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"Operas Analysis, appreciation."
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The pre-history of The midsummer marriage : narratives and speculations
Through a discussion of compositional sketches and correspondence with Douglas Newton, Savage investigates the early collaborative phase (1943-1946) in the creation of Michael Tippett's first mature opera and charts the developments that grew out of that phase.
Book
Reconfiguring Myth and Narrative in Contemporary Opera
Yayoi Uno Everett focuses on four operas that helped shape the careers of the composers Osvaldo Golijov, Kaija Saariaho, John Adams, and Tan Dun, which represent a unique encounter of music and production through what Everett calls \"multimodal narrative.\" Aspects of production design, the mechanics of stagecraft, and their interaction with music and sung texts contribute significantly to the semiotics of operatic storytelling. Everett's study draws on Northrop Frye's theories of myth, Lacanian psychoanalysis via Slavoj Žižek, Linda and Michael Hutcheon's notion of production, and musical semiotics found in Robert Hatten's concept of troping in order to provide original interpretive models for conceptualizing new operatic narratives.
eBook
A Season of Opera
Father Lee is internationally known for his commentaries on opera. This book gathers his best commentaries and articles on 23 works for the musical stage, from the pioneering Orpheus of Monteverdi to the forward-looking Ariadne of Richard Strauss.
eBook
Tonality as Drama
This is an analytical monograph by a Schenkerian music theorist, but it is also written by one performer and enthusiast for another. Tonality as Drama draws on the fields of dramaturgy, music theory, and historical musicology to answer a fundamental question regarding twentieth-century music: why does the use of tonality persist in opera, even after it has been abandoned in other genres? Combining the analytical approaches of the leading music and dramatic theorists of the twentieth century--Austrian music theorist Heinrich Schenker (1868-1935) and Russian director Constantin Stanislavsky (1863-1938)--Edward D. Latham reveals insights into works by Scott Joplin, George Gershwin, Kurt Weill, and Aaron Copland that are relevant to analysts, opera directors, and performers alike. Latham reveals a strategic use of tonality in that repertoire as a means of amplifying or undercutting the success or failure of dramatic characters.
eBook
The Baroque Libretto
The Thomas Fisher Library at the University of Toronto houses a major collection of opera and oratorio librettos associated with performances across Europe. In addition to containing the text of musical dramas, these books incorporate aspects of historical detail and literary history, as well as biographical details of performers. The Baroque Libretto catalogues the Baroque Italian operas and oratorios in the Fisher Library and offers an analysis of how the study of libretto can inform the understanding of opera. The volume also catalogues French and English items from the same period in appendices.
This comprehensive discussion draws on the literary, musical, dramatic, and theatrical aspects of each libretto while also considering its philosophical, historical, social, and economic contexts. The result is a work with appeal for those curious about the operatic genre and contemporary European culture.
eBook
The Crisis of the Opera? A Study of Musical Hermeneutics
This study in artistic hermeneutics contains objections and critiques that have been generated by the contemporary cultural scenery of musical interpretation, especially related to the opera performances. Nevertheless, as the reader will surely notice, such critique can be very well applied to the entire spectrum of contemporary culture, as the phenomena described here are ubiquitous. Ion Pisos alarm signal-study is essential reading, particularly as it comes from somebody who has over hal.
eBook
Recognition in Mozart's operas
Since its beginnings, opera has depended on recognition as a central aspect of both plot and theme. Recognition — or anagnôrisis, Aristotle's term in the Poetics — is a moment of new awareness that brings about a crucial reversal in the action. Employing both literary and musical analysis, and drawing on critical thought from Aristotle to Terence Cave, this book explores the ways in which the themes of Mozart's operas — clemency, constancy, forgiveness, and other ideals cherished by late 18th-century culture — depend for their dramatization on recognition. Several of the operas culminate in a moment of climactic recognition, many involve the use of disguise, and all include scenes in which characters make significant realizations of identity, feeling, or purpose. Many turn explicitly on themes of knowledge, themes that possess a special resonance in an age that named itself the Enlightenment. A critical understanding of recognition in Mozart's operas reveals the late 18th-century culture of sensibility as an influential but uneasy presence in the age of enlightenment. At the same time, it opens up new ways of thinking about questions of cultural identity, conventions of ending, and the representation of cultural values in these works. Theoretical chapters are devoted to the concepts of recognition and plot; analytical chapters are devoted to Die Zauberflöte, La finta giardiniera, Don Giovanni, Così fan tutte, and La clemenza di Tito. Idomeneo, Die Entführung aus dem Serail, Le nozze di Figaro, and other works of Mozart and his contemporaries are also considered.
eBook