Syftet med denna skriftliga del av mitt examensarbete är att försöka fånga några av de tankar som verkat i komponerandet av operan Sen packar jag aldrig mer. Många av de tankar som gett mig inspiration till arbetet har rört fenomenet nuet. Jag menar att det centrala i att vara i nuet, egentligen handlar om en upplevelse av fullständig närvaro. Närvaro kan alltså sägas vara ett modus av nuet. Upplevelsen av närvaro är för mig mycket stark och oförglömlig. Den hör samman med en ökad rumsuppfattning, en känsla av rummets expanderande, och att ”tiden står still” eller åtminstone att fortvaron ter sig långsammare. Att med musik som medel, genom komposition, komma närmare närvaron har därför blivit viktigt för mig. Detta arbete behandlar tankar kring detta  i relation till operan som genre och i relation till musik som fenomen. / <p>Sen packar jag aldrig mer (Kammaropera)</p><p>Musik: Zacharias Ehnvall Libretto: Elsa BerggrenDirigent: Kaapo IjasMamman: Amelia Jakobsson (Sopran) Dottern: Isabella Lundqvist (Sopran) Pappan: Rodrigo Sosa Dal Pozzo (Kontratenor) Klarinett: Som Howie Slagverk: Sabela Castro Rodriguez Piano: Leo Gavel Violin: Eleonora Oswald Viola: Doris Mägi Cello: Nuri Oh  Regi: Franciska Löfgren Scenografi: Anton Thorsson Kostymdesign: Anton Thorsson Maskör: Emelie Henriksson Ljusdesign: Sofia Linde och Hannele Philipson Teaterteknik och koordination: Alexander Svensson, Anja Löfgren, Anton Linder, Rikard Norén, Theres Hansson</p><p>Föreställningen finns dokumenterad på DVD</p><p></p>

Performances of Fitrabras and the other Schubert operas have been very rare. Parts of Fierrabras were given in concert form in Vienna in 1853 and again in 1858. The first stage production was in Karlsruhe, February 9, 1897, but the music was revised for that performance by 0. Neitzel and the text by F. Mottl. The text was translated into French for a production in Brussels in 1926. A concert version was also heard in London in 1938. None of these performances, with the possible exception of the one in Brussels, was in the original version. It has always been assumed that the work could not be performed as it stands; at any rate, no one has ever tried. True, there are certain problems in production, especially in the rapid shift of scenes in the third act, but modern stage technique could undoubtedly conquer such difficulties easily.

Thesis (D.M.A.)--University of Oklahoma, 1995. / Includes bibliographical references.

Thesis (D. Mus. Arts)--University of Washington, 1996. / Vita. Includes the program from the production of Carmen at the University of Puget Sound on August 12 and 13, 1995, in pocket. Includes bibliographical references (leaves [109]-111).

Thesis (Ph. D.)--University of Michigan, 1959. / Typescript. Includes bibliographical references (leaves 469-476).

Writing for solo instruments today offers composers an option to create a framework that results from the psychoacoustic interaction of composer, listener and performer. The interaction between musicians, audience and the concert environment, and the extent to which they themselves embody the material of the music presented, can be called into question and a composer's expectation of the dynamics of the concert situation is part of this examination. This understanding in turn prepares the way for one of the ultimate challenges and achievements for a composer, writing an opera. Opera combines all the other arts with the composer in command, which is not the case when composing for dance or providing auxiliary music for theatre. Writing an opera means that all features of structure and timing are in the composer’s hands. Opera has had a crisis of identity; the market for traditional operas and classic repertoire but there is no overall identity for contemporary operatic writers. However modern opera is still evolving. This thesis will recount a range of musical ideas developed for a variety of classical solo instruments, all of which attempt to create this interactive concert situation, before going on to consider the three year evolution of my opera The Doll Behind the Curtain.

This thesis presents the history of opera productions which have been staged by the National Theatre Opera Company in the Kolowrat Theatre during last fifteen years. The author reflects the problems of staging chamber operas in general and, by analysing several productions, she points out certain possibilities of using the chamber space for staging operas.

Orientadores: Helena Jank, Paulo Mugayar Kuhl / Acompanha anexos I-IV (308p., il. publicados separadamente) e Anexo V em CD-ROM / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-09T09:53:29Z (GMT). No. of bitstreams: 1 Carpena_LuciaBecker_D.pdf: 28904081 bytes, checksum: 2b59739db096e3ab52bf504eb62fd4e4 (MD5) Previous issue date: 2007 / Resumo: A tese trata da maneira como Reinhard Keiser (1674-1739) utilizou a flauta doce nas árias de suas óperas, e teve como objetivo principal ampliar o repertório orquestral e vocal com flauta doce. Para tanto, foram estudadas características da ópera no norte da Alemanha, a partir de suas origens, até o início das atividades do Theater am Gänsemarkt, em Hamburgo, onde Keiser trabalhou durante quase toda sua vida. Além disso, são apresentadas considerações a respeito do uso da flauta doce na música dramática dos séculos XVII e XVIII, de modo a compreenderem-se as especificidades propostas por Keiser. A bibliografia sobre o compositor, desde seus contemporâneos até a mais recente, é estudada com o objetivo de compreender o esquecimento e a reabilitação da produção de Keiser e sobretudo para conhecer quais características foram tradicionalmente atribuídas a ele. Por fim, apresenta-se uma discussão do uso da flauta doce nas árias de ópera de Keiser, comparando-as entre si e também com árias de outros compositores, com o intuito de caracterizar e contextualizar o emprego do instrumento, averiguando os procedimentos composicionais adotados. A análise dos dados levantados mostrou que Keiser manteve-se fiel a convenções tradicionais ao mesmo tempo em que as renovou, e ampliou princípios e procedimentos estabelecidos, acrescentando uma nova dimensão à flauta doce na música vocal e orquestral / Abstract: The thesis examines how Reinhard Keiser (1674-1739) used the recorder in the arias of his operas. The text presents some aspects of northern german baroque opera, from its origins until the activities in the Theater am Gänsemarkt (Hamburg), where Keiser worked almost his entire life. There are also some considerations about the use of the recorder in 17th and 18th century opera, in order to understand the specific solutions proposed by Keiser. The bibliography about the composer is analyzed from his contemporaries until the most recent authors, to understand the oblivion and the later rehabilitation of Keiser?s work, and, more especially, to know the specific characteristics assigned to him. At the end, the text discusses the use of the recorder in Keiser?s operas in order to characterize and contextualize it, verifying his composicional proceedings. The analysis shows that Keiser, though relying on traditional proceedings, renewed and extended them, giving a new place to the recorder in vocal and orchestral music / Doutorado / Praticas Interpretativas / Doutor em Música

Wuhan Han Opera Theater (WHOT, formerly Han Opera) is a 400-year old regional opera based in Wuhan, in Hubei Province, in China. WHOT’s recent designation as a public institution under China's neoliberal creative economy initiative to enter the global market has necessitated its transformation from a cultural institution (wenhua jigou) into a creative industry (wehua chanye). As such, WHOT must now create adaptive strategies, alter traditional conventions of performance, infrastructure, education and community presence, reconstitute traditional social functions at the national level, and most importantly, manage a relationship with the government that is entirely novel for both. In the summer of 2016, WHOT participated in two government-led projects: Opera into Campuses and the Chinese National Arts Fund. These programs were the focus of my ethnographic fieldwork, to identify possible effects of the creative economy initiative on a traditional musical institution. Specifically, inquiry was made as to whether and how creative musical and organizational adaptations were being decided, implemented and executed, and as to how the outcomes of these adaptations were being evaluated. Despite using an ethnographic approach, findings from the preliminary study were found to be much more broadly generalizable and applicable across disciplines than expected. As a result, this thesis makes the following arguments: for modernization of an institution of traditional music to be effective, a relationship must exist whereby the transitioning institution is given creative license to generate continued socio-cultural productivity through its creative class ("talent") in joint cooperation with, rather than dependence on, government agencies. The goal must be to revitalize rather than simply preserve such an institution, and to avoid cultural attrition of unique musical qualities of the institution.

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