This dissertation is a study of the use of guitar in opera. Ten operas were chosen from the early nineteenth century to the middle of the twentieth century as a representative cross section of operas that use the guitar. The operas studied are: The Barber of Seville by Gioachino Rossini, Oberon by Carl Maria von Weber, Don Pasquale by Gaetano Donizetti, Beatrice and Benedict by Hector Berlioz, Otello and Falstaff by Giuseppe Verdi, La vida breve by Manuel de Falla, The Nightingale by Igor Stravinsky, Wozzeck by Alban Berg, and Paul Bunyan by Benjamin Britten. The study examines the technical aspects of each guitar part and how the guitar relates to the libretto and to the other instruments of the orchestra.The study finds that, with some exceptions, the guitar parts are idiomatic and not difficult to execute. There is some need on the part of the guitarist to edit the parts for technical and historical reasons and editorial suggestions are made by the author. The guitar is often related to the libretto and often appears onstage, yet it is almost always used as a prop and the performing guitarist is placed offstage or in the orchestra pit. There are significant problems found concerning the guitar's lack of volume. Composers tend to limit the number of instruments in use with the guitar. They do not, however, tend to give the guitar louder dynamics when other instruments are used at the same time. The guitar is generally used in outdoor scenes, to evoke a folk idiom, or when specifically referred to in the libretto. The use of the guitar is found to be mostly limited to simple accompaniments which do not utilize the full resources of the instrument. / School of Music

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Von einer Oper in Oberschlesien kann man schon seit Mitte des 19. Jahrhunderts sprechen. Ab und zu kam es im Hoftheater zur Aufführung von Singspielen und Opern. Die Gründung einer ständigen Opernbühne fand erst in einer späteren Periode statt. Sie ist mit dem Bau eines modernen Theaters in Beuthen im Jahre 1901 verbunden. Wir wollen die wichtigsten Einzelheiten der Tätigkeit des Beuthener Theaters bis zum Jahre 1944 in Erinnerung bringen.

Nach dem Kriegsende wurde die zerstörte Stadt Breslau im Laufe der Jahre mit großem Elan wieder aufgebaut. Das schwer beschädigte Stadttheater - als einzige benutzbare Spielstätte - diente dem Opernensemble, Sinfoniekonzerten sowie dem Sprechtheater. Im Juni 1945 bildete sich ein Orchester, das dem Opernensemble zur Verfügung stand und zwei Orchesterkonzerte monatlich gab.

As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.' This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices. These giovane scuola composers include Alfredo Catalani (1854 –1893), Umberto Giordano (1867 –1948), Pietro Mascagni (1863 –1945), Giacomo Puccini (1858 –1924), and Riccardo Zandonai (1883 –1944). Descriptions of the soprano voices that premiered these roles are included in this document to determine the suitability of the lirico-spinto soprano voice for each role.