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Books > Arts & Architecture > Performing arts > Theatre, drama > Opera
In this translation of the groundbreaking Le Chant Intime,
internationally renowned baritone Francois Le Roux, in conversation
with journalist Romain Raynaldy, presents a master class on French
art song, with a thorough analysis of 60 selected songs that
deviate from the traditionally narrow repertoire of the melodie
genre. Taking an approach that goes far beyond the typical limiting
conventions, Le Roux and Raynaldy adhere to composer Francis
Poulenc's principle that a song should always be "a love affair,
not an arranged marriage." Neither theoretical nor purely academic,
this guide instills in its readers a deep appreciation for the
historical and artistic context of each piece by enriching each
analysis with the full text of the lyrical poem and several musical
examples, as well as fascinating details of historic premieres,
concert halls, singers and poets. Paired with intensive and
practical notes related to the nuances of melody and vocal
delivery, each analysis provides an essential reference for
performers and listeners alike. The translation is due to the
expertise of musicologist and pianist Sylvia Kahan, Professor of
Music at the Graduate Center and College of Staten Island, CUNY.
Die Studie widmet sich dem Musiktheater, welches mit seiner
Formenvielfalt das Theater im deutschen Sprachraum zwischen 1680
und 1740 beherrschte. Den Schwerpunkt der Untersuchung bilden dabei
die Buhnen in Hamburg, Braunschweig, Weissenfels und Leipzig, die
in den europaischen Kontext des Musiktheaters gestellt werden.
Zunachst wird am Beispiel fruher Rezensionen und musiktheoretischer
Schriften sowie der pietistischen und der rationalistischen
Opernkritik die Art des Sprechens uber das Musiktheater
dargestellt. In den zeitgenoessischen Diskursen ergaben sich im
Zusammenhang mit der auf die Sinne ausgerichteten Wirkungsabsicht
des Musiktheaters Probleme, die im Mittelpunkt der Untersuchung
stehen. Das Zusammen- und Gegeneinanderwirken der Kunste und der
durch sie angesprochenen Sinne wird vor allem an Prologen
untersucht, die den Wettstreit der Kunste thematisieren, sowie an
"Antiochus und Stratonica"-Opern, die die Differenzen verbaler und
nonverbaler Zeichensysteme einsetzen. Der Funktionswandel des
Geschmackssinns wird anhand der Essensthematik verfolgt, die
Wandlungen des Tastsinnes an den verschiedenen Liebeskonzeptionen
in den Opern. Die politische Dimension von Sinnlichkeit zeigt sich
in der Verbindung zwischen Oper und Zeremoniell, wobei das
Musiktheater, wie am Beispiel Weissenfels' erkennbar, als
Zeremoniellsimulator fungiert.
Wagner's operatic works rank with the supreme achievements of
western culture. But acceptance of Wagner's musical genius is
tempered by feelings of misgiving and many believe the composer's
underlying ideas to be indefensible. A self-styled social
revolutionary, Wagner thought the world could be redeemed through
vegetarianism and Aryan philosophy. Introducing Wagner: A Graphic
Guide separates the composer's art from the ideas and the arrogant
destructive personal behaviour of the man.
Nothing strikes the ear quite like a soprano singing in the sonic
stratosphere. Whether thrilling, chilling, or repellent to the
listener, the reaction to cascades of coloratura with climaxing
high notes is strong. Coloratura-agile, rapid-fire singing-was
originally essential for all singers, but its function changed
greatly when it became the specialty of particular sopranos over
the course of the nineteenth century. The central argument of Vocal
Virtuosity challenges the historical commonplace that coloratura
became an anachronism in nineteenth-century opera. Instead, the
book demonstrates that melismas at mid-century were made modern.
Coloratura became an increasingly marked musical gesture during the
century with a correspondingly more specific dramaturgical
function. In exploring this transformation, the book reveals the
instigators of this change in vocal practice and examines the
historical traces of Parisian singers who were the period's
greatest exponents of vertiginous vocality as archetypes of the
modern coloratura soprano. The book constructs the historical
trajectory of coloratura as it became gendered the provenance of
the female singer, while also considering what melismas can signify
in operatic performance. As a whole, it argues that vocal
virtuosity was a source of power for women, generating space for
female authorship and creativity. In so doing, the book reclaims a
place in history for the coloratura soprano.
The reception accorded to Jacques Offenbach's (1819-1880) stage
works is traditionally dominated by concepts such as 'satire' or
'parody'. But the insistence on such categories fails to do justice
to the heterogeneous nature of his oeuvre. One way of remedying
this defect is to examine the works in the literary and dramatic
context of the age in which they were written. Paradigmatic for the
preoccupation with moral discourse typical of that age is Alexandre
Dumas fils' essay AThA(c)A[tre utileA. The study sets out to
demonstrate that at an idealistic level Dumas fils and Offenbach
had more in common than has been hitherto supposed.
Starting in the late 18th century a development is observable in
which a new theatrical aesthetic of dramatic speech exploiting the
musical potential of the voice went hand in hand with an abundance
of melo-dramatic forms. Cutting across the boundaries of genre and
the customary distinction between spoken art and music,
theoreticians and practitioners explored the declamatory use of
speech as a musical phenomenon in its own right. The present
interdisciplinary study examines the development of this historical
combination of the speaking voice and the musical arts,
concentrating in particular on the profusion of different forms of
'Melodram' in the period in question.
The English tenor, Peter Pears, made a unique contribution to
British musical life, not only through his own singing, but as the
inspiration and muse of his life-long companion Benjamin Britten,
who created for Pears some of the greatest tenor roles in
20th-century opera. This book describes Pears's life, his childhood
and school days at Lancing College, his abortive academic career at
Oxford and his early professional work as a member of the BBC
singers. The first half of this book culminates in Pears's meeting
with Britten in the 1930s, and their relationship consolidated
during their wartime years in America, and by the fruitfulness of
their artistic collaboration which resulted in several
extraordinary song cycles and a number of inspirational roles on
the stage including Grimes in Peter Grimes, Captain Vere in Billy
Budd and Aschenbach in Death in Venice.
Ernst Lichtenhahn ist ohne UEbertreibung ein Doyen der
schweizerischen Musikforschung. Als einer der wenigen
Musikwissenschaftler im deutschsprachigen Raum hat er
unterschiedliche sprachkulturelle und disziplinare
Forschungstraditionen zusammengefuhrt. In seinem
Wissenschaftsverstandnis sind historische und systematische
Musikwissenschaft, Musikethnologie und Musikpraxis ganz im Sinne
des von Guido Adler formulierten holistischen Konzepts sowohl
methodisch wie auch inhaltlich immer eng aufeinander bezogen. Mit
dem Titel "Communicating Music" versucht diese Festschrift zum 80.
Geburtstag von Ernst Lichtenhahn, die durch dieses Verstandnis
hervortretende Vielschichtigkeit wissenschaftlicher Fragestellungen
aufzugreifen und weiterzudenken. Sie versammelt Beitrage, die sich
aus ganz unterschiedlichen methodischen und theoretischen
Perspektiven mit Fragen nach dem diskursiven Charakter von Musik,
den musikalischen Vermittlungs- und Transformationsprozessen sowie
dem Sprechen uber Musik an sich auseinandersetzen. Without any
exaggeration one can call Ernst Lichtenhahn a doyen of Swiss music
research. As one of the few musicologists in the German-speaking
sphere he has succeeded in merging different linguistic-cultural
and disciplinary research traditions. In his manner of scientific
understanding, historical and systematic musicology,
ethnomusicology and music practice are methodologically and
topically related closely to each other, entirely consistent with
the holistic concept of music research as developed by Guido Adler.
With the title "Communicating Music", this Festschrift for Ernst
Lichtenhahn's 80 birthday attempts to take up and to further
develop the diversity of scientific issues as emerged through such
an understanding. It collects papers that come from a variety of
methodological and theoretical perspectives to deal with issues
about the discursive nature of music, about mediation and
transformation processes of music as well as about the discourse on
music itself.
Casa Ricordi is the original publisher for the unforgettable
Italian operas that have made their mark on musical history and now
hold a special place in the hearts of millions of music lovers.
Now, for the first time, Ricordi makes their full orchestral scores
available to us with covers featuring beautiful color reproductions
of authentic Ricordi artwork from opera posters, set designs and
postcards from the turn of the century. Each edition features
lyrics in the original language, and includes a synopsis of each
act in English, Italian, German and French.
'Wingbeats' was an ambitous cultural project inspired by our
perennial wish to fly and the paradoxical question: how can we fly
without leaving the ground? Over a period of two years, the project
brought together international and UK artists, school children,
university students and residents of the East Riding to create two
ambitous operas performed in Leeds and Bridlington. For this book,
Adam Strickson, lead artist for Wingbeats, has compiled a
fascinating selection of material from the project including poems,
excerpts from diaries and blogs, and the full texts of both operas.
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.
A superb new translation of the libretto to Wagner's Ring cycle
'Smiling in sorrow I sing of love' The Ring of the Nibelung,
Wagner's epic cycle of four musical dramas about primal envy,
cosmic conflict, the search for glory, spectacular self-sacrifice,
redeeming human love and the downfall of gods, revolutionized the
nature of opera and conjured up an entire mythological world. It is
also one of the greatest texts ever written for the lyric stage,
where words are not an adjunct to the music, but an essential part
of a transformative experience. John Deathridge's superb new facing
page translation of the Ring libretto conveys the pungency and
vitality of Wagner's words, reflecting the work's literary power
while retaining its sense and dramatic energy. Translated with an
introduction and notes by John Deathridge
This is the first book to compare these two composers and cultural
heroes, both of whom were born in 1813 and achieved huge national
and international renown in their lifetimes. Yet not only did they
never meet, but the differences between them in music, culture,
environment, significance, and legacy were profound.
Peter Conrad begins his tale in a public park in Venice, home
to a pair of statues of the composers that are positioned so as to
appear to shun each other. This provides a fitting starting point
for his argument that they represent two opposite yet equally
integral and compelling dimensions of European culture: north
versus south, cerebral versus sensual, proud solitude versus human
connection, epic mythmaking versus humane magnanimity. The book is
a richly argued tour de force that engages passionately and
profoundly with music, biography, history, politics, philosophy,
psychology, and culture in the broadest sense. As Conrad concludes,
At one time or another, if not simultaneously, we still need the
two contradictory, complementary kinds of music that Verdi and
Wagner left us. "
Unscrupulous, devilishly ambitious and undeniably charismatic,
Domenico Barbaja was the most celebrated Italian impresario of the
early 1800s and one of the most intriguing characters to dominate
the operatic empire of the period. Dubbed the 'Viceroy of Naples',
Barbaja managed both the Teatro di San Carlo in Naples and La Scala
in Milan. He was the influential force behind the careers of a
plethora of artists including Vincenzo Bellini, Gioachino Rossini
and the great mezzo-soprano Isabella Colbran, who became Barbaja's
lover before eventually deserting him to marry Rossini. Most
vitally, Barbaja's vision had an irrevocable impact on the history
of Italian opera; determined to create a lucrative business, he
cultivated an energetic environment of new artists producing
innovative, exciting opera that people would flock to hear. Philip
Eisenbeiss brilliantly pieces together the forgotten story of a
tireless tyrant who began life as a barely educated coffee waiter,
yet grew to be one of the richest and most potent men in Italy. A
natural entrepreneur, Barbaja had the ability to predict a
sensation; a skill he exploited his entire life, forging his
fortune as a cafe-owner, arms profiteer, gambling tycoon and
eventually, opera magnate. Eisenbeiss unlocks the enigma of this
eccentric and fascinating personality that has been hitherto
neglected.
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