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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

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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

The purpose of the present edition of Albert Lortzing's Die Opernprobe is to restore and clarify the composer's original intentions, which were often obscured or altered by the first published version, which appeared in 1899. This thesis is divided into two parts. Part One contains an introduction which discusses Lortzing's place in the history of German opera, the details surrounding the composition of Die Opernprobe, the musical and dramatic structure of the opera, and the sources used in the preparation of this edition. Part Two consists of a critical edition of the orchestral score, with the complete text of the spoken dialogue and stage directions. Critical notes and an English translation of the full text are included in two appendixes.

The focus of this study will be the impact of Neue Sachlichkeit on Zeitoper, specifically its influence upon Hindemith's operatic output. The purpose of this paper is not to.subject these works to detailed musical analysis, but rather to place Hindemith's Zeitopern in historical perspective, examining how they were influenced by and mirrored the aesthetic atmosphere of the Weimar Republic.