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Books > Arts & Architecture > Performing arts > Theatre, drama > Opera
Becoming Audible explores the phenomenon of human and animal
acoustic entanglements in art and performance practices. Focusing
on the work of artists who get into the spaces between species,
Austin McQuinn discovers that sounding animality secures a vital
connection to the creatural. To frame his analysis, McQuinn employs
Gilles Deleuze and Felix Guattari's concept of becoming-animal,
Donna Haraway's definitions of multispecies becoming-with, and
Mladen Dolar's ideas of voice-as-object. McQuinn considers birdsong
in the work of Beatrice Harrison, Olivier Messiaen, Celeste
Boursier-Mougenot, Daniela Cattivelli, and Marcus Coates; the voice
of the canine as a sacrificial lab animal in the operatic work of
Alexander Raskatov; hierarchies of vocalization in human-simian
cultural coevolution in theatrical adaptations of Franz Kafka and
Eugene O'Neill; and the acoustic exchanges among hybrid
human-animal creations in Harrison Birtwistle's opera The Minotaur.
Inspired by the operatic voice and drawing from work in art and
performance studies, animal studies, zooarchaeology, social and
cultural anthropology, and philosophy, McQuinn demonstrates that
sounding animality in performance resonates "through the labyrinths
of the cultural and the creatural," not only across species but
also beyond the limits of the human. Timely and provocative, this
volume outlines new methods of unsettling human exceptionalism
during a period of urgent reevaluation of interspecies relations.
Students and scholars of human-animal studies, performance studies,
and art historians working at the nexus of human and animal will
find McQuinn's book enlightening and edifying.
The stage works of Saint-Saens range from grand open-air pageants
to one-act comic operas, and include the first composed film score.
Yet, with the exception of Samson et Dalila, his twelve operas have
lain in the shadows since the composer's death in 1921. Widely
performed in his lifetime, they vanished from the repertory - never
played, never recorded - until now. With four twenty-first-century
revivals as a backdrop, this timely book is the first study of
Saint-Saens's operas, demonstrating the presence of the same
breadth and versatility as in his better known works. Hugh
Macdonald's wide knowledge of French music in the nineteenth
century gives a powerful understanding of the different conventions
and expectations that governed French opera at the time. The
interaction of Saint-Saens with his contemporaries is a colourful
and important part of the story.
Beginning from the unlikely vantage point of Venice in the
aftermath of fascism and World War II, this book explores operatic
production in the city's nascent postwar culture as a lens onto the
relationship between opera and politics in the twentieth century.
Both opera and Venice in the middle of the century are often talked
about in strikingly similar terms: as museums locked in the past
and blind to the future. These cliches are here overturned:
perceptions of crisis were in fact remarkably productive for opera,
and despite being physically locked in the past, Venice was
undergoing a flourishing of avant-garde activity. Focusing on a
local musical culture, Harriet Boyd-Bennett recasts some of the
major composers, works, stylistic categories and narratives of
twentieth-century music. The study provides fresh understandings of
works by composers as diverse as Stravinsky, Prokofiev, Verdi,
Britten and Nono.
Maria Callas was, perhaps, the greatest opera singer of the 20th
century. Hers was a life lived on the world stage, and her fame
extended to the public consciousness of many parts of the world.
Even after her mysterious death in 1977, her singing and acting
continue to thrill new generations of opera fans thanks to her many
recordings and her fascinating life. This new biography of Callas
tells her story from difficult beginnings as the daughter of Greek
immigrants to New York City in 1923 to her wonderful performances
at La Scala, Covent Garden, and the Metropolitan Opera. Callas was
quite a diva and a master at creating a captivating public image.
She also became notorious because of her very public affair with
Aristotle Onassis, the wealthy ship-owner who left Callas to marry
Jacqueline Kennedy.
Prokofiev considered himself to be primarily a composer of opera,
and his return to Russia in the mid-1930s was partially motivated
by the goal to renew his activity in this genre. His Soviet career
coincided with the height of the Stalin era, when official interest
and involvement in opera increased, leading to demands for
nationalism and heroism to be represented on the stage to promote
the Soviet Union and the Stalinist regime. Drawing on a wealth of
primary source materials and engaging with recent scholarship in
Slavonic studies, this book investigates encounters between
Prokofiev's late operas and the aesthetics of socialist realism,
contemporary culture (including literature, film, and theatre),
political ideology, and the obstacles of bureaucratic interventions
and historical events. This contextual approach is interwoven with
critical interpretations of the operas in their original versions,
providing a new account of their stylistic and formal features and
connections to operatic traditions.
Scientific thinking has long been linked to music theory and
instrument making, yet the profound and often surprising
intersections between the sciences and opera during the long
nineteenth century are here explored for the first time. These
touch on a wide variety of topics, including vocal physiology,
theories of listening and sensory communication, technologies of
theatrical machinery and discourses of biological degeneration.
Taken together, the chapters reveal an intertwined cultural history
that extends from backstage hydraulics to drawing-room hypnotism,
and from laryngoscopy to theatrical aeronautics. Situated at the
intersection of opera studies and the history of science, the book
therefore offers a novel and illuminating set of case studies, of a
kind that will appeal to historians of both science and opera, and
of European culture more generally from the French Revolution to
the end of the Victorian period.
For well over two hundred years, Joseph Haydn has been by turns
lionized and misrepresented - held up as celebrity, and disparaged
as mere forerunner or point of comparison. And yet, unlike many
other canonic composers, his music has remained a fixture in the
repertoire from his day until ours. What do we need to know now in
order to understand Haydn and his music? With over eighty entries
focused on ideas and seven longer thematic essays to bring these
together, this distinctive and richly illustrated encyclopedia
offers a new perspective on Haydn and the many cultural contexts in
which he worked and left his indelible mark during the
Enlightenment and beyond. Contributions from sixty-seven scholars
and performers in Europe, the Americas, and Oceania, capture the
vitality of Haydn studies today - its variety of perspectives and
methods - and ultimately inspire further exploration of one of
western music's most innovative and influential composers.
For decades, 18th century Paris had been declining into a baroque
backwater. Spectacles at the opera, once considered fit for a king,
had become "hell for the ears," wrote playwright Carlos Goldoni.
Then, in 1774, with the crowning of Louis XVI and Marie-Antoinette,
Paris became one of the world's most vibrant musical centers.
Austrian composer Christophe-Willibald Gluck, protege of the queen,
introduced a new kind of tragic opera--dramatic, human and closer
to nature. The expressive pantomime known as ballet d'action,
forerunner of the modern ballet, replaced stately court dancing.
Along the boulevards, people whistled lighter tunes from the
Italian opera, where the queen's favorite composer, Andre Modeste
Gretry, ruled supreme. This book recounts Gluck's remaking of the
grand operatic tragedy--long symbolic of absolute monarchy--and the
vehement quarrels between those who embraced reform and those who
preferred familiar baroque tunes or the sweeter melodies of Italy.
The turmoil was an important element in the ferment that led to the
French Revolution and the beheading of the queen.
This book is concerned with a hundred years of musical drama in
England. It charts the development of the genre from the theatre
works of Henry Purcell (and his contemporaries) to the dramatic
oratorios of George Frideric Handel (and his). En route it
investigates the objections to all-sung drama in English that were
articulated in the decades around 1700, various proposed solutions,
the importation of Italian opera, and the creation of the dramatic
oratorio - English drama, all-sung but not staged. Most of the
constituent essays take an in-depth look at a particular aspect of
the process, while others draw attention to dramatic qualities in
non-dramatic works that also were performed in the theatre. The
journey from Purcell to Handel illustrates the vigour and vitality
of English theatrical and musical traditions, and Handel's dramatic
oratorios and other settings of English words answer questions
posed before he was born.
Over many centuries, women on the Chinese stage committed suicide
in beautiful and pathetic ways just before crossing the border for
an interracial marriage. Uncrossing the Borders asks why this
theatrical trope has remained so powerful and attractive. The book
analyzes how national, cultural, and ethnic borders are inevitably
gendered and incite violence against women in the name of the
nation. The book surveys two millennia of historical, literary,
dramatic texts, and sociopolitical references to reveal that this
type of drama was especially popular when China was under foreign
rule, such as in the Yuan (Mongol) and Qing (Manchu) dynasties, and
when Chinese male literati felt desperate about their economic and
political future, due to the dysfunctional imperial examination
system. Daphne P. Lei covers border-crossing Chinese drama in major
theatrical genres such as zaju and chuanqi, regional drama such as
jingju (Beijing opera) and yueju (Cantonese opera), and modernized
operatic and musical forms of such stories today.
"Of the greatest significance ...The first volume of George Perle's
two volume study on the two operas of Alban Berg ...is one of those
few works of scholarship and analysis you can label 'definitive';
it may in time be supplemented, but not superseded."--Richard Dyer,
Boston Sunday Globe "It is difficult to see how Professor Perle's
exhaustive study can ever be superseded...or how such future work
as may appear can do anything but add new details to his exposition
of the basic clements of the work's musical language...After twenty
years' work on the composer he brings to this study of Wozzeck not
only a penetrating analytical mind, great scholarship and a
comprehensive knowledge of the music but an almost uncanny insight
into what seem to be the inner workings of Berg's mind."--Douglas
Jarman, Music and Letters "If you have ever had any questions about
Berg's opera Wozzeck, Mr. Perle probably answers them for you in
The Operas of Alban Berg: Volume One/Wozzeck...An indispensable
work on Berg's life as reflected in his work." --Donal Hcnahan, The
New York Times "As with Perle's previous books, one notes with
pleasure how well written is this one, how simultaneously
economical and comfortable the prose, even when the subject is as
complex and manifold as Wozzeck."--Mark DeVoto, Music Library
Association Notes "A great and unique contribution ...[Perle] is a
leading authority on Berg, and his analysis of Berg's compositional
methods in the two operas is likely to be definitive."--George
Martin, The Opera Quarterly "George Perle has contributed more than
anyone of any nationality to a true understanding of Berg's
music."--Douglass Green, Journal of Music Theory "George Perle
...possesses the kind of complete credential required for this
study. [Volume I: Wozzeck] is a model of scholarly writing. Every
paragraph, each quoted music example, each analysis moves the
argument forward in a clear incisive manner ...Essential reading
for the serious student of the music of Alban Berg."--Choice
This thematic examination of Britten's operas focuses on the way
that ideology is presented on stage. To watch or listen is to
engage with a vivid artistic testament to the ideological world of
mid-twentieth-century Britain. But it is more than that, too,
because in many ways Britten's operas continue to proffer a
diagnosis of certain unresolved problems in our own time. Only
rarely, as in Peter Grimes, which shows the violence inherent in
all forms of social and psychological identification, does Britten
unmistakably call into question fundamental precepts of his
contemporary ideology. This has not, however, prevented some
writers from romanticizing Britten as a quiet revolutionary. This
book argues, in contrast, that his operas, and some interpretations
of them, have obscured a greater social and philosophical
complicity that it is timely - if at the same time uncomfortable -
for his early twenty-first-century audiences to address.
Based on Verdi's autograph score and an examination of important
secondary sources, including contemporary manuscript copies and
performing parts, this edition of Il trovatore identifies and
resolves numerous ambiguities of harmony, melodic detail, text, and
phrasing that have marred previous scores. Scholars and performers
alike will find a wealth of information in the critical apparatus
to inform their research and interpretations.
Many know Antonio Salieri only as Mozart's envious nemesis from the
film "Amadeus," In this well-illustrated work, John A. Rice shows
us what a rich musical and personal history this popular stereotype
has missed.
Bringing Salieri, his operas, and eighteenth-century Viennese
theater vividly to life, Rice places Salieri where he belongs: no
longer lurking in Mozart's shadow, but standing proudly among the
leading opera composers of his age. Rice's research in the archives
of Vienna and close study of his scores reveal Salieri to have been
a prolific, versatile, and adventurous composer for the stage.
Within the extraordinary variety of Salieri's approaches to musical
dramaturgy, Rice identifies certain habits of orchestration,
melodic style, and form as distinctively "Salierian"; others are
typical of Viennese opera in general. A generous selection of
excerpts from Salieri's works, most previously unpublished, will
give readers a fuller appreciation for his musical style--and its
influence on Mozart--than was previously possible.
From the 'old world' to the 'new' and back again, this
transnational history of the performance and reception of Bizet's
Carmen - whose subject has become a modern myth and its heroine a
symbol - provides new understanding of the opera's enduring yet
ever-evolving and resituated presence and popularity. This book
examines three stages of cultural transfer: the opera's
establishment in the repertoire; its performance, translation,
adaptation and appropriation in Europe, the Americas and Australia;
its cultural 'work' in Soviet Russia, in Japan in the era of
Westernisation, in southern, regionalist France and in Carmen's
'homeland', Spain. As the volume reveals the ways in which Bizet's
opera swiftly travelled the globe from its Parisian premiere,
readers will understand how the story, the music, the staging and
the singers appealed to audiences in diverse geographical, artistic
and political contexts.
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