Chiu Wai Yee, Lulu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leaves 68-74). / Abstracts in English and Chinese. / List of tables --- p.vii / Introduction --- p.1 / Chapter Chapter One. --- The History of Opera Buffa / The origins of opera buffa --- p.4 / The development of opera buffa --- p.9 / The collaboration of Galuppi and Goldoni --- p.11 / Chapter Chapter Two. --- "Il filosofo di campagna,ts Plot, Orchestration, Overture and Tonal Organization" / The plot of Il filosofo di campagna --- p.20 / The orchestration of the opera --- p.24 / The overture of the opera --- p.25 / The tonal organization of the opera --- p.28 / Chapter Chapter Three. --- Characterization in the Solo Arias of Il filosofo di campagna / Buffa characteristics in the music of Don Tritemio --- p.32 / Seria characteristics in the music ofRinaldo --- p.36 / Mixed characteristics in the music of Lesbina and Nardo --- p.38 / Chapter Chapter Four. --- Characterization in the Ensembles of Il filosofo di campagna / Comic characteristics in the music of the Act one finale --- p.52 / The quasi-conclusion Act two finale --- p.61 / The problematic Act three finale --- p.64 / Conclusion --- p.66 / Bibliography --- p.68 / Appendices --- p.75 / Chapter A. --- The title-page and the cast list of Goldoni's libretto --- p.76 / Chapter B. --- The texts of the three finales --- p.77 / Chapter C. --- Musical examples of Il filosofo di campagna Overture --- p.86 / "Don Tritemio's aria ""La mia ragion e questa，"" Act one，sceneiii" --- p.95 / "Rinaldo's aria ""Taci，amor, nel seno mio，"" Act one, sceneiv" --- p.98 / "Lesbina's three canzonettas, Act one, sceneii:" / """Quando son giovine，""" --- p.104 / """Son fresca, son bella,""" --- p.105 / """Non raccoglie le mie foglie，""" --- p.106 / "Lesbina's aria ""Compatite，Signor，s'io non so,"" Act one, scenex" --- p.108 / "Lesbina's aria ""Una ragazza, che non e pazza，"" Act two, scenex" --- p.111 / "Nardo's aria ""Vedo quell'albero，"" Act one，scenevii" --- p.116 / "Nardo's aria ""Se non e nata nobile,"" Act two, scenexiv" --- p.119 / Act one finale --- p.124 / Act two finale --- p.137 / Act three finale --- p.149

Submitted by Sara Ribeiro (sara.ribeiro@ucb.br) on 2018-03-22T16:42:55Z No. of bitstreams: 1 EduardoCunhaCastelloBrancoDissertacao2018.pdf: 4671508 bytes, checksum: eca028e27f45e6633d051aeaf04628b5 (MD5) / Approved for entry into archive by Sara Ribeiro (sara.ribeiro@ucb.br) on 2018-03-22T16:43:14Z (GMT) No. of bitstreams: 1 EduardoCunhaCastelloBrancoDissertacao2018.pdf: 4671508 bytes, checksum: eca028e27f45e6633d051aeaf04628b5 (MD5) / Made available in DSpace on 2018-03-22T16:43:14Z (GMT). No. of bitstreams: 1 EduardoCunhaCastelloBrancoDissertacao2018.pdf: 4671508 bytes, checksum: eca028e27f45e6633d051aeaf04628b5 (MD5) Previous issue date: 2018-02-28 / In the present dissertation, the objective is to clarify the aspect specific Banco Central do Brasil (BCB), through repurchase operations. / Na presente disserta????o, visa-se a aclarar aspecto espec??fico da atua????o do Banco Central do Brasil (BCB), por meio das opera????es compromissadas. Elas s??o empregadas com o intuito de regular a liquidez do sistema banc??rio e, com isso, promover a sintonia entre as taxas de juros do mercado e a meta para a taxa b??sica de juros brasileira determinada pelo Comit?? de Pol??tica Monet??ria (Copom). Com base em relat??rio do BCB de 2015, pretende-se esclarecer como a vari??vel dependente do estudo, as opera????es compromissadas, respondeu a fatores como a aquisi????o de reservas cambiais, as varia????es das reservas banc??rias e o Resultado prim??rio do Governo central. Para isso, utilizou-se o m??todo de estima????o de vetores autorregressivos (VAR), e procedimentos derivados desse m??todo, como os testes de causalidade de Granger e fun????es impulso-resposta. Conclui-se que as varia????es nas reservas banc??rias impactam a trajet??ria das opera????es compromissadas. Apesar de ter sido detectada tamb??m a influ??ncia das reservas cambiais sobre a vari??vel dependente, esse nexo pode ser colocado em quest??o. N??o foram detectadas rela????es significativas em outras vari??veis citadas no relat??rio do BCB.

二戰後，歐洲歌劇院（尤其是德國歌劇院）興起了一場歌劇製作的革命。新一代歌劇導演往往不再遵循作曲家的原意, 而以當下的視角重新審視並闡釋作曲家的文本。人們因而將此類歌劇製作稱為“導演制歌劇(Regieoper)。筆者認為，導演制歌劇脫胎于民主德國的先鋒派戲劇製作。在導演制歌劇中，歌劇導演不僅顛覆了歌劇文本的原意，更試圖通過歌劇製作來反思整個西方歌劇的傳統。 / 本文以哈瑞·庫普夫(Harry Kupfer)1989 執導的格魯克(Christoph WillibaldGluck)歌劇《奧菲歐與尤麗蒂契》(Orfeo ed Euridice)與卡特琳娜·瓦格納(Katharina Wagner)2007 年執導的瓦格納(Richard Wagner)歌劇《紐倫堡的名歌手》(Die Meistersinger von Nürnberg)為例，展示“導演制歌劇“導演對當代歌劇運作機制(operatic institution)的質疑。《奧菲歐與尤麗蒂契》與《紐倫堡的名歌手》的原作皆為“元歌劇“ (“meta-operas“)，兩位作曲家格魯克與理查·瓦格納通過劇中的人物和情節，探索音樂與歌劇創作的美學本質。兩位導演沒有因循原作者的觀點。相反，他們的製作類似於“元製作“(“meta-productions“)，籍由大量改動作曲家的文本，反思當代歌劇運作機制的美學屬性和政治功能。哈瑞·庫普夫的《奧菲歐與尤麗蒂契》表達了當代古典音樂演出中，音樂家個人情感表達與公眾媚俗品味之間的矛盾。卡特琳娜·瓦格納的版本則借用了前人的文本探討歌劇製作與政治的關聯。 / 本文分為四個章節。第一章梳理了當前學界對“導演制歌劇“的研究和討論。第二章與第三章分別聚焦哈瑞·庫普夫與卡特琳娜·瓦格納的兩部“導演制歌劇“。由此，筆者在第四章中指出“導演制歌劇“具有強烈的自我批判傾向，與二戰後歐洲盛行的文化價值重估思潮息息相關。 / Regieoper (“director’s opera“) refers to a staging practice in postwar European (especially German) opera houses. Evolved from East German avant-garde theatrical productions, Regieoper de-familiarizes canonical operas with drastic changes to the work’s original settings; at the same time, it often presents additional self-reflexive narratives that question the underlying motivations of the operatic institution. / In this study, I examine two Regieoper productions as directors’ critiques of the operatic institution, namely Harry Kupfer’s production of Christoph Willibald Gluck’s Orfeo ed Euridice for the Komische Oper Berlin (1989) and Katharina Wagner’s production of Richard Wagner’s Die Meistersinger von Nürnberg for the Bayreuth Music Festival (2007). Both C.W. Gluck and R. Wagner’s original operas are “meta-operas“, in which the composers reflect on the role and nature of music. Harry Kupfer’s and Katharina Wagner’s “meta-productions“, in turn, question and critique Gluck’s and R. Wagner’s aesthetic arguments in relation to contemporary social and cultural contexts. Harry Kupfer questions whether sincere artistic expression can survive within contemporary classical music institutions, while, Katharina Wagner raises moral questions about the political role of the operatic canon. / The study is divided into four chapters. It begins with a theoretical and historical overview of Regieoper, examining it in the light of recent musicological discussions about the “work-concept“, “idealized performance“, and the “textuality of opera“. Chapters Two and Three are detailed analyses of the two “meta-productions“. To conclude, I contend that these two case studies illustrate Regieoper’s critical engagement with meta-issues in contemporary opera production, and argue that this self-reflexive attitude is related to the Zeitgeist of postwar Europe. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Xu, Lufan. / "December 2012." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 79-89). / Abstracts also in Chinese. / English Abstract --- p.i / Chinese Abstract --- p.ii / Acknowledgements --- p.iii / Table of Contents --- p.v / Table of Figures --- p.vi / CHAPTER ONE: / Introduction --- p.1 / Opera in Performance --- p.1 / Regieoper’s Challenges: Origins and Motivations --- p.11 / The Academic Response to Regieoper --- p.19 / Opera Texts and Production Texts --- p.21 / Meta-operas and Meta-productions --- p.23 / CHAPTER TWO: / Orpheus’s Splitting Images: Harry Kupfer’s Production of Orfeo ed Euridice --- p.29 / Orphic Operas: Demonstrations of Music’s Powers --- p.29 / Gluck and Calzabigi’s Ideal Eighteenth-Century Musician --- p.32 / Orpheus’s Changing Images --- p.36 / Harry Kupfer’s Modern Musician --- p.39 / CHAPTER THREE: / “Why Regieoper?“: Katharina Wagner’s Production of Die Meistersinger von Nürnberg --- p.52 / The Wagnerian Legacy: From Richard to Katharina --- p.52 / First Argument: Werktreue vs. Avant-Gardism --- p.56 / Second Argument: Spectatorship and Opera Production --- p.62 / Third Argument: The Arts and Politics --- p.67 / Re-writing Myths with Regieoper --- p.71 / CHAPTER FOUR: / Conclusion --- p.73 / Bibliography --- p.79

<p>Са само пет наслова од дванаест опера колико је укупно написао, Пучини већ више од века доминира у репертоару свих светских оперских кућа, од најмањих до највећих, што га ставља у исти ранг са Моцартом, Вердијем, Вагнером. Његова популарност је тако велика не само због изванредне музике и сјајног осећаја за оркестрацију, него управо због сасвим специфичног начина на који је Пучини драматуршки третирао своје главне протагонисте. Нарочити афинитет је имао ка савршено нијансираном креирању хероина. Управо су његове хероине главно обележје његовог стваралаштва. Како је опера уметност заснована на синтези две уметности &ndash; драмске и музичке, реч је о раду који истражује главне женске ликове анализирајући упоредо драматуршка и музичка средства која је композитор користио и које има за циљ да дође до општих закључака о емоционалном аспекту хероина у значајном делу стваралаштва Ђакома Пучинија, у операма Боеми, Тоска, Мадам Батерфлај и Турандот.</p> / <p>Sa samo pet naslova od dvanaest opera koliko je ukupno napisao, Pučini već više od veka dominira u repertoaru svih svetskih operskih kuća, od najmanjih do najvećih, što ga stavlja u isti rang sa Mocartom, Verdijem, Vagnerom. NJegova popularnost je tako velika ne samo zbog izvanredne muzike i sjajnog osećaja za orkestraciju, nego upravo zbog sasvim specifičnog načina na koji je Pučini dramaturški tretirao svoje glavne protagoniste. Naročiti afinitet je imao ka savršeno nijansiranom kreiranju heroina. Upravo su njegove heroine glavno obeležje njegovog stvaralaštva. Kako je opera umetnost zasnovana na sintezi dve umetnosti &ndash; dramske i muzičke, reč je o radu koji istražuje glavne ženske likove analizirajući uporedo dramaturška i muzička sredstva koja je kompozitor koristio i koje ima za cilj da dođe do opštih zaključaka o emocionalnom aspektu heroina u značajnom delu stvaralaštva Đakoma Pučinija, u operama Boemi, Toska, Madam Baterflaj i Turandot.</p> / <p>With only five out of the twelve operas he wrote, Puccini has been dominating the repertoire of opera houses of the world, from the smallest to the largest ones, for more than a century. This puts him on par with Mozart, Verdi, Wagner. He is so well known not only for the excellence of his music and a great sense of orchestration, but also for the very specific ways in Puccini&#39;s dramaturgical treatment of his main protagonists. He has shown special affection towards his perfectly nuanced creation of heroines. It was his heroines that turned out to be the main feature of his whole opus. As the opera as an art is a synthesis of two arts - drama and music, this thesis analyzes the main female characters by simultaneously focusing on the dramaturgical and musical resources which the composer used, and it aims to reach more general conclusions about the emotional aspect of his heroines in a significant part of the creative work of Giacomo Puccini, in his operas La Boheme, Tosca, Madama Butterfly and Turandot.</p>

Le Roland furieux constitue un réservoir d'intrigues inépuisable pour l'opéra baroque. Nous prenons en compte un corpus de quatre-vingts livrets mais aussi pièces de théâtre et ballets, résumés dans l'Annexe et analysés au fil d'une réflexion qui vise à dégager des grandes lignes d'histoire de l'opéra pouvant justifier la disparition des personnages, qui coïncide avec le passage du texte source au second plan après le XVIIIe siècle. Le point de vue adopté dans la première partie nous permet de mettre en lumière la circulation des sujets et de démêler les différents filtres de réécritures intermédiaires en fonction des influences littéraires, mais aussi politiques et matérielles. La plasticité de l'Arioste qui le rend adaptable à tous les contextes, entraîne également une fortune sérieuse aussi bien qu'une fortune comique. Les épisodes de l'épopée privilégiés à l'opéra, au-delà des différences entre contextes de création et genres, sont ceux qui mettent en scène l'excès et le désir. Les deux personnages qui cristallisent ces thématiques suivent, dans l'histoire des réécritures opératiques, deux trajectoires inversées. Roland ébranle les conventions génériques et perd dans ses plus belles réalisations l'essentiel de sa charge comique tandis qu'Alcine, se fondant dans tous les genres, de sérieuse, devient comique. / Ariosto's Orlando furioso offers a countless multitude of plots for the baroque opera. Our corpus is composed of eighty librettos and also of some dramatic plays and ballets, presented in the appendix. This thesis intends to consider why Ariosto's heroes disappeared from European scenes, while they lost their aura, by taking in account the main lines of operatic history. Firstly, we would like to accent the circulation of the plots between cultural areas and to analyze the different literary, political and factual influences that can alter the original text. Then, our purpose is to examine the ariostan plasticity, which suits to all the contexts and explains the ambivalent generic posterity of the epic romance on operatic stages, either comic or serious. Finally, we want to highlight that the most adapted episodes are related to excess and desire. The both characters, that carry these themes, meet an opposite fate. Orlando's most achieved treatments subvert more and more the generic conventions, by reducing his comic aspect, whereas Alcina loses her serious nature and becomes a comic figure.

Este trabalho apresenta uma autoetnografia em diálogo com os artistas que participaram da ópera coreográfica: \"Aniversário e Morte de Queen Mary II\", no NUO-Ópera Laboratório. Portanto, o objetivo desta investigação é descrever, narrar, contextualizar e situar o processo desta obra concebida especialmente para o NUO-Ópera Lab. Faremos isso, a partir das memórias dos artistas, que participaram, e de material audiovisual, trazendo as falas dos autores integrantes do NUO-Ópera Lab. que não são narradores/depoentes/produtores de dados/interlocutores da pesquisa, mas, assinam a autoria desse trabalho conosco. Os processos práticos/reflexivos desta obra artística e deste texto nos levam a acreditar que a ópera tem várias camadas. E são nessas muitas camadas que a riqueza da ópera habita. Não é nem o texto, nem a música, nem a dança, mas sim, a ação que está nesta amálgama. A ópera é o teatro da ação, na perspectiva do transgênero. Passamos a entender o que é ópera e como se dá a direção em ópera, através do processo transdisciplinar que acontece no NUO-Ópera Lab. Esse processo como um todo, artístico reflexivo, proporcionou turning points pessoais, ou seja, cada integrante envolvido no processo achou insights pessoais, dando sentidos e significados próprios; e turning points grupais, coisas que foram mais gerais e coletivas. / This Masters work introduces an autoethnography in connection to all artists who have participated on the opera choreography entitled \"Anniversary and Death of Queen Mary II\", which was performed at NUO-Opera Laboratory. Therefore, the aim of this research is to describe, narrate, contextualize and situate the process under the aforementioned opera work especially developed to NUO-Opera Lab. Herein, we will achieve this objective by bringing artists memories who were part of the personnel in the play and all audiovisual material enlightening all the author\'s lines who belonged to NUO-Opera Lab, who were not narrators / deponents / data producers / research interlocutors, but who share the authorship of this paper with us. The practical and reflexive processes of that artistic play and also this paper lead us to believe that opera has several layers. And it is in those many layers in where the opera\'s treasure lives. It is neither in the text, nor in the music or dance, but the action that is in this amalgam instead. An opera is the action of a theatrical play from the perspective of transgender. As a result, we start understanding what opera is and how the direction of an opera occurs at NUO-Opera Lab. This process as a whole, artistic reflexive, afforded personal turning points, i.e. each member of the play involved in this process had found personal insights, opening to self senses and meanings, while the group\'s turning points resulted into a more general and shared the ones.

Thesis--Philosophy in Arts management--Londres--City university, 2000. / Bibliogr. p. 238-247.

Thesis (Ph.D.). / Written for the Dept. of Hispanic Studies. Title from title page of PDF (viewed 2008/12/02). Includes bibliographical references.

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 391-402).

Thesis (M.A.)--Georgia State University, 2006. / Toshi Kii, committee chair; Romney S. Norwood, Chip Gallagher, committee members. Electronic text (93 p.) : digital, PDF file. Description based on contents viewed Aug. 9, 2007. Includes bibliographical references (p. 89-93).