Kandidatprojekt i arkitektur, KTH 2011. Sammankopplande operabyggnad med två scener, tågstation och parkering.

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Opera på Årstafältet.

The author set out to investigate operatic works that were written in South Africa between 1994 and 2004. Original works that included African elements were of interest as was their classification as operas, musical theatre or music drama. Their artistic merit and the process followed in writing successful works in this genre were investigated. Not only was the collaboration between composer and librettist scrutinised, but also the initial stage during which the conception for these theatrical works took shape. Due to the empirical nature of the research, data was collected mostly via interviews held with composers, librettists, directors and conductors of original works written and performed in the said period. The data is presented in six chapters, each one providing a full description of casting details, synopses and brief analyses of the works. In the Preface the premise upon which the research rests is discussed, while the Introduction serves to highlight various issues concerning modem opera and fusion works that have played an important role in providing the groundwork for contemporary ethnic opera in this country. Original works are discussed in each chapter, and a critical evaluation is presented in an Appendix. The author concludes that much effort was expended by pioneers in the fields of music, theatre and dance to create new works and organise performances. What emerged, furthermore, was that many of the works analysed could not be categorised as 'opera' but rather as 'musical theatre' or 'music drama'. It would also seem that uninitiated audiences first need to be made conscious of the aesthetic value of the genre before they may be able to appreciate it. Operatic production companies have always been at the forefront when it comes to decision - making regarding which and whose work shall be performed. Funding is crucial to the success of any production and plays an equally important role in eventually determining a positive outcome. This aspect has, therefore, also been included as part of the research project.

The process of the organization of the orchestra began with the rise of opera; considered on a broad scale this process divides itself into two periods, the first terminated by the deaths of Bach and Handel (1600-1759) and the second beginning with the complete change of orchestral sound evident in the symphonies of Haydn and Mozart during the second half of the eighteenth century. It is the first of these two periods that witnessed the composers of art music exploiting the natural trumpet, an instrument long associated with court, camp, and field, to the extent that they developed a vast repertoire of trumpet music characterized by its virtuosic technical requirements.

Twin Oaks: A Comic Opera in One Act is a chamber opera approximately 60 minutes in length. Its accompanying ensemble is scored for flute (doubling piccolo), oboe (doubling English horn), B-flat clarinet, bass clarinet, bassoon, trumpet (in C and B-flat), F horn, percussion, piano, 2 violins, viola, violoncello and double bass. It is a Number Opera with 10 numbers. There is a single case in which there is music played under the dialogue. The text is based off the W.S. Gilbert Play: Eyes and No Eyes: or The Art of Seeing.

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The architecture is a multi-venue performing arts complex consisting of a full-scale opera house, a mid-size open-air theater, a small recital salon, and an outdoor arena-style street-stage. The building is sited at Buzzard Point in Washington, DC at the terminus of South Capitol Street along the Anacostia River. The thesis is an exploration into the concept of organic architecture and a formal study of its application to the order, structure, and construction of a building. / Master of Architecture