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3661 results in Opera

Page 91 of 184

The Cambridge Companion to Opera Studies
  • Edited by Nicholas Till
  • Published online:
    05 December 2012
    Print publication:
    18 October 2012
  • With its powerful combination of music and theatre, opera is one of the most complex and yet immediate of all art forms. Once opera was studied only as 'a stepchild of musicology', but in the past two decades opera studies have experienced an explosion of energy with the introduction of new approaches drawn from disciplines such as social anthropology and performance studies to media theory, genre theory, gender studies and reception history. Written by leading scholars in opera studies today, this Companion offers a wide-ranging guide to a rapidly expanding field of study and new ways of thinking about a rich and intriguing art form, placing opera back at the centre of our understanding of Western culture over the past 400 years. This book gives lovers of opera as well as those studying the subject a comprehensive approach to the many facets of opera in the past and today.

  • Seeing the Empress Again On Doubling in L'incoronazione di Poppea

  • Magnus Tessing Schneider
  • Journal:
    Cambridge Opera Journal / Volume 24 / Issue 3 / November 2012
    Published online by Cambridge University Press:
    28 November 2012, pp. 249-291

  • This article presents a reading of Gian Francesco Busenello's and Claudio Monteverdi's opera L'incoronazione di Poppea in light of seventeenth-century theatrical practices. Reconstructing the doubling plan from the opera's premiere in 1643 on the basis of contemporary doubling practices and the correspondence of the Ferrarese music patron Marquess Cornelio Bentivoglio, the author argues, adducing circumstantial evidence, that Ottavia and Drusilla were conceived as a double role for the operatic quick-change artist Anna Renzi. While Renzi is known to have created Ottavia, this part is half the size of all other roles written for her, which invariably involve dramatic, emotional and musical variety to a much greater extent than does Monteverdi's tragic Empress. Renzi was admired for her command of both tragedy and comedy, and the essay develops the hypothesis of the double role as an intertextual interpenetration of the title heroines from the pseudo-Senecan tragedy Octavia and Girolamo Bargagli's sixteenth-century comedy La pellegrina.

  • OPR volume 24 issue 3 Cover and Back matter

  • Journal:
    Cambridge Opera Journal / Volume 24 / Issue 3 / November 2012
    Published online by Cambridge University Press:
    28 November 2012, pp. b1-b5
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  • OPR volume 24 issue 3 Cover and Front matter

  • Journal:
    Cambridge Opera Journal / Volume 24 / Issue 3 / November 2012
    Published online by Cambridge University Press:
    28 November 2012, pp. f1-f4
    • Article
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  • Two into Three Won't Go? Poetic Structure and Musical Forms in Mozart's Idomeneo

  • Tim Carter
  • Journal:
    Cambridge Opera Journal / Volume 24 / Issue 3 / November 2012
    Published online by Cambridge University Press:
    28 November 2012, pp. 229-248

  • By the last quarter of the eighteenth century, the typical Metastasian two-stanza aria text could be set to music in one of two ways: in the ternary form typical of the earlier da capo aria (stanzas 1–2–1) or in a binary one (stanzas 1–2–1–2). Why did Mozart choose one form over the other in Idomeneo (1781); what does this tell us about the role of his librettist, Giovanni Battista Varesco, both before and after the composer left Salzburg for Munich to finish composing the opera and to prepare its performance; and how might these issues enable some rational inquiry into questions of music and drama?

  • Cherubini and the Revolutionary Sublime

  • Sarah Hibberd
  • Journal:
    Cambridge Opera Journal / Volume 24 / Issue 3 / November 2012
    Published online by Cambridge University Press:
    28 November 2012, pp. 293-318

  • France receives little attention in narratives about the sublime in the late eighteenth and the nineteenth centuries. This article will argue that the cataclysmic tableau at the climax of Cherubini's first opera for the Théâtre Feydeau in Paris, Lodoïska (1791), can be understood as part of a coherent and distinctively French discourse of the sublime, rooted in revolutionary experience that can be understood in relation to wider European trends.

Melodies and Memories
  • Nellie Melba
  • Published online:
    05 November 2012
    Print publication:
    20 October 2011
    First published in:
    1925
  • Dame Nellie Melba (1861–1931) was one of the most famous sopranos of her time. Born in Australia, Melba began her training in Melbourne but moved to Europe in 1882 to start her career. She found success in Brussels as Gilda in Verdi's Rigoletto and was soon well known throughout the continent's opera houses. She debuted at the Metropolitan Opera in New York in 1893. Her repertoire extended over twenty-five roles, and she was regarded as unmatched in ten of these, continuing to perform throughout her life, in concert recitals as well as in opera, to great acclaim, and becoming one of the earliest modern 'celebrities'. In this autobiography, published in 1925, Melba describes her childhood and her journey from the 'great Australian Bush' to the bright lights of the European and American stage, while also giving a colourful, first-hand account of the world of opera.

Harrison Birtwistle's Operas and Music Theatre
  • David Beard
  • Published online:
    05 November 2012
    Print publication:
    25 October 2012
  • David Beard presents the first definitive survey of Harrison Birtwistle's music for the opera house and theatre, from his smaller-scale works, such as Down by the Greenwood Side and Bow Down, to the full-length operas, such as Punch and Judy, The Mask of Orpheus and Gawain. Blending source study with both music analysis and cultural criticism, the book focuses on the sometimes tense but always revealing relationship between abstract musical processes and the practical demands of narrative drama, while touching on theories of parody, narrative, pastoral, film, the body and community. Each stage work is considered in terms of its own specific musico-dramatic themes, revealing how compositional scheme and dramatic conception are intertwined from the earliest stages of a project's genesis. The study draws on a substantial body of previously undocumented primary sources and goes beyond previous studies of the composer's output to include works unveiled from 2000 onwards.

Opera in the Age of Rousseau
  • Music, Confrontation, Realism
  • David Charlton
  • Published online:
    05 November 2012
    Print publication:
    25 October 2012
  • Historians of French politics, art, philosophy and literature have long known the tensions and fascinations of Louis XV's reign, the 1750s in particular. David Charlton's study comprehensively re-examines this period, from Rameau to Gluck and elucidates the long-term issues surrounding opera. Taking Rousseau's Le Devin du Village as one narrative centrepiece, Charlton investigates this opera's origins and influences in the 1740s and goes on to use past and present research to create a new structural model that explains the elements of reform in Gluck's tragédies for Paris. Charlton's book opens many new perspectives on the musical practices and politics of the period, including the Querelle des Bouffons. It gives the first detailed account of intermezzi and opere buffe performed by Eustachio Bambini's troupe at the Paris Opéra from August 1752 to February 1754 and discusses Rameau's comedies Platée and Les Paladins and their origins.

Page 91 of 184