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3661 results in Opera

Page 89 of 184

The Rival Sirens
  • Performance and Identity on Handel's Operatic Stage
  • Suzanne Aspden
  • Published online:
    05 April 2013
    Print publication:
    18 April 2013
  • The tale of the onstage fight between prima donnas Francesca Cuzzoni and Faustina Bordoni is notorious, appearing in music histories to this day, but it is a fiction. Starting from this misunderstanding, The Rival Sirens suggests that the rivalry fostered between the singers in 1720s London was in large part a social construction, one conditioned by local theatrical context and audience expectations, and heightened by manipulations of plot and music. This book offers readings of operas by Handel and Bononcini as performance events, inflected by the audience's perceptions of singer persona and contemporary theatrical and cultural contexts. Through examining the case of these two women, Suzanne Aspden demonstrates that the personae of star performers, as well as their voices, were of crucial importance in determining the shape of an opera during the early part of the eighteenth century.

The Cambridge Introduction to Theatre Directing
  • Christopher Innes, Maria Shevtsova
  • Published online:
    05 April 2013
    Print publication:
    02 May 2013
  • This Introduction is an exciting journey through the different styles of theatre that twentieth-century and contemporary directors have created. It discusses artistic and political values, rehearsal methods and the diverging relationships with actors, designers, other collaborators and audiences, and treatment of dramatic material. Offering a compelling analysis of theatrical practice, Christopher Innes and Maria Shevtsova explore the different rehearsal and staging principles and methods of such earlier groundbreaking figures as Stanislavsky, Meyerhold and Brecht, revising standard perspectives on their work. The authors analyse, as well, a diverse range of innovative contemporary directors, including Ariane Mnouchkine, Elizabeth LeCompte, Peter Sellars, Robert Wilson, Thomas Ostermeier and Oskaras Koršunovas, among many others. While tracing the different roots of directorial practices across time and space, and discussing their artistic, cultural and political significance, the authors provide key examples of the major directorial approaches and reveal comprehensive patterns in the craft of directing and the influence and collaborative relationships of directors.

  • OPR volume 25 issue 1 Cover and Front matter

  • Journal:
    Cambridge Opera Journal / Volume 25 / Issue 1 / March 2013
    Published online by Cambridge University Press:
    14 March 2013, pp. f1-f4
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  • OPR volume 25 issue 1 Cover and Back matter

  • Journal:
    Cambridge Opera Journal / Volume 25 / Issue 1 / March 2013
    Published online by Cambridge University Press:
    14 March 2013, pp. b1-b3
    • Article
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  • An Annotated livret of Lully's Roland as a Source for Seventeenth-Century Declamation

  • Jed Wentz
  • Journal:
    Cambridge Opera Journal / Volume 25 / Issue 1 / March 2013
    Published online by Cambridge University Press:
    14 March 2013, pp. 1-36

  • The Houghton Library at Harvard University holds a copy of the 1685 livret for Roland by Philippe Quinault and Jean-Baptiste Lully that has been marked up in three different seventeenth-century hands. The meanings of these markings cannot be conclusively deciphered until further corroborative sources come to light, but they seem to refer to declaimed performances of Quinault's text. The purpose of the current article is to propose possible interpretations of these annotations, guided by seventeenth-century theory of the oratorical pitches (tons) and eighteenth-century links between the Académie royale de musique and the Comédie française.

  • Verdi's Don Carlo as Monument

  • Francesca Vella
  • Journal:
    Cambridge Opera Journal / Volume 25 / Issue 1 / March 2013
    Published online by Cambridge University Press:
    14 March 2013, pp. 75-103

  • When Verdi's Don Carlo made its debut at La Scala in March 1868, it was hardly the latest operatic news; since its 1867 premiere at the Paris Opéra, it had been widely performed and written about. One aspect of the debates in the Milanese and the Italian press, however, deserves special attention: the depiction of the opera as a ‘monument’. Although the work's astonishing length (compared to that of most of Verdi's previous operas) and the composer's increasing prestige as a national figure might both have been reasons for this impression of monumentality, there were clearly others. The article explores some of these reasons in relation to post-Unification urban renewal, the increasing success of la musica dell'avvenire and the beginning of a slow rediscovery of ‘ancient’ musical works. It argues that Don Carlo was thought of as a monument primarily because it was perceived as standing between the past and the future, and as such was the epitome of contemporary attitudes towards these temporal categories.

Page 89 of 184