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3661 results in Opera

Page 45 of 184

  • The Race for Robert and Other Rivalries: Negotiating the Local and (Inter)National in Nineteenth-Century New Orleans

  • Charlotte Bentley
  • Journal:
    Cambridge Opera Journal / Volume 29 / Issue 1 / March 2017
    Published online by Cambridge University Press:
    11 October 2017, pp. 94-112

  • Grand opéra occupied a prominent but fraught position in the life of New Orleans in the 1830s, where it became a focus for debates surrounding contemporary cultural and political issues. In 1835, the city’s rival theatres – one francophone, the other anglophone – raced to give the first performance of Giacomo Meyerbeer’s Robert le diable, bringing tensions between their respective communities to a head. This article explores Robert’s arrival in New Orleans, arguing that the discourses that grew up first around this work and later Les Huguenots provided a means through which opposing linguistic and cultural factions within the city could negotiate their local, national and international identities.

  • From Hindustan to Brabant: Meyerbeer’s L’africana and Municipal Cosmopolitanism in Post-Unification Italy

  • Axel Körner
  • Journal:
    Cambridge Opera Journal / Volume 29 / Issue 1 / March 2017
    Published online by Cambridge University Press:
    11 October 2017, pp. 74-93

  • This article examines the political and cultural circumstances leading to the Italian premiere of Giacomo Meyerbeer’s posthumous opera L’Africaine at Bologna’s Teatro Comunale in November 1865. Meyerbeer’s death in May 1864 and the French premiere of his last opera the following year combined to produce a striking moment of transnational cosmopolitan sentiment that built on the composer’s reputation for writing music that had the capacity to communicate across national and political boundaries. Shortly after the Unification of Italy, Bologna was keen to capitalise on these emotions and used the Italian premiere strategically in order to position itself as one of the cultural capitals of the new Italian nation state.

  • The Flying Dutchman, English Spectacle and the Remediation of Grand Opera

  • Gabriela Cruz
  • Journal:
    Cambridge Opera Journal / Volume 29 / Issue 1 / March 2017
    Published online by Cambridge University Press:
    11 October 2017, pp. 5-32

  • Richard Wagner wrote in 1852 that in settling on the theme of the phantom ship he had entered ‘upon a new path, that of Revolution against our modern Public Art’, that is, grand opéra. Wagner’s revolution has often been described in light of the poetics of return and homecoming that contributed a new sense of identity to (German) opera. The present article is written against the grain of this conviction, and highlights the cosmopolitan career of the phantom ship and of the vernacular art forms – the nautical theatre and the phantasmagoria – that maintained the seafaring image at the forefront of the liberal imagination, first in Britain, and then in Paris, where Wagner arguably seized on it. Specifically, it explores the significance of ‘apparitional images’ to mid-nineteenth-century opera and Wagner’s turn to a regime of modern spectacle, inspired by the art of phantasmagoria, in Der fliegende Holländer.

  • OPR volume 29 issue 1 Cover and Front matter

  • Journal:
    Cambridge Opera Journal / Volume 29 / Issue 1 / March 2017
    Published online by Cambridge University Press:
    11 October 2017, pp. f1-f2
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Mozart in Vienna
  • The Final Decade
  • Simon P. Keefe
  • Published online:
    21 September 2017
    Print publication:
    21 September 2017
  • Mozart's greatest works were written in Vienna in the decade before his death (1781–1791). This biography focuses on Mozart's dual roles as a performer and composer and reveals how his compositional processes are affected by performance-related concerns. It traces consistencies and changes in Mozart's professional persona and his modus operandi and sheds light on other prominent musicians, audience expectations, publishing, and concert and dramatic practices and traditions. Giving particular prominence to primary sources, Simon P. Keefe offers new biographical and critical perspectives on the man and his music, highlighting his extraordinary ability to engage with the competing demands of singers and instrumentalists, publishing and public performance, and concerts and dramatic productions in the course of a hectic, diverse and financially uncertain freelance career. This comprehensive and accessible volume is essential for Mozart lovers and scholars alike, exploring his Viennese masterpieces and the people and environments that shaped them.

Page 45 of 184