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Changing The Score Arias Prima Donnas And The Authority Of Performance

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Changing the Score

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Changing the Score by Hilary Poriss Book Summary:

This study seeks to explore the role and significance of aria insertion, the practice that allowed singers to introduce music of their own choice into productions of Italian operas. Each chapter investigates the art of aria insertion during the nineteenth century from varying perspectives, beginning with an overview of the changing fortunes of the practice, followed by explorations of individual prima donnas and their relationship with particular insertion arias: Carolina Ungher's difficulties in finding a "perfect" aria to introduce into Donizetti's Marino Faliero; Guiditta Pasta's performance of an aria from Pacini's Niobe in a variety of operas, and the subsequent fortunes of that particular aria; Maria Malibran's interpolation of Vaccai's final scene from Giulietta e Romeo in place of Bellini's original setting in his I Capuleti e i Montecchi; and Adelina Patti's "mini-concerts" in the lesson scene of Il barbiere di Siviglia. The final chapter provides a treatment of a short story, "Memoir of a Song," narrated by none other than an insertion aria itself, and the volume concludes with an appendix containing the first modern edition of this short story, a narrative that has lain utterly forgotten since its publication in 1849. This book covers a wide variety of material that will be of interest to opera scholars and opera lovers alike, touching on the fluidity of the operatic work, on the reception of the singers, and on the shifting and hardening aesthetics of music criticism through the period.

A Companion to Media Authorship

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A Companion to Media Authorship by Jonathan Gray,Derek Johnson Book Summary:

A Companion to Media Authorship offers 28 groundbreaking chapters which investigate the practices, attributions, and meanings of authorship. Revitalizing the study within media and cultural studies, this diverse and global collection provides the definitive work on the subject. Rethinks cultures of authorship and challenges the concept of auteurism across multiple media forms Moves beyond notions of the individual to focus on how authorship is collaborative, contested, and networked, examining cultures of authorship and the practicalities of how it works Draws on the cutting-edge research of scholars and practitioners whose work has produced significant new insights into the field Examines a wide range of media, including television, social media, radio, videogames, transmedia, music, and comic books Offers an impressive global focus, including pieces on Mexican music, amateur film production in Nairobi slums, tele-serial production in Kinshasa, Hong Kong film, and the marketing of Bollywood

The Arts of the Prima Donna in the Long Nineteenth Century

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The Arts of the Prima Donna in the Long Nineteenth Century by Rachel Cowgill,Hilary Poriss Book Summary:

The Arts of the Prima Donna assembles a star-studded yet well-balanced cast of contributors, whose essays combine theoretical approaches to text and narrative, and current theory on gender, performativity, and the commodification of the female body, with the growing understanding of the lives, careers, and performances of the female opera singer.

The Cambridge Companion to Opera Studies

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The Cambridge Companion to Opera Studies by Nicholas Till Book Summary:

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.

The Oxford Handbook of Opera

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The Oxford Handbook of Opera by Helen M. Greenwald Book Summary:

'The Oxford Handbook of Opera' captures the highly charged dynamic between opera and its audience, bringing the complexities of scholarship and the excitement of performance into the mainstream conversation. Fifty essays address an extensive range of topics.

Not Without Madness

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Not Without Madness by Fabrizio Della Seta Book Summary:

In these 12 essays, the author explores the concept of opera as a dramatic event and an essential moment in the history of theatre. Examining the meaning of opera and the devices that produce and transmit this meaning, he looks at the complex verbal, musical and scenic mechanisms in parts of 'La Sonnambula', 'Ernani', 'Aida', 'Le Nozze di Figaro', 'Macbeth' and 'Il Trovatore'. He argues that approaches to the study of opera must address performance, interpretation, composition, reception, and cultural ramifications.

The British National Bibliography

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The British National Bibliography by Arthur James Wells Book Summary:

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Beethoven al pianoforte

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Beethoven al pianoforte by Chiantore Luca Book Summary:

Beethoven genio compositivo. Beethoven campione dell’universalità del linguaggio musicale. Beethoven artista assoluto, creatore di capolavori immortali nei quali il Romanticismo riconobbe i propri ideali metafisici. Ma esiste anche un Beethoven nascosto, spesso taciuto o messo in secondo piano: il Beethoven virtuoso del pianoforte, interprete di impareggiabile spettacolarità, improvvisatore capace di avvincere le platee. Figlia dell’idealismo tedesco, la divisione – di più, la spaccatura – fra interpretazione e composizione, a tutto vantaggio della seconda, subordina lo strumentista all’autore e circonda la partitura di un’aura sacrale: l’opera, destinata a trascendere la realtà sensibile per raggiungere il piano spirituale che le assegna Arthur Schopenhauer, si cristallizza sul pentagramma in una struttura formale considerata perfetta e dunque immutabile. Per questo, a partire dal Romanticismo, i frammenti e gli esercizi redatti dai più diversi compositori vengono visti con superficialità, e indagati solo nella misura in cui possono celare, al loro interno, parti da presentare come opere compiute. Luca Chiantore, analizzando con l’acribia dello studioso e la passione del pianista gli esercizi di Beethoven, dimostra invece che i suoi appunti di lavoro rappresentano una tappa di irripetibile creatività nella storia della musica europea. Gli esercizi, infatti, permettono di sperimentare, di coltivare abilità, di sviluppare movimenti prima sconosciuti, o addirittura ritenuti impossibili; negli esercizi non c’è finalità che non sia esplorare e approfondire la relazione fra lo strumento e il corpo. In questo senso, per il musicista, sono un metodo insostituibile per scoprire il mondo, per conoscerlo. E per continuare ad arricchire la propria elaborazione compositiva. La creazione, allora, non conosce riposo, passa dalla partitura di un’opera alle veloci annotazioni di lavoro e da queste all’improvvisazione, senza che sia possibile interrompere il continuum, se non in modo arbitrario. Come forse è accaduto con Per Elisa, ingabbiata dai successori di Beethoven in una forma che lui stesso, con tutta probabilità, non avrebbe mai riconosciuto come definitiva, estraneo com’era all’idea dell’opera musicale come oggetto inviolabile. Beethoven al pianoforte presenta al lettore un’immagine inedita del compositore, in cui alla genialità autoriale si coniuga un’inquietudine creativa inesausta, già radicalmente moderna. Lo fa partendo dagli esercizi con i quali Beethoven riempì i suoi quaderni, e attraverso i quali intendeva raggiungere una spettacolarità che non si riduceva a mero virtuosismo, ma che era innanzitutto la manifestazione sensibile del desiderio di libertà dell’essere umano.

The Athenaeum

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The Athenaeum by N.A Book Summary:

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The Athenæum

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Dwight's Journal of Music

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Dwight's Journal of Music by N.A Book Summary:

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The Ladies' Home Journal

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Spirit of the Times and the New York Sportsman

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“The” Illustrated London News

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“The” Illustrated London News by N.A Book Summary:

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Dizionario biografico degli Italiani

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Dizionario biografico degli Italiani by Alberto Maria Ghisalberti Book Summary:

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The Music Magazine-musical Courier

Changing The Score Arias Prima Donnas And The Authority Of Performance [Pdf/ePub] eBook

The Music Magazine-musical Courier by N.A Book Summary:

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Saturday Afternoons at the Old Met

Changing The Score Arias Prima Donnas And The Authority Of Performance [Pdf/ePub] eBook

Saturday Afternoons at the Old Met by Paul Jackson Book Summary:

Paul Jackson presents a rich and detailed history of the broadcasts at the The Metropolitan Opera in New York from their inception in 1931, when the imperious Gatti-Casazza ruled, on through the trouble regime of the more affable Edward Johnson.

The New Records

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The New Records by N.A Book Summary:

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Opera News

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The Musical Times and Singing-class Circular

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The Musical Times and Singing-class Circular by N.A Book Summary:

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Gramophone

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Gramophone by N.A Book Summary:

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The Gramophone

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The Gramophone by N.A Book Summary:

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High Fidelity News and Record Review

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High Fidelity News and Record Review by N.A Book Summary:

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Music Reporter

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Music Reporter by N.A Book Summary:

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Musical Courier

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Musical Courier by N.A Book Summary:

Vols. for 1957-61 include an additional (mid-January) no. called Directory issue, 1st-5th ed. The 6th ed. was published as the Dec. 1961 issue.

Musical America

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Musical America by N.A Book Summary:

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International Record Review

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International Record Review by N.A Book Summary:

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Dwight's Journal of Music

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Dwight's Journal of Music by John Sullivan Dwight Book Summary:

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The Independent

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The Independent by N.A Book Summary:

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Divas and Scholars

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Divas and Scholars by Philip Gossett Book Summary:

Winner of the 2007 Otto Kinkeldey Award from the American Musicological Society and the 2007 Deems Taylor Award from the American Society of Composers, Authors, and Publishers. Divas and Scholars is a dazzling and beguiling account of how opera comes to the stage, filled with Philip Gossett’s personal experiences of triumphant—and even failed—performances and suffused with his towering and tonic passion for music. Writing as a fan, a musician, and a scholar, Gossett, the world's leading authority on the performance of Italian opera, brings colorfully to life the problems, and occasionally the scandals, that attend the production of some of our most favorite operas. Gossett begins by tracing the social history of nineteenth-century Italian theaters in order to explain the nature of the musical scores from which performers have long worked. He then illuminates the often hidden but crucial negotiations opera scholars and opera conductors and performers: What does it mean to talk about performing from a critical edition? How does one determine what music to perform when multiple versions of an opera exist? What are the implications of omitting passages from an opera in a performance? In addition to vexing questions such as these, Gossett also tackles issues of ornamentation and transposition in vocal style, the matters of translation and adaptation, and even aspects of stage direction and set design. Throughout this extensive and passionate work, Gossett enlivens his history with reports from his own experiences with major opera companies at venues ranging from the Metropolitan and Santa Fe operas to the Rossini Opera Festival at Pesaro. The result is a book that will enthrall both aficionados of Italian opera and newcomers seeking a reliable introduction to it—in all its incomparable grandeur and timeless allure.

Music and Musicians

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Music and Musicians by N.A Book Summary:

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High Fidelity Incorporating Musical America

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High Fidelity Incorporating Musical America by N.A Book Summary:

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Life and Work of Pauline Viardot Garcia, vol. I

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Life and Work of Pauline Viardot Garcia, vol. I by Barbara Kendall-Davies Book Summary:

The name of Pauline Viardot Garcia was well known during her lifetime, but after her death in 1910, she passed into obscurity. She was born in Paris in 1821, the youngest child of the Spanish tenor, Manuel Garcia; her sister was Maria Malibran, and her brother, Manuel Patrizio Garcia, was an eminent teacher of singing. The first volume of her biography ranges from 1836 until 1863 and covers the most important years of her operatic career. Several composers wrote for her, including Meyerbeer, for whom she created Fidès in Le Prophète; Saint Saëns modelled the role of Delilah on her and Brahms composed the Alto Rhapsody, which she premiered in 1870. She encouraged Gounod to write his first opera, Sapho, and sang the title role in the premiere at the Paris Opéra and at Covent Garden. Schumann dedicated his Liederkreis Op. 24 to Viardot, and Fauré dedicated several of his songs to her. She launched the career of Jules Massenet, and gave valuable assistance to Sullivan, Bizet, Stanford, Arthur Goring Thomas and several other musicians at the beginning of their careers. Although she was not good looking, she had a fascinating personality and great charm and several men fell in love with her, including Alfred de Musset, Gounod, Maurice Sand, Ary Scheffer, Berlioz, and Ivan Turgenev, who loved her devotedly for forty years, although she was married to Louis Viardot for the whole of that time. She was a linguist, artist, composer and talented pianist who studied with Franz Liszt, as well as being a superb singer and actress. Liszt admired her songs and said that she was the first woman composer of genius. Her talent for friendship was great, and she counted Chopin and George Sand as two of her most intimate friends. From 1863 until 1870, she lived in Baden-Baden where she became a celebrated musical hostess, as well as a fine teacher and composer. This revised edition, which has additional images and an accompanying CD of songs by Viardot sung by the author, traces the life and work of one of the most important singers of the nineteenth century, Pauline Viardot Garcia. Her influence on figures such as Meyerbeer, Turgenev, Berlioz, Gounod and Liszt, makes this volume, only the second to appear in English, indispensable to the musicologist with an interest in the nineteenth century.

Foreign Opera at the London Playhouses

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Foreign Opera at the London Playhouses by Christina Fuhrmann Book Summary:

London operatic adaptations have been maligned, but this comprehensive study demonstrates their importance to theatre, opera and canon formation.

Country Life

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Country Life by N.A Book Summary:

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Pacific Coast Musical Review

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Pacific Coast Musical Review by N.A Book Summary:

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The Manchester Guardian Weekly

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The Manchester Guardian Weekly by N.A Book Summary:

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Opera for the People

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Opera for the People by Katherine K. Preston Book Summary:

Opera for the People is an in-depth examination of a forgotten chapter in American social and cultural history: the love affair that middle-class Americans had with continental opera (translated into English) in the 1870s, 1880s, and 1890s. Author Katherine Preston reveals how-contrary to the existing historiography on the American musical culture of this period-English-language opera not only flourished in the United States during this time, but found its success significantly bolstered by the support of women impresarios, prima-donnas, managers, and philanthropists who provided financial backing to opera companies. This rich and compelling study details the lives and professional activities of several important players in American postbellum opera, including manager Effie Ober, philanthropist Jeannette Thurber, and performers/artistic directors Caroline Richings, Euphrosyne Parepa-Rosa, Clara Louise Kellogg, and "the people's prima donna" Emma Abbott. Drawing from an impressive range of primary sources, including contemporaneous music and theater periodicals, playbills, memoirs, librettos, scores, and reviews and commentary on the performances in digitized newspapers, Preston tells the story of how these and other women influenced the activities of some of the more than one hundred opera companies touring the United States during the second half of the 19th century, performing opera in English for a diverse range of audiences. Countering a pervasive and misguided historical understanding of opera reception in the United States-unduly influenced by modern attitudes about the genre as elite, exclusive, expensive, and of interest only to a niche market-Opera for the People demonstrates the important (and hitherto unsuspected) place of opera in the rich cornucopia of late-century American musical theatre, which would eventually lead to the emergence of American musical comedy.