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"Opera Classical influences."
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Waiting for Verdi
The name Giuseppe Verdi conjures images of Italians singing opera in the streets and bursting into song at political protests or when facing the firing squad. While many of the accompanying stories were exaggerated, or even invented, by later generations, Verdi's operas-along with those by Rossini, Donizetti, and Mercadante-did inspire Italians to imagine Italy as an independent and unified nation. Capturing what it was like to attend the opera or to join in the music at an aristocratic salon,Waiting for Verdishows that the moral dilemmas, emotional reactions, and journalistic polemics sparked by these performances set new horizons for what Italians could think, feel, say, and write. Among the lessons taught by this music were that rules enforced by artistic tradition could be broken, that opera could jolt spectators into intense feeling even as it educated them, and that Italy could be in the vanguard of stylistic and technical innovation rather than clinging to the glories of centuries past. More practically, theatrical performances showed audiences that political change really was possible, making the newly engaged spectator in the opera house into an actor on the political stage.
eBook
“Aus Mozart gestohlen”: Beethoven and Die Entführung aus dem Serail
I begin by showing that two Beethoven sketches, a well-known 1790 entry in the so-called “Kafka” miscellany and an entry in “Landsberg 10” (part of a group of sketches, 1805, for the Allegro theme of the overture known as Leonore No. 2), point to the overture of Mozart’s Die Entführung aus dem Serail . I then consider additional connections between Beethoven’s opera and Mozart’s, in general, and specifically regarding certain corresponding components. I conclude by considering the implications of these findings within the larger context of the Mozart legacy that Beethoven, for better but also for worse, inherited.
Journal Article
Reclaiming late-romantic music
Why are some of the most beloved and frequently performed works of the late-romantic period—Mahler, Delius, Debussy, Sibelius, Puccini—regarded by many critics as perhaps not quite of the first rank? Why has modernist discourse continued to brand these works as overly sentimental and emotionally self-indulgent? Peter Franklin takes a close and even-handed look at how and why late-romantic symphonies and operas steered a complex course between modernism and mass culture in the period leading up to the Second World War. The style’s continuing popularity and its domination of the film music idiom (via work by composers such as Max Steiner, Erich Wolfgang Korngold, and their successors) bring late-romantic music to thousands of listeners who have never set foot in a concert hall. Reclaiming Late-Romantic Music sheds new light on these often unfairly disparaged works and explores the historical dimension of their continuing role in the contemporary sound world.
eBook
Countering inequality : The role of music opportunities in promoting wellbeing and belonging for young Australian regional classical music students
This article shares the narratives of young rural and regional classical musicians in Australia as they navigated their musical journeys. Challenges are explored, including the lack of resources, and the need to travel long distances
and the associated costs. Study participants reflected on their feelings of isolation and lack of understanding from their non- music peers and stressed the need to connect with other like-minded musicians. The benefits of being a young
musician in a non-metropolitan area are discussed, including unique opportunities offered in a nurturing, less competitive environment. Regional conservatoriums' role is highlighted, particularly through the Regional Youth Orchestra NSW
(RYO) initiative. Study findings demonstrate the positive impact of regional youth orchestra programs in connecting talented young classical musicians with professional orchestras and peers to support and inspire their musical ambitions
and address entrenched music inequalities. [Author abstract]
Journal Article
Brill's Companion to the Reception of Euripides
Brill's Companion to the Reception of Euripides offers a comprehensive account of the reception of Euripides' plays over the centuries, across cultures and within a range of different fields, such as literature, intellectual history, visual arts, music, dance, stage and cinema.
eBook
12. New Concerns in Musical Art Pedagogy Necessary Guidelines for 21St Century Artists
In the context of the world’s new order in music, artists search, negotiate, sell, and justify their importance through the power of their art and through the skill with which they attract attention to themselves. We hear ever more often of approaches to new artistic products, conventional and unconventional repertoires, to preserving and encouraging tradition or finding new ways of artistic survival, by bringing creation closer to the (increasingly limited) capacity of the uninformed audience to understand classical music works. This paper discusses the necessity to guide art pedagogy towards a new horizon that may increase the degree of relevance that artists evince on the large cultural market. The suggestions we offer stem from the conclusions of several case studies in which the alumni of Romanian conservatories detect certain flaws of their professional training when they seek employment or try to be their own managers after graduation. The material is completed by a set of interviews with managers of cultural institutions which highlight the importance of supporting new guidelines in music pedagogy.
Journal Article
Edmund and His Galateas: Mansfield Park as Regency Pygmalion Story
[...]Ovid's influence is rarely considered in detail within discussions of Jane Austen. Austen's brother Edward owned a copy of this translation and another one by John Clark, as we now know from the records of the Godmersham Park Library Collection (Catalogue). [...]though Katie Halsey points out that \"[Reconstructing Austen's reading is . . . both difficult and inevitably patchy\" (18), one can say with confidence that she probably read Metamorphoses in one of these translations. Given this mythological taste in music, Austen could have also experienced the Pygmalion story from Jean-Philippe Rameau's 1748 operatic adaptation, the 1772 aria of J. C. F. Bach, Friedrich Benda's 1784 cantata, or Georg Benda's 1779 opera. [...]while one may not be able to say with absolute certainty that Austen was familiar with Ovid's Pygmalion story, it is highly likely that she would, at least, have known the plotline from cultural absorption. (ll. 73-78) Rowlandson's cartoon depicts Galatea as sexually aggressive, a further indication that people of the Regency period recognized this erotic quality in the statue. [...]Pygmalion projects the lasciviousness that he despises in living women onto the statue, and-based on the last two
Journal Article
Staging (or Not Staging) Ovid for Modern(ist) Self-Fashioning
For ninety years, a variety of sources (from 20th century encyclopedias and biographies to postwar scholarship and Wikipedia) reported that Alberto Savinio’s Persée premiered in 1924 at the Metropolitan Opera in New York. However that ballet, written in Paris in 1913 for Michel Fokine’s choreography, was never performed on stage. This article investigates the origins of such ‘fake news’ and shows how it spread in various languages up until today. It links Savinio’s 1913 Persée to Fokine’s 1924 Medusa, a shorter but similar ballet that did indeed premiere at the Met, but to music by Tchaikovsky. Drawing on dispersed documents, newspaper clippings, and archival material, we show that, in the Twenties, both Savinio and Fokine distorted the facts about Persée and Medusa in the media, and we argue that they did so in order to self-fashion as modern artists adapting to two opposite cultural systems: fascist Italy and interwar America.
Journal Article
Nero in Opera
This book considers the story of Nero and Octavia, as told in the pseudo-Senecan Octavia and the works of ancient historiographers, and its reception in (early) modern opera and some related examples of other performative genres. In total the study assembles more than 30 performative texts (including 22 librettos), ranging chronologically from L'incoronazione di Poppea in 1642/43 until the early 20th century, and provides detailed information on all of them. In a close examination of the libretto (and dramatic) texts, the study shows the impact and development of this fascinating story from the beginnings of historical opera onwards. The volume demonstrates the various transformations of the characters of Nero and his wives and of the depiction of their relationship over the centuries, and it looks at the tension between \"historical\" elements and genre conventions. The book is therefore of relevance to literary scholars as well as to readers interested in the evolution of Nero's image in present-day media.
eBook