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Aventures et nouvelles aventures de l’opéra depuis la Seconde Guerre mondiale : pour une poétique du livret / Death and Revival of Opera since 1945 : for a Poetics of LibrettoAmeille, Aude 23 June 2011 (has links)
Le genre opératique a connu une histoire mouvementée depuis la Seconde Guerre mondiale, celle d’une « mort » et d’une « renaissance ». Cette thèse s’attache à déterminer les raisons qui ont conduit compositeurs et spectateurs à délaisser l’opéra après 1945, laissant à penser que le genre allait disparaître, puis celles qui ont amené le retour en faveur de celui-ci à partir du début des années 1980 jusqu’à l’époque présente. À la lumière de ce contexte historique, cette étude propose une poétique du livret moderne et postmoderne, en s’intéressant aussi bien aux conditions concrètes de son élaboration qu’à ses particularités thématiques ou stylistiques. Elle souligne ses spécificités par rapport aux livrets des siècles antérieurs, mais attire également l’attention sur la permanence de certaines caractéristiques. Ce travail contribue ainsi à définir le livret comme un genre littéraire à part entière. / Operatic genre has had a turbulent existence since the end of World War II, going through death and revival. This dissertation tries to determine the motivations of composers and spectators who tended to neglect opera after 1945 – time when the genre seemed bound to disappear – and then, the reasons leading to a new interest in opera from the eighties onwards. In the light of this historical context, the present study proposes a poetics of modern and postmodern libretto, studying the concrete conditions of its conception as well as its thematic or stylistic peculiarities. This essay underlines its specificity in comparison with libretto from past centuries, but also draws attention to the persistence of some characteristics. Therefore, this dissertation contributes to the definition of libretto as a full-fledged literary genre.
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Non per tutto l'età m'aggrinza : Le vecchie comiche nell'opera veneziana del seicento / Non per tutto l'età m'aggrinza : les vieilles femmes comiques dans l'opéra vénitien du XVIIèmeCosta Araújo, Ligiania 27 September 2008 (has links)
Les rôles des vieilles comiques appartiennent aux conventions dramaturgiques établies par les nouvelles règles de l’opéra vénitien payant du Seicento. Entre 1638, date de la première apparition d’un râle de vieille comique sur les scènes vénitiennes, et la fin du siècle, cent quatorze personnages de cette typologie ont habité les trames crées par les librettistes vénitiens. La typologie à laquelle cette étude s’intéresse se caractérise par un comique poussé et ironique, par un fort appétit sexuel, par des idées proto-féministes sur la vie amoureuse mais également par un discours moral sur la caducité de la vie avec un fond extrêmement optimiste qui reprend la maxime horatienne du carpe diem. D’un point de vue purement dramaturgique, ces rôles, en tant que doubles des serviteurs, sont responsables des liaisons entre les scènes, des commentaires sur les évènements de l’intrigue ainsi que du comic relief. Dans un premier temps, il s’agit d’établir une généalogie de ces rôles, et de déterminer quelles caractéristiques les vieilles nourrices de l’opéra italien ont hérité de leurs prédécesseurs du théâtre improvisé et savant, ainsi que de la littérature. Une fois établies les particularités littéraires et musicales les plus récurrentes, celles-ci sont prises en examen par rapport à la trame d’une part, et en tant que topoi isolés d’autre part. L’intention de cette étude est de mener une réflexion globale qui ne soit ni étroitement musicologique, ni spécifiquement littéraire. Celle-ci veut interroger les rapports intimes bien souvent masqués entre culture populaire et culture savante, entre place publique et théâtre, entre improvisation et écriture / The role of the old comic nurse pertains to the dramaturgic conventions established in the new rules of the Venetian Seicento public opera. Between 1683, when the first old comic nurse appears on Venetian scenes, and the end of the century, one hundred and fourteen characters of this kind have thickened the plots created by the Venetian librettists. The character at the core of this research presents an exaggerated and ironic humor, a great sexual appetite, some proto-feminist ideas on love, but also a moral discourse on the caducity of life which usually has a very optimistic side to it and finds its main argument in the Horatian motto of the carpe diem. From a purely dramaturgic point of view these roles work as doubles to those of the servants, are used to connect successive scenes, to comment on the plot and to offer some comic relief. It is important to establish a genealogy of these robes, and to determine what characteristics the old nurses of Italian opera have inherited from their predecessors in the improvised and written theatre, and also in literature. After having determined the most recurring textual and musical elements, these are examined against the plot but also as isolated topoi. The aim of this study is to carry out a general reflection which is neither narrowly musicological, nor specifically literary, and to inspect die intimate and often concealed relationships between popular and high culture, public square and theatre, improvisation and writing / I ruoli di vecchie donne comiche appartengono alle convenzioni drammaturgiche stabilite fra le nuove regole dell’pera commerciale veneziana del Seicento. Fra 1638, data della prima apparizione di un ruolo di vecchia comica sulle scene veneziane, e la fine del secolo, cento quattordici personaggi di questa tipologia hanno abitato gli intrecci creati dai librettisti veneziani. La tipologia alla quale questo studio s’interessa si caratterizza per una comicità spinta e ironica, un forte appetito sessuale, idee proto-feministe sulla vita amorosa ma anche per un discorso morale sulla caducità della vita con uno sfondo estremamente ottimista che riprende la massima oraziana del carpe diem. Da un punto di vista puramente drammaturgico, questi ruoli, in quanto doppi dei servi, svolgono funzioni di legame fra le scene, commento sugli eventi dell’intreccio e offrono momenti di comic relief. In un primo tempo abbiamo cercato di stabilire una genealogia di questi ruoli e di determinare quali sono le caratteristiche che le vecchie nuttici dell’opera veneziana hanno ereditato dalle loro precorritrici del teatro improvvisato ed erudito, e dalla letteratura. Una volta stabilite le particolarità letterarie e musicali più ricorrenti le abbiamo analizzate in rapporto agli intrecci ed in quanto topoi a parte. Lo scopo di questo studio è di realizzare una riflessione globale non strettamente musicologica, né specificamente letteraria al fine di interrogarsi sui rapporti intimi e spesso nascosti tra culture popolari ed erudite, piazza pubblica e teatro, improvvisazione e scrittura
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En del av Adele : En självobservationsstudie av en konstnärlig process kring instuderingen av en operaroll / A part of Adele : A self-observational study of an artistic process about studying an opera roleAndersen, Hedda Lund January 2017 (has links)
Hur kan jag som lärarstudent vid en musikhögskola instudera en operaroll? Jag har undersökt denna fråga genom att observera instuderingsarbetet av rollen som kammarjungfrun Adele från operetten Läderlappen av Johann Strauss. Förutom det konstnärliga arbetet och utforskandet av detta har även perspektivet design för lärande använts som teoretiskt utgångspunkt. Resultaten tematiseras och systematiseras i huvudrubrikerna Resurser och medel samt Processen. I resultatet framkommer instuderingens komplexitet och vilka beståndsdelar som krävdes. Faktorer i resultatet som till exempel skratt och dess påverkan i utryck och teknik framkom under processens gång. Föreliggande studie skulle kunna ses som utforskning av procedurer kring instudering som förberedelser inför ett framtida yrkesval, parallellt med utforskandet av de pedagogiska aspekterna av samma procedurer. / How can I – as a teacher student at a college of music – study an opera role? I have examined this question by observing the process of studying the opera role as Adele from The Bat by Johann Strauss. My theoretical perspective is partly based on Design for Learning combined with examining the artistic procedure itself. The results is systemazied under the headers Reasources and tools and The Process. The result chapter shows the komplexitity in studying and learning an opera role. Laughter as a tool in opera was one of the most interseting results. This investigation could be seen as a preparation for a possible future career at the same time as the pedagogical aspects are examined.
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Opera "Sandro" de Murillo Furtado = estudo para uma direção musical e seu resgate historico / Sandro, opera by Murillo Furtado : a study of its musical direction and historical recoveryTakahama, Alexandre Machado 15 August 2018 (has links)
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Previous issue date: 2010 / Resumo: A ópera Sandro de Murillo Furtado (1873-1958) ocupa uma privilegiada posição de destaque no cenário musical sul-rio-grandense por ter sido a primeira ópera composta e estreada por um compositor gaúcho no Estado do Rio Grande do Sul. Trata-se da segunda e última ópera do compositor, a qual foi composta entre 1901 e 1902, sob forte influência do verismo. Seu enredo é uma seqüência dos acontecimentos da ópera Cavalleria Rusticana de Mascagni. Foi estreada em 1902, e relatos indicam que sua última execução ocorreu no ano de 1908, sendo que um dos fatores que contribuem para o seu completo abandono nos dias de hoje é a precariedade do material existente. Utilizando esta ópera como objeto de estudo, este trabalho tem como principal objetivo realizar uma abordagem sobre a sua direção musical no sentido de dar subsídios para a sua execução, a qual será viabilizada através da restauração do libreto e da edição revisada do manuscrito autógrafo. O trabalho se divide em quatro capítulos: o primeiro contextualiza o compositor e a obra do ponto de vista histórico. O segundo apresenta uma investigação da ópera em seus aspectos estruturais e estilísticos. O terceiro apresenta a primeira edição revisada desta ópera, a qual atua como um subsídio para a sua execução. O quarto e último capítulo traz uma discussão a respeito dos aspectos pragmáticos da preparação desta ópera, fundamentados nos conteúdos desenvolvidos nos capítulos precedentes. Por fim apresentamos, no apêndice, o libreto restaurado e traduzido bem como a partitura editada da ópera Sandro. / Abstract: The opera Sandro by Murillo Furtado (1873-1958) holds a privileged and prominent position in the Rio Grande do Sul musical scene for having being the first opera written and premiered by a native composer in his home State of Rio Grande do Sul. It is the second of two operas written between the years 1901 and 1902 under strong influence of Verismo School. Its plot is a sequel to the events already present in Cavalleria Rusticana by Mascagni. Sandro's debut took place in 1902 and reports of the time indicate that it had its last performance in the year 1908. The precarious condition of the existing orchestral material poses serious obstacle for another performance of the work. This dissertation therefore offers an approach to Sandro's musical direction in order to make its performance possible which could only be viable through the restoration of the libretto and of the revised edition of the manuscript score. It is divided into four chapters: the first attempts to contextualize the composer and his work from a historical standpoint; the second proposes to discuss structural and stylistic aspects of the opera; the third offers a newly revised edition of the work as subsidy for its performance; the fourth discusses pragmatic aspects regarding preparation of the work based on contents developed in the preceding chapters as well as historical overview about the preparation of an opera. Finally an addenda presents the restored libretto with a translation into the Portuguese language as well as an edited version of the full orchestral score. / Doutorado / Praticas Interpretativas / Doutor em Música
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Neutrino velocity measurement with the OPERA experiment in the CNGS beam / Mesure de la vitesse des neutrinos avec l'expérience OPERA sur le faisceau CNGSBrunetti, Giulia 20 May 2011 (has links)
Les travaux de recherche présentés dans cette thèse étudient la vitesse des neutrinos mesurée par l’expérience OPERA sur le faisceau CNGS au CERN. Divers modèles théoriques de gravité quantique et d’extra-dimensions prévoient des effets importants sur la violation de la conservation de Lorentz qui serait observable par la mesure de la vitesse des neutrinos. L’expérience MINOS a publié en 2007 une mesure de la vitesse des neutrinos muoniques sur une distance de 730 km avec un écart par rapport à celui de la lumière de 126 ns avec une erreur statistique de 32 ns et une erreur systématique de 64 ns. L’expérience OPERA détecte également des neutrinos muoniques ayant parcourut 730 km avec une sensibilité significativement meilleure que MINOS grâce à une statistique plus élevée due à l’énergie plus élevée du faisceau et à le système de synchronisation entre OPERA et le faisceau CNGS beaucoup plus sophistiquée et modifié dans le but de réduire l’erreur systématique. Ce système est composé par des horloges au césium et de récepteurs GPS spéciaux fonctionnant en common view mode. Le tout permet un time transfer entre les deux sites précis à l’ordre de 1 ns. Un système d’échantillonnage à 1 GHz (fast waveform digitizer) capable de reconstruire la distribution temporelle des protons envoyés sur la cible du CNGS a été intégré au système existant de mesure du faisceau CNGS. Le résultat consiste en la mesure de la vitesse des neutrinos produits artificiellement avec la précision la plus élevée jamais atteinte: le temps de vol des neutrinos a été déterminé avec une incertitude statistique d’environ 10 ns et une incertitude systématique plus petite de 20 ns. / The thesis concerns the measurement of the neutrino velocity with the OPERA experiment in the CNGS beam. There are different theoretical models that allow for Lorentz violating effects which can be investigated with measurements on terrestrial neutrino beams. The MINOS experiment published in 2007 a measure on the muon neutrinos over a distance of 730 km finding a deviation with respect to the expected time of flight of 126 ns with a statistical error of 32 ns and a systematic error of 64 ns. The OPERA experiment observes as well muon neutrinos 730 km away from the source, with a sensitivity significantly better than MINOS thanks to the higher number of interactions in the detector due to the higher energy beam and the much more sophisticated timing system explicitly upgraded in view of the neutrino velocity measurement. This system is composed by atomic cesium clocks and GPS receivers operating in “common view mode”. Thanks to this system a time-transfer between the two sites with a precision at the level of 1 ns is possible. Moreover, a Fast Waveform Digitizer was installed along the proton beam line at CERN in order to measure the internal time structure of the proton pulses that are sent to the CNGS target. The result on the neutrino velocity is the most precise measurement so far with terrestrial neutrino beams: the neutrino time of flight was determined with a statistical uncertainty of about 10 ns and a systematic uncertainty smaller than 20 ns.
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K otázce dramaturgie Kittlovy opery Bianca und Giuseppe oder Die Franzosen vor Nizza / On a Question of the Dramaturgy of Kittl's Opera Bianca und Gisuppe oder Die Franzosen vor NizzaŠochman, Martin January 2016 (has links)
The Czech opera production of the so called "Pre-Smetanian" era represents a topic quite neglected by music historians. It is therefore the goal of this master's thesis to repay this debt by showing Kittl's opera, Bianca und Giuseppe oder Die Franzosen vor Nizza, (the libretto, written by Richard Wagner, based on the novel, Die hohe Braut, by Heinrich König) as a work of art which illustrates the high quality of the Prague opera scene in the mid-1800s. The core of this thesis consists of a dramaturgical analysis of the final form of the mentioned opera. This analysis advances in three steps. 1. The main idea of König's novel and its aesthetic are presented in the light of his life. 2. The following chapter concerns Wagner's libretto. Apart from showing the differences between the novel- and opera aesthetics, the emphasis is on the dramaturgical means which Wagner employs: various usage of the couleur locale, ensemble of the pezzo concertato type, working with specific time structures in the opera or allegorical usage of the so called - as Frenchmen say - spectacle d'optique. 3. The next chapter strives to assess the extent to which Kittl succeeded in expressing Wagner's intentions or, in another words, the extent to which Wagners's "poetic intention" (dichterische Absicht) came true in Kittls's music....
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Konstrukce postav seriálu Velmi křehké vztahy na základě jejich majetkových poměrů a společenské třídy / Czech serial "Velmi křehké vztahy" characters with regard to their property estate and social classSvobodová, Zuzana January 2011 (has links)
The thesis titled "Czech serial Velmi křehké vztahy characters with regard to their property estate and social class" is linked to specialised publications which originated in the Faculty of Social Sciences of the Charles University in Prague mapping how the 'after the velvet revolution' series made by the Czech TV portray the topic of wealth and affluence. The theory part consist of findings from two socio-scientific fields, i.e. sociology and media studies, the outcomes of which will consequently meet in the research part of this thesis. The subject matter of the research part of this thesis is the episodes of the third season of the Velmi křehké vztahy soap opera which was broadcast by the Prima Czech TV channel between 2008 and 2009. This research sample was achieved by using a qualitative research technique, specifically the grounded theory method. The thesis focuses predominantly on how a class hierarchy and wealth determine their character. The attention is also paid to listing various social classes which appear in the series, and to the outline of the areas of a social life in which the social mobility is possible. The research part of the thesis also focuses on which professions are represented mostly in the series and how characters are portrayed when working. There is also a part dedicated to...
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Wagnerův Bayreuth po 2. světové válce - překonání nebo pokračování nacionálněsocialistického projektu? (Rekapitulace debaty 1945-1980) / Wagner's Bayreuth after World War II - overcoming or continuation of a National Socialist project? (Recapitulation of a discussion 1945 - 1980)Valterová, Denisa January 2017 (has links)
This thesis follows on the Bachelor's thesis dedicated to those aspects of origins and functioning of Wagner's festival in Bayreuth, which are seen as links to the ideological ambiance of the Third Reich most often. This thesis examines the development of the same issue in the period after the end of World War II. The objective of this thesis is to survey the post-war development of the Bayreuth festival, personal contacts between the heirs of Wagner's legacy with representatives of the Third Reich or the sincerity of "denazification" of Bayreuth in the 50s. The thesis summarizes Wagner reflection from 1945 until the end of era of Winifred Wagner in 1980.
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Lully's Psyché (1671) and Locke's Psyche (1675) : contrasting national approaches to musical tragedy in the seventeenth centuryWiese, Helen Lloy January 1991 (has links)
The English semi-opera, Psyche (1675), written by
Thomas Shadwell, with music by Matthew Locke, was thought at
the time of its performance to be a mere copy of Psyche
(1671), a French tragedie-ballet by Moliere, Pierre
Corneille, and Philippe Quinault, with music by Jean-
Baptiste Lully. This view, accompanied by a certain
attitude that the French version was far superior to the
English, continued well into the twentieth century.
This view is misleading; although the English play was
adapted from the French, both were representative of two
well-developed native theatrical traditions. Therefore,
though there are certain parallels, both in plot and in the
subject matter of some musical numbers, the differences in
structure, both of the drama and of the music, are more
significant.
This thesis is a comparative study of the two plays,
analyzing both their dramatic and musical structures, and
examining them both from the context of the two theatrical
traditions. It is concluded that the literary approach to
tragedy of French theater resulted in the separation of
drama and music, the latter relegated to the prologue, or to
end-of-act diversions called intercedes. This allowed Lully
to have great control over his music, and in Psyche (1671),
he was concerned with the form of each intermede as a whole
instead of striving for a variety of forms and ensembles
within individual songs. Most of his songs and dances are
solo airs in binary form; he makes little use of chorus and
ensembles. On the contrary, the music in Psyche (1675) on
many occasions was integrated with the plot, and was
scattered randomly throughout the play. This prevented
Locke from having artistic control over his compositions;
Shadwell, the lyricist, determined where the music would
occur, the ensembles to be used, and the moods of songs.
Shadwell and Locke were concerned with the variety in each
individual piece, rather than with unifying the overall form
of musical scenes, and the overwhelming majority of songs
have a combination of solo voice, ensembles, and chorus.
Therefore, Psyche is not an unoriginal copy, but is a
reinterpretation of the myth using the aesthetic of the
Restoration tragic theater. / Arts, Faculty of / Music, School of / Graduate
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Arte em tempos de "chirinola" : a proposta de renovação teatral de Coelho Netto (1897-1898) / Art in times of "entrapment" : Coelho Netto's proposal of theater renewalCarvalho, Danielle Crepaldi, 1982- 08 November 2009 (has links)
Orientador: Orna Messer Levin / Acompanha 1 CD-ROM / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-14T12:21:36Z (GMT). No. of bitstreams: 1
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Previous issue date: 2009 / Resumo: Neste trabalho, analiso a produção teatral com que o literato Henrique Maximiniano Coelho Netto (1864-1934) - autor importante na virada do século XIX para o XX - inaugurou sua intervenção nos palcos cariocas, em especial o "poema dramático" Pelo Amor! (1897), o "episódio lírico" Ártemis e a "balada em prosa rítmica" Hóstia (1898). Através de tais obras, o literato almejava combater a crise que, segundo seu julgamento, o teatro enfrentava. Sua crítica era dirigida tanto às peças teatrais representadas nas casas de espetáculos comerciais do Rio de Janeiro quanto aos artistas que nelas atuavam. O repertório das companhias que estavam em cartaz na capital era composto, em sua maioria, pelos melodramas lacrimosos e especialmente pelas comédias musicadas - estas recebiam a contribuição dos gêneros musicais populares (a exemplo do lundu e do maxixe). As comédias musicadas exploravam as situações cômicas, algumas vezes fantasiosas, por meio de diálogos construídos, muitas vezes, sobre o duplo sentido das palavras. Além da ausência de qualidades artísticas, Netto considerava essas comédias musicadas licenciosas, já que invariavelmente assumiam uma conotação sexual, devido aos ditos ambíguos que utilizavam e às danças sensuais. Sendo assim, o literato propunha-se a conduzir uma regeneração nos palcos, apoiando-se, para isso, na tradição literária ocidental, da qual retirou os assuntos para a escrita desses dramas. E por acreditar que o elenco profissional não tinha condições intelectuais para levar à cena peças literárias, estimulou que fossem encenadas por um elenco amador composto pela elite econômica do Rio de Janeiro. Pelo Amor! trata da desolação de uma condessa escocesa frente à perda do esposo e o amor que nutre por ele, o qual engendrará o desfecho trágico de ambos. A atmosfera lúgubre que perdura no drama se reflete na música criada por Leopoldo Miguez, que, tendo sofrido visível influência do músico alemão Richard Wagner, criou temas musicais para as personagens principais e esboçou uma interação entre elas no plano musical. A iniciativa conquistou adeptos mas também recebeu críticas. O mesmo deu-se, no ano seguinte, quando da encenação de Ártemis (música de Alberto Nepomuceno) e Hóstia (música de Delgado de Carvalho), no ano seguinte. Na verdade, muitas foram as críticas, ora às peças, ora à relação entre o texto e a música, reação que, em grande medida, tangia o aspecto político. Ora, a imposição de um novo modelo artístico intentava gerar a reordenação do cenário artístico carioca e a exclusão de obras consagradas pelo público e também parte da crítica, como as óperas italianas, as comédias musicadas e os melodramas. Proponho-me, na presente dissertação, a analisar as três peças de Coelho Netto à luz da produção teatral e crítica da época e sobre a época, e daquilo que os literatos do Rio de Janeiro publicaram a respeito da movimentação cultural da cidade. Ocasionalmente, tal trabalho também irá se estender à partitura das obras, para que a relação entre texto e música seja melhor compreendida. / Abstract: In this work, I analyze the theater plays with which Henrique Maximiniano Coelho Netto (1864- 1934) - important Brazilian writer in the turn of the nineteenth century to the twentieth - started his interference in the stage of Rio de Janeiro, specially the "dramatic poem" Pelo Amor! (1897), the "lyric episode" Ártemis and the "ballad in rhythmic prose" Hóstia (1898). Through these plays, the writer claimed to defeat the crisis he believed the theatre was facing. His criticism aimed the plays presented in the commercial theaters of Rio de Janeiro and the actors and actresses that played them. Thecompanies' repertoire was restricted to almost only teary melodramas and specially musical comedies - the comedies had the contribution of popular music (for example, lundu and maxixe) and presented usually funny and sometimes fantastic situations, with dialogues that eventually leaned upon double senses. Beyond the lack of artistic qualities, Netto considered the musical comedies vicious, because of the sexual insinuation they implied through dialogues and music. Therefore, the writer intended to conduct a regeneration of the stage, using for that the occidental literary tradition, from where the subjects of these plays were chosen. And because he believed the professional artists lacked intellectual conditions to present literary plays, he gave his work to be put on stage by amateur groups that had the economic elite as members. Pelo Amor! presents the desolation of a Scottish countess because of the loss of her husband and the love that she devotes to his, which is responsible for the tragic ending of both. The grim atmosphere that remains in the drama reflects in the music created by Leopoldo Miguez, that had suffered visible influence of the German musician Richard Wagner, for Miguez creates musical themes for the leading characters and paints an interaction between them in the musical field. But the idea didn't have only adepts. The same happened with Ártemis (music by Alberto Nepomuceno) and Hóstia (music by Delgado de Carvalho), in the following year. In fact, many were the detractors of the texts and music of these plays, reaction that is largely related to political aspects, once the imposition of a new artistic model intended to cause the reorganization of Rio's artistic scenery and the exclusion of work of arts that were successful among the public and also part of the critic, like the Italian opera, the musical comedies and the melodramas. I intend to analyze these plays taking in consideration the theatrical and critical production of that time and of nowadays and what Rio's writers published related to the cultural activities of the capital. This work will also occasionally refer to the printed lyrics of the plays in order to understand the relation between text and music. / Mestrado / Literatura e Outras Produções Culturais / Mestre em Teoria e História Literária
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