaliere in mezzo al cor trafisse” sung by Norina. It also uses the views on the opera story analysis, act and scene deployment, and the analysis of Cavatina and other repertoire sung by Norina as supporting evidence. The study leads to the conclusion as follows: 1. Norina is a very important role to connect opera story. Although the opera is named Don Pasquale, Norina actually is the key role connecting the different parts of the opera. 2. The feature of the Cavatina is very special, which includes two parts: one is Andante tempo and another is Allegretto. They are very different on musical styles and metaphysical meaning of the lyrics. 3. The combination of music and lyrics in Cavatina is wonderful. Donizetti’s creativeness as well as his profound understanding of human voice has produced a seamless combination of lyrics and music in Don Pasquale. 4. The combination of harmony and lyrics in Cavatina is important, which at times assists to highlight the expression of the artistic meaning of the lyrics and situation in the opera. 5. The interpretation of Cavatina is light and joyous. Norina is a light lyric soprano in this opera, and her voice is full of delight, warmth and smiles. The characteristic of her role is youthfulness, happiness and wittiness. Min-Wen Liao Vocal Recital: G. F. Händel (1685-1759): V’adoro, pupille from“Giulio Cesare” G. F. Händel (1685-1759): Where’er you walk from “Semele” S. Donaudy (1879-1925): Vaghissima sembianza F. Schubert (1879-1925): An die Musik F. Schubert (1797-1828): Frühlingsglaube G.. Donizetti (1797-1828): Quel guard oil cavaliere in mezzo al cor trafisse from”Don Pasquale” G. Fauré (1797-1848): En prière G. Fauré (1845-1924): “Poéme d’un Jour”,Op. .21 S. Barber (1910-1981): The Crucufixion S. Barber (1910-1981): The Daisies
13
Yin, Tzu-Ya, e 殷子雅. "The analysis and interpretation of the Soprano Aria in“Don Pasquale”by Gaetano Donizetti". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/tr97pc.
Testo completo
14
Liu, Yi-Hsin, e 劉宜欣. "The Interpretation and Analysis of Gioacchino Rossini, Gaetano Donizetti and Vincenzo Bellini’s Six Art Songs". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/44015260398347258210.
Testo completoAbstract (sommario):
碩士中國文化大學
音樂學系西洋音樂組
103
This paper discusses Gioachino Antonio Rossini , 1792-1868,Domenico Gaetano Maria Donizetti , 1797 -1848 and Vincenzo Bellini ,1801-1835,these three composers of art songs, that the writer could study and presentation the composition.The present study possesses four chapters. The first chapter is to describe the motivation, purpose, material and method of the thesis.The second chapter discusses the presentation of composer’s life and creative background. The third chapter discusses the interpretation and analysis . The last chapter is conclusion. The thesis includes introductions of the composers and the art songs; Gioachino Antonio Rossini ’s art song < La promessa >and
15
Ho, Hsin-Ping, e 何欣蘋. "The Musical Analysis and Interpretation of Lucia in the opera "Lucia di Lammermoor" by Gaetano Donizetti". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/07435155608744577107.
Testo completo
16
蔡宜珊. "The Study and Performance Interpretation of Mria Arias from Opera《La Fille du Régiment》by Gaetano Donizetti". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/88084934895963725831.
Testo completo
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Peng, Ching-Chun, e 彭靖淳. "A Study of Anna Bolena''s Aria Piangete voi? ...al dolce guidami in Anna Bolena by Gaetano Donizetti". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/hg3973.
Testo completoAbstract (sommario):
碩士國立臺北藝術大學
音樂學系碩士班聲樂組
103
Inspired by the marriage between Henry VIII and Anne Boleyn during Tudor period in English history, Italian composer Gaetano Donizatti (1797-1848) and librettist Felice Romani (1788-1865) have co-written the opera Anna Bolena. Anne Boleyn (as in Anna Bolena) was the second wife of Henry VIII, who gave birth to Elizabeth I. In order to marry Anne Boleyn, Henry VIII initiated the English Reformation, which resulted in the breaking away of English Church from Catholic Church in Rome. As head of English Church, Henry VIII divorced his first wife Catherine of Aragon legally and subsequently married Anne Boleyn. However, like Catherine of Aragon, Anne Boleyn failed to give birth to a son that Henry desired. Their relationship worsened after Anne’s miscarriage. Anne Boleyn was later accused of adultery with a court musician, as well as with her brother. She was arrested and placed in the Tower of London on charges of incest and treason, which led to her eventual execution in public. Just eleven days later, Henry VIII married his third wife, Jane Seymour – Anne’s maid of honour before her execution. Anna Bolena was an important turning point for Donizatti; it is at this point, his successes in composing comedies were replicated in creating tragedy. The evocative lyrics and the dramatic script paved the way to his later achievements in career; Anna Bolena has also become the model romantic tragedy of its time. This paper has chosen to focus on Piangete Voi? ...Al dolce guidami castel natio from The Mad Scene (Act II) as the research topic. This paper consists of five parts. Through study of historic events and examination of the life and work of Gaetano Donezatti and Felice Romani, this paper sought to explore the role of Anne Boleyn in the opera Anna Bolena.
18
PUA, SHYH-HOW, e 潘仕豪. "A Study of Nemorino's Two Arias Quanto è bella, quanto è cara！Una furtiva lagrima and Duet Una parola, o Adina - Chiedi all'aura lusinghiera！with Adina in L'Elisir d'Amore by Gaetano Donizetti". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/ejdzzt.
Testo completoAbstract (sommario):
碩士國立臺北藝術大學
音樂學系碩(博)士班
106
L’Elisir d’Amore (The Elixir of Love), an opera composed by Italian composer Gaetano Donizetti (1797-1848), has been regarded as one of the most brilliant and classic Italian opera buffa, and has taken its place in the repertory performances of worldwide notable opera houses over the past two centuries. Starting from the fondness for the noted tenor aria Una furtiva lagrima (A furtive tear) and thus for entire masterpiece, the author hence explores into the leading role Nemorino to develop deeper comprehension and interpretation. This interpretation study set out in 5 chapters exploring respectively into the life of composer Gaetano Donizetti, life of librettist Felice Romani, Donizetti’s opera musical expressions, synopsis of the opera, and the role interpretation. Thereupon, the study discussion is focused on Nemorino’s arias of two different scenes, i.e. Quanto è bella, quanto è cara! (How beautiful she is!) and Una furtiva lagrima (A furtive tear), as well as his duet with the leading soprano Adina, i.e. Una parola, o Adina - Chiedi all'aura lusinghiera! (Ask the flattering breeze!), which delves into the character’s growth and development that shapes the musical portrayal and performance of the tenor role Nemorino.
19
LIN, Li-Kai, e 林理凱. "The Joy and Torment of Love: A Study of Gaetano Donizetti’s Songs". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/vc2h8k.
Testo completoAbstract (sommario):
碩士國立臺灣師範大學
音樂學系
104
Abstract Gaetano Donizetti(1797–1848), "one of the most outstanding Italian composer in the early nineteenth century." He built his reputation as an opera composer with more than 65 operas. He also composed 257 songs for voice and piano. This study selects eight italian songs with the theme of love by Donizetti. These songs presented in two parts: "the joys of love" and "the torments of love". The 1st part contains: "Eterno amore e fè" (Eternal love and faithfulness), "L’amor mio" (My love), "Occhio nero incendiator" (Fiery dark eyes) and "Me voglio fà ‘na casa" (I want to build a house by the sea), all featuring joyful aspects of love. The second part, presented Donizetti’s views of tormented love in "Amore e morte" (Love and death), "La lontananza" (Distance), "L’amor funesto" (Fatal love) and "È morta" (She is dead) . Donizetti’s song compositions also have characteristics of opera, like a miniature operatic scene. He is gifted in writing lyrical melodies blended with dramatic elements. He comprehends the sensitivity of the human voice, and he writes on the Italian bel canto tradition. The piano accompaniment in Donizetti’s songs is the substitution of orchestra, and it makes his blending dramatic and lyrical elements possible. This study will discuss how Donizetti stands firmly on the tradition of Italian Romanticism, and his choices of words to speak of the joys and torments of love.
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Fralick, Larry W. "Anna Bolena, Maria Stuarda, and Roberto Devereux: a study of Gaetano Donizetti's dramatic style". 1988. http://hdl.handle.net/2097/23854.
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