Описание: In Early Modern times, techniques of assembling, compiling and arranging pre-existing material were part of the established working methods in many arts. In the world of 18th century opera, such practices ensured that operas could become a commercial success because the substitution or compilation of arias fitting the singer's abilities proved the best recipe for fulfilling the expectations of audiences. Known as pasticcios since the 18th century, these operas have long been considered inferior patchwork. The volume collects essays that reconsider the pasticcio, contextualize it, define its preconditions, look at its material aspects and uncover its aesthetical principles.
While European powers were at war with the Ottoman Empire for much of the eighteenth century, European opera houses were staging operas featuring singing sultans and pashas surrounded by their musical courts and harems. Mozart wrote The Abduction from the Seraglio. Rossini created a series of works, including The Italian Girl in Algiers. And these are only the best known of a vast repertory. This book explores how these representations of the Muslim Ottoman Empire, the great nemesis of Christian Europe, became so popular in the opera house and what they illustrate about European-Ottoman international relations.
After Christian armies defeated the Ottomans at Vienna in 1683, the Turks no longer seemed as threatening. Europeans increasingly understood that Turkish issues were also European issues, and the political absolutism of the sultan in Istanbul was relevant for thinking about politics in Europe, from the reign of Louis XIV to the age of Napoleon. While Christian European composers and publics recognized that Muslim Turks were, to some degree, different from themselves, this difference was sometimes seen as a matter of exotic costume and setting. The singing Turks of the stage expressed strong political perspectives and human emotions that European audiences could recognize as their own.
Автор: Weber, William; Newark, Cormac Название: The Oxford Handbook of the Operatic Canon ISBN: 0190224207 ISBN-13(EAN): 9780190224202 Издательство: Oxford Academ Рейтинг: Цена: 21780.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by looking at how it evolved from a market entirely driven by novelty to one of the most arthritically canonic art forms still in existence.
Автор: Hinchliff Nancy R. Название: Operatic Divas and Naked Irishmen: An Innkeeper`s Tale ISBN: 1631521942 ISBN-13(EAN): 9781631521942 Издательство: Неизвестно Цена: 2476.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: At sixty four, divorced and retired, with no prior business experience and little start up money, the author impulsively moves to a new city where she knows only one person, buys a 125-year-old historic mansion, and turns it into a successful bed and breakfast.
Автор: Tarling, Nicholas Название: Orientalism and the operatic world ISBN: 1442245433 ISBN-13(EAN): 9781442245433 Издательство: Rowman & Littlefield Publishers Рейтинг: Цена: 21331.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Western opera is a globalized and globalizing phenomenon and affords us a unique opportunity for exploring the concept of "orientalism," the subject of literary scholar Edward Said's modern classic on the topic. Nicholas Tarling's Orientalism and the Operatic World places opera in the context of its steady globalization over the past two centuries. In this important survey, Tarling first considers how the Orient appears on the operatic stage in Britain, France, Germany, Russia, and the United States before exploring individual operas according to the region of the "Orient" in which the work is set. Throughout, Tarling offers key insights into such notable operas as George Frideric Handel's Berenice, Giuseppe Verdi's Aida, Giacomo Puccini's Madama Butterfly, Pietro Mascagni's Iris, and others. Orientalism and the Operatic World argues that any close study of the history of Western opera, in the end, fails to support the notion propounded by Said that Westerners inevitably stereotyped, dehumanized, and ultimately sought only to dominate the East through art. Instead, Tarling argues that opera is a humanizing art, one that emphasizes what humanity has in common by epic depictions of passion through the vehicle of song. Orientalism and the Operatic World is not merely for opera buffs or even first-time listeners. It should also interest historians of both the East and West, scholars of international relations, and cultural theorists.
Описание: This new approach to the operas of Handel examines the vital and intertwined roles of singers, audiences and local cultural context in creating eighteenth-century opera. It emphasises cultural context and aspects of performance, offering a range of interpretative tools not previously exploited in studies of the century`s opera before Mozart.
While European powers were at war with the Ottoman Empire for much of the eighteenth century, European opera houses were staging operas featuring singing sultans and pashas surrounded by their musical courts and harems. Mozart wrote The Abduction from the Seraglio. Rossini created a series of works, including The Italian Girl in Algiers. And these are only the best known of a vast repertory. This book explores how these representations of the Muslim Ottoman Empire, the great nemesis of Christian Europe, became so popular in the opera house and what they illustrate about European-Ottoman international relations.
After Christian armies defeated the Ottomans at Vienna in 1683, the Turks no longer seemed as threatening. Europeans increasingly understood that Turkish issues were also European issues, and the political absolutism of the sultan in Istanbul was relevant for thinking about politics in Europe, from the reign of Louis XIV to the age of Napoleon. While Christian European composers and publics recognized that Muslim Turks were, to some degree, different from themselves, this difference was sometimes seen as a matter of exotic costume and setting. The singing Turks of the stage expressed strong political perspectives and human emotions that European audiences could recognize as their own.
Описание: The Farndale Avenue Housing Estate Townswomen's Guild Operatic Society's Production of The Mikado - and the ladies outdo even themselves in this hilarious staging of the classic operetta.-Large flexible cast
Описание: This book details original case studies that represent five different social positions or characterisations of opera: namely, opera as social showcase from Bayreuth (1748), social distinction from Ljubljana (1887), social conflict from Brno (1920), social status from Mantua (1999) and social manifest from Belgrade (2005).
Автор: Ruth Bereson Название: The Operatic State: Cultural Policy and the Opera House ISBN: 0415868297 ISBN-13(EAN): 9780415868297 Издательство: Taylor&Francis Рейтинг: Цена: 6889.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Bereson investigates the elite and privileged status of the closed-world of opera, and the way states have financed and supported it since its beginnings.
Описание: Giroud and Kaye tell the full story of The Tales of Hoffman for the first time. After discussing the work`s influences and history, the book details sources for the opera, including the complete Barbier and Carre play. The annotated libretto is published in full, with the variants, and essays explain the enduring evolution of the opera.
Автор: David Schroeder Название: Cinema`s Illusions, Opera`s Allure: The Operatic Impulse in Film ISBN: 1474291422 ISBN-13(EAN): 9781474291422 Издательство: Bloomsbury Academic Рейтинг: Цена: 17424.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: The invention of cinema was ingenious, so much so that virtually no-one quite knew what to do with it. In its earliest stages, especially with the advent of the feature film, it needed models, and opera proved to be especially useful in that regard. The allure of opera to cinema early in the twentieth century held up through the silent era, into sound films, through the golden age of movies, and beyond. This book explores the numerous ways – some predictable, some unexpected, and some bizarre – in which this has happened. The influence of Richard Wagner on filmmakers has been especially striking, and some have even devised visual images that seem to emerge from a kind of non-verbal Wagnerian essence – a formative, musical urge that can underlie a cinematic idea, defying explanation and remaining purely sensory. Directors like Griffith, DeMille, Eisenstein, Chaplin, Bunuel or Hitchcock have intuited this possibility. Schroeder provides a fascinating, well-researched and always entertaining account of the influence of one medium on another, and shows that opera can often be found lurking in the background (or booming in the foreground) of an impressive range of films.
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