No description available.

Thought of as the hero of the opera at the premiere but described later as being somewhat monochromatic and uninteresting, the role of Posa in Verdi's Don Carlos has recently attracted more attention. On the one hand he is portrayed as a naive ideologue, on the other a ruthless manipulator of persons. It is my intent to show that in crafting the character of Posa, Verdi shaped the music to portray him as a righteous diplomat: diplomatic in that he speaks the musical language of the person to whom he is making his political entreaties, and righteous in that his music stands in stark contrast to that of Le Grand Inquisiteur and is more aligned with that of Une Voix d'en Haut. I put forth and defend the personal interpretation that Posa could, in fact, be a Calvinist. How this theory affects the performance of this role is demonstrated through an investigation of the dramatic impulses of the Trio of Acte III, 3me Tableau.

The tenor figure of princ, three-act opera, " Rusalka" by Antonín Dvořák, was a long time with its character, singing difficulty and technical extremity , a big challenge for me. So l decided after two years of studying this role, write a magister thesis about princ, think about his character and its overall by the creation from the very beginning to the hardest singing party at the end of the opera.

The aim of this work is to briefly and sententiously describe and map the production of one act operas by Bohuslav Martinů.

The author is focusing on issues of opera in new media in her work. The introduction defines and decribes the concept of new medias. After that, author is especially focusing on presentation of operas which are broadcasted live into Czech cinemas, history of this relatively young phenomenon and its gradual develepment. As a next topic mentioned in the author's work is possibility to watch live broadcasts or records via particular websites of theatres. Finally, the author is describing internet websites, which are dealing with the opera issues, history, content and specifics. The author is summarizing other options how to present opera.At the end of the work, the author is trying to characterize meaning and benefits of the new medias for today's opera and opera audience.

This thesis presents the myth of Orpheus through each century of opera. Beginning with Claudio Monteverdi’s L’Orfeo in 1607, followed by Christoph Gluck’s Orfeo ed Euridice, Jacques Offenbach’s Orphée aux Enfers, Philip Glass’s Orphée, and finally, Ricky Ian Gordon’s Orpheus and Euridice in 2001. Through the analysis of plot changes, gender characteristics, and the symbolism of these five operas, the elements that have made Orpheus one of the most prominent figures in opera will be explored.

"A Lawn in the Sky" is a musical drama in two acts on a libretto by Katherine Hollander. The piece is based on the true story of Lieutenant Onoda Hiroo, a Japanese "straggler" who refused to believe that Japan had surrendered in World War II and continued to wage guerilla warfare in the jungles of the Philippines until 1974. The librettist constructed this fictionalized account drawing from information in newspaper articles and Onoda's memoir, No Surrender: My Thirty-Year War. While both Ms. Hollander and I referred to these historical sources, the story is a work of fiction, including a total cast of nine characters, several purely fictional. These roles are supported by an ensemble of Western instruments: flute, clarinet, saxophone, oboe, bassoon, percussion, piano, and contrabass; Japanese instruments: nohkan, shamisen, and taiko; and fixed media electronics. This mixed ensemble parallels the characters' divergent views of reality and offers opportunities for multidimensional commentary on both the libretto and the story. Included with this document is a supplemental zip file which contains the audio samples and sample players for the electronic portion of the score.

Ensembles have become iconic of the eighteenth-century opera buffa. Previous studies have focused their efforts on form, analyzing ensembles with instrumental structures. However, these forms do not provide information as to how ensemble texts are set musically or function in terms of drama. This study follows Ronald Rabin’s dissertation research on opera buffa performed at the Burgtheater in Vienna between 1783 and 1791. Rabin asserts an ‘ensemble principle’, explaining the broad form of buffa ensembles. This study focuses on the ensembles of two Viennese works: W.A. Mozart’s Così fan tutte (1790) and Domenico Cimarosa’s Il Matrimonio Segreto (1792). Using Rabin’s ‘ensemble principle’ as a foundation, a close reading of each ensemble from these two works reveals that these composers took very different approaches to ensemble writing. By sticking to or straying from conventions, Mozart and Cimarosa made musical choices that enhance character relationships and drama in diverse ways.

Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-09-12T19:10:13Z No. of bitstreams: 4 Sandra Cristina Souza Corrêa.pdf: 20131484 bytes, checksum: 7be0a4e652bc918f91ba1f1664f7d223 (MD5) OperaWonyosiAnexos.pdf: 12256420 bytes, checksum: 88be048b4ed029fd4b847128f228fa8d (MD5) Oprocesso de criação da tradução da Opera Wonyosi.pdf: 1547109 bytes, checksum: a0c57f3da60875004b5c8f2555e41b15 (MD5) PreTextuais.pdf: 229328 bytes, checksum: 8301ee0c995c934ebb5ddde52aeddfaf (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-09-12T20:38:44Z (GMT) No. of bitstreams: 4 Sandra Cristina Souza Corrêa.pdf: 20131484 bytes, checksum: 7be0a4e652bc918f91ba1f1664f7d223 (MD5) OperaWonyosiAnexos.pdf: 12256420 bytes, checksum: 88be048b4ed029fd4b847128f228fa8d (MD5) Oprocesso de criação da tradução da Opera Wonyosi.pdf: 1547109 bytes, checksum: a0c57f3da60875004b5c8f2555e41b15 (MD5) PreTextuais.pdf: 229328 bytes, checksum: 8301ee0c995c934ebb5ddde52aeddfaf (MD5) / Made available in DSpace on 2018-09-12T20:38:44Z (GMT). No. of bitstreams: 4 Sandra Cristina Souza Corrêa.pdf: 20131484 bytes, checksum: 7be0a4e652bc918f91ba1f1664f7d223 (MD5) OperaWonyosiAnexos.pdf: 12256420 bytes, checksum: 88be048b4ed029fd4b847128f228fa8d (MD5) Oprocesso de criação da tradução da Opera Wonyosi.pdf: 1547109 bytes, checksum: a0c57f3da60875004b5c8f2555e41b15 (MD5) PreTextuais.pdf: 229328 bytes, checksum: 8301ee0c995c934ebb5ddde52aeddfaf (MD5) / CAPES / Opera Wonyosi (1977) de Wole Soyinka (1934- ), texto dramático (1981) escrito em inglês e traduzido(2009-2010) para o português pelo grupo de pesquisa PROSOM do Departamento de Letras Germânicas da Universidade Federal da Bahia, coordenado pela professora Sílvia Maria Guerra Anastácio. O texto traduzido é base para o roteiro da Leitura Dramática Opera da Malandragem apresentada no Teatro Martim Gonçalves (out.2010) e o para o audiolivro Opera dos Espertos (2011). As versões da tradução foram realizadas no formato digital e resgatas das caixas de email das tradutoras para realização deste estudo. O resgate online dos documentos digitais possibilitou o acompanhamento do processo de criação da tradução segundo a orientação teórico-metodológica da Crítica Genética e do(s)Estudo(s) de Tradução. De um elenco de nove cenas, um apêndice e um glossário, apresenta-se o dossiê genético composto das cenas Um e Dois com descrição dos relatos da gênese tradutória, ateliê de tradução e apresentação da cronologia do processo de tradução. Os momentos genéticos apresentados neste estudo apontam para a identidade nigeriana ficcionalizada pelo texto de Wole Soyinka e retomada pelas tradutoras no texto traduzido da Opera Wonyosi. / Opera Wonyosi (1977) of Wole Soyinka (1934 -), dramatic text (1981) written in English and translated (2009-2010) for the Portuguese by PROSOM- research group of the Department of German studies at The Federal University Bahia, coordinated by Professor Silvia Maria Guerra Anástacio. The translated text is the basis for the screenplay of Dramatic Reading Opera da Malandragem presented in Martim Gonçalves Theater (out.2010) and for the audiobook Opera dos Espertos (2011). The versions of the translation produced in digital format and retrieved from the translators ‘email boxes. The download of these digital documents enabled the monitoring of the process of creating the translation according to the theoretical-methodological and Genetic Criticism and Translating Studies. From a cast of nine scenes, a glossary and an appendix are presented in the genetic dossier the scenes One and Two with reports describing the genesis of translating, translation workshop and presentation of the chronology of the translation process. Genetic moments are presented in this study pointing out to the identity Nigerian fictionalized in Wole Soyinka’ s text and resumed by the translators in the translated text Opera Wonyosi.

This thesis examines the production and reception of French opera in New Orleans in the first half of the nineteenth century, through a focus on the city’s principal French-language theatre from 1819 to 1859, the Théâtre d’Orléans. Building on the small body of existing scholarship concerning the theatre’s history and repertoire, here I draw upon a greatly expanded range of sources—including court cases, sheet music, and novels—in order to understand more about the ways in which operatic culture shaped and was shaped by city life in this period. New Orleans’s operatic life relied on transatlantic networks of people and materials in order to thrive, and this thesis explores the city’s place within growing global operatic systems in the nineteenth century. The five chapters each reflect on different aspects of operatic translocation and its significance for New Orleans. The first two argue for the centrality of human agency to the development of transatlantic networks of production and performance by examining the management of the theatre and the international movement of singers in turn. Chapter 3 investigates the impact of French grand opéra on New Orleans, arguing that the genre provided a focus for the negotiation of local, national, and international identities among opposing critical (and linguistic) factions within the city, while also providing an impetus for the development of a material culture of opera. Chapter 4 explores opera-inspired composition in New Orleans through a focus on popular sheet music for the piano, in order to problematise our expectations of ‘local creativity’. Finally, Chapter 5 examines travel writing from both sides of the Atlantic in which the Théâtre d’Orléans features, arguing that the ‘idea’ of opera—including the imagined experience of Parisian opera-going— played an important role in articulating the authors’ perceptions of inter-cultural encounter in New Orleans. This thesis, therefore, seeks to unpick the processes involved in transatlantic opera from a number of angles. I resituate New Orleans, arguing that the city was not simply on the musical periphery, but that it was instead an integral part of an increasingly connected operatic world, which nonetheless sustained its own individual theatrical culture. This work, therefore, helps us both to challenge and expand ingrained ideas about French centralisation, North American cultural development, and cultural transfer up to the mid-nineteenth century.