In Capriccio. Richard Strauss and Clemens Krauss examine the very nature of opera with the core of their thesis being the relationship of words and music. A work that is, in essence, an extended discussion poses two problems to the composer and librettist: how to sustain the argument of the thesis without losing the attention of the audience, and how to prevent a conversational opera from sounding like endless recitative. Strauss and Krauss manage to present their case without having to resort to an actual discussion for the duration of the opera. Their characters are engaging, identifiable human beings who are also allegorical figures. Their participation in the stage action sustains the argument of the thesis even when the dialogue itself addresses other subjects. The players symbolize various facets of opera, theatre, and the public with all of them, principal and secondary characters, being sharply etched. The little stage action that Capriccio does contain is carefully paced and closely coordinated with the presentation of the work's thesis. The octets, similar in dramatic function to the central finale of a Mozart opera buffa, provide the climax of the stage action and come soon after the Fugal Debate, the centerpiece of the collaborators' argument. The final section of the central scene, which also contains the aforementioned octets and Fugal Debate, serves as the denouement of both the plot and thesis. Such close attention to dramatic structure gives Capriccio and the argument it presents cohesion and dramatic shape. The text itself is written in clear, concise prose and is set in Strauss's patented "conversational style." This style, a rapid syllabic declamation, is delivered "mezza voce" in order to simulate natural speech and is sung over continuous melos in the orchestra. This accompaniment keeps it from sounding like dry recitative. This study explores the work's characters, dramatic structure, vocal style, and the issues raised by Strauss and Krauss. Other topics to be addressed include the genesis of Capriccio. how the careers of the composer and librettist led them to write an opera about opera, common criticisms of the work, and Capriccio's place in the operatic repertoire today.

Wilde:An Opera in 2 Acts. Play and Music by Derek Williams. Based on the writings and utterances of Oscar Wilde and his contemporaries.

Wiedergeburt einer populären Oper aus dem Geist der modernen Musik

Mitt examensarbete handlar om att gå från kvinna till man på scen, hur man gestaltar olika typer av byxroller.

Den här uppsatsen beskriver arbetet bakom föreställningen Figaro. Figaro är en omarbetad och nedkortad version av Mozarts älskade opera Figaros bröllop. Föreställningen har arbetats fram utifrån ett genusperspektiv och har gemensamt skapats och formats av hela sångensemblen och dirigenten. Ambitionen har varit att behålla operans ursprungliga hierarkier och maktförhållande mellan rollfigurerna, men att göra en översättning av handlingen till modern tid. Ett stort arbete har gjorts med att försöka skapa situationer och rollfigurer som känns verklighetstrogna. I föreställningen vill vi synliggöra några av de strukturer och mönster som vi är vana att möta på operascenen, på våra arbetsplatser och på musikhögskolan. Central i handlingen står Rosina Almaviva och hennes förhållande till de övriga karaktärerna. / <p><strong>Figaro</strong> </p><p>Musik: W A Mozart</p><p>Libretto: L. da Ponte, sv. översättning Britt G. Hallqvist</p><p>Bearbetning musik: Sofia Winiarski, Cecilia Eriksson, Ninni Molin,</p><p>Bearbetning text: Nils Löfgren och Cecilia Eriksson</p><p>Regi: Ninni Molin, Nils Löfgren, Cecilia Eriksson och Sofia Winiarski</p><p>Göran Almaviva: Viktor Rydén</p><p>Rosina Almaviva: Cecilia Eriksson</p><p>Susanna: Anna Sandström</p><p>Figaro: Nils Löfgren</p><p>Cherubino: Linnéa Törnqvist</p><p>Marcellina: Ninni Molin</p><p>Bartolo: Martin Hillberg</p><p>Basilio: Patrik Kesselmark</p><p>Dirigent: Sofia Winiarski</p><p>Violin: June Gustavsson Lyng (Konsertmästare) Emma Alrikson, Markus Bäckerud, Antonia</p><p>Somersalo, Siri Sperling</p><p>Viola: Doris Mägi, Lila Arha, Ellen Alveteg</p><p>Cello: Rebecka Ericsson, Erik Elvkull</p><p>Kontrabas: Linnea Fredriksson</p><p>Flöjt: Kajsa Nilsson</p><p>Oboe: Gabriela Dogaru, Victor Sjögren</p><p>Klarinett: Astrid le Clercq</p><p>Fagott: Gabriella Varga Karlsson, Jonathan Bauer</p><p>Trumpet: Ludwig Frydén Kristensson</p><p>Horn: Mikael Larsson</p><p>Timpani: Henrik Wassenius</p><p>Recitativ: Sofia Winiarski</p>

崔承恩. / "2010年12月". / "2010 nian 12 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leave 109-115). / Abstract in Chinese and English. / Cui Cheng'en. / Chapter 第一章 --- 緒論 --- p.1-9 / Chapter 第一節 --- 引言 --- p.1 / Chapter 第二節 --- 研究文獻及討論 --- p.2 / Chapter 第三節 --- 論文研究方法及論文結構 --- p.7 / Chapter 第二章 --- 影音技術與粤劇的互動發展 --- p.10-29 / Chapter 第一節 --- 1950年代前傳統粤劇的情況 --- p.11 / Chapter 第二節 --- 1950年代後粤劇發展的情況 --- p.19 / Chapter 第三節 --- 小結 --- p.29 / Chapter 第三章 --- 芳艷芬與「芳腔」 --- p.30-65 / Chapter 第一節 --- 芳艷芬及「芳腔」的發展 --- p.30 / Chapter 第二節 --- 芳艷芬在1950年代的電影與唱片 --- p.43 / Chapter 第三節 --- 「芳腔」演唱藝術的獨特性及特色 --- p.47 / Chapter 第四節 --- 小結 --- p.65 / Chapter 第四章 --- 芳腔演繹者與影音工業發展 --- p.66-104 / Chapter 第一節 --- 第一代芳腔演繹者（1960年代至1980年代） --- p.66 / Chapter 第二節 --- 影音工業的改變 --- p.84 / Chapter 第三節 --- 第二代芳腔演繹者（1990年代至今） --- p.92 / Chapter 第四節 --- 小結 --- p.104 / Chapter 第五章 --- 結論 --- p.105-108 / 參考書目 --- p.109-115 / 附錄 --- p.116-117

abstract: In 2006, composer James DeMars conceived of an opera when he began setting the Aztec legend known as Nican Mopohua, the “legend of Guadalupe.” Many inherent challenges arose as DeMars began to compose his first opera. His unfamiliarity with operatic writing and production, a preference for the aural elements of opera over visual ones, inexperience with dramatic textual writing, and insecurity in his ability to have it produced, encouraged him to detour from his operatic vision altogether and instead write an oratorio. Yet, his original operatic concept revealed itself through the music and text enough to encourage him and others to believe that his oratorio, Guadalupe: Our Lady of the Roses, could be produced on the operatic stage. Despite the oratorio’s success, DeMars persisted in realizing his original operatic vision and began the arduous task of rewriting his opera in 2012. To overcome the challenges, he relied heavily on the input of an “Operatic Advisory Council.” This group of dedicated colleagues and experts in the field of opera revealed to DeMars certain essential elements of opera that were absent from the oratorio, and through the course of three years advised and instructed the composer as he transformed his oratorio into an opera – something rarely attempted in the operatic repertoire. In this document, Chapter 1 discusses the formation of the Council, its members, and the expertise they offered. Chapter 2 presents the areas of concern the Council had during the process. Chapter 3 discusses the methods by which DeMars rectified the flaws in the oratorio’s visual aspects, the vocal writing, and the dramatic elements that needed attention. It also presents musical and textual examples of the adjustments and additions DeMars made during the transition, and discusses their effect on the opera’s staging, vocal writing and drama. The changes DeMars made under the guidance of the Operatic Advisory Council ultimately resulted in an operatic version of Guadalupe, which premiered at Arizona State University in November 2015. / Dissertation/Thesis / Doctoral Dissertation Music 2018

One of the most fundamental changes of the European opera production of the so-called long 19th century - apart from the change of the music structure itself, opera dramaturgy (or poetics) and forming of stable repertoire among other things - was its internalization: it was no more Italian opera as the only international operatic idiom but various traditions were influencing each other, the most important being the French, German and Italian operatic traditions (apart from the Russian one). The core thesis of this work, as it is seen in its title, could be formulated as follows: Prague in the mid-19th century could be regarded as a crossroad of European opera, in other words a place where these operatic traditions were in play. It means two things: First, Prague opera repertoire became international (many French, German and Italian operas were performed here). Second, dramaturgy of poetics of these various genres was projected into works of home composers. Dramaturgical analysis of four chosen operas - three of them by Johann Friedrich Kittl (Bianca und Giuseppe oder Die Franzosen vor Nizza, Die Waldblume and Die Bilderstürmer) and one by Josef Dessauer (Lidwinna) - aims to document this second statement. To which extent a composer is led and determined by a given libretto could be seen at the case of...

Esta tese consiste em um estudo das representações do islã, de árabes e muçulmanos veiculadas pela telenovela O Clone. Seu objetivo principal é verificar como a novela levou a cultura islâmica para a televisão na conjuntura do imediato pós 11 de setembro de 2001. Utilizando como fonte principal o discurso presente na telenovela, concluímos que O Clone funcionou como um instrumento didático para as audiências, oferecendo informações da cultura e religião islâmica em um momento em que essa tradição cultural era bastante estigmatizada. A novela, apesar de reiterar algumas caricaturas e de generalizações decorrentes acima de tudo de sua natureza folhetinesca-melodramática, ofereceu representações positivas oportunizando uma leitura mais humanizada do Outro muçulmano. Concluímos também que O Clone levou para a televisão elementos que estão presentes no contexto contemporâneo e que impregna as relações do Oriente islâmico com o mundo moderno e o Ocidente. Identificamos que a telenovela também ofereceu um retrato dos dilemas que atravessam a contemporaneidade islâmica. Por fim, percebemos também que o folhetim eletrônico de Glória Perez se utilizou do recurso intertextual ao levar representações, ideias e imagens já estabelecidas na tradição literária orientalista derivada das Mil e Uma Noites e suas adaptações e reelaborações. Através do primado da orientalidade, um acervo de imagens canônicas sobre o Oriente, possibilitou uma rápida identificação do público com um antigo imaginário, já estabelecido e bastante familiar para uma população que assiste TV. / This thesis is based in a study of representations of Islam, Arabs and muslins broadcast by the soap opera O Clone (The Clone). Its primary goal is to verify how the soap opera carried the Islamic culture to the post 9/11 television. Using as a primary source the discourse present in the soap opera, we concluded that O Clone has worked as a didactic instrument for the audiences, offering information from the Islamic culture and religion in a moment in which such cultural tradition was quite stigmatized. The soap opera, despite the reuse of some caricature and generalization derived, foremost, from its feuilletonistic-melodramatic nature, managed to offer positive representations enabling a more humanized reading of the muslim Other. We conclude, as well, that O Clone has brought to television elements that are present in the contemporary context and pervade the Eastern Islamic relations with the modern world and the West. We could also identify that Gloria Perezs electronic feuilleton made use of the intertextual asset by leading representations, ideas and images already settled in the orientalist literary tradition derived from the The Thousand and One Nights and its adaptations and revisions. Through the primacy of orientality, a pile of canonic images about the East, made possible a fast identification of the public with a ancient imaginary, previously settled and very familiar to a population that watches TV.

Research shows young singers are entering the professional world without the necessary skills to succeed. Students graduate from their respective colleges, yet lack experience in working with an orchestra, knowledge of dramatic or character analysis, or the stamina to maintain a vigorous rehearsal schedule. Incorporating character analysis skills along with language and dramatic training into the weekly private lesson will ensure the removal of the gaps in the curriculum. Through complete role study, young singers will have the ability to practice and refine their skills once they are vocally mature enough to perform an operatic role. The role of Sophie in Der Rosenkavalier by Richard Strauss is a challenging role requiring musical and dramatic skill. Students can examine and perform Strauss Lieder identifying similarities in the compositional style, dramatic elements, and musical requirements to prepare for the singing of the role of Sophie. This paper uses practical examples of various Strauss Lieder to demonstrate the pedagogical similarities between the role of Sophie and Strauss' song compositions.