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The German opera libretto since 1945Bansbach, Karen Renée, January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1975. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 278-300).
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The singers in the golden age of opera, 1880-1935Sirkus, Linda, January 1969 (has links)
Thesis (M.M.)--University of Wisconsin--Madison, 1969. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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The development of Russian national operaStreim, Francis John. January 1946 (has links)
Thesis (M.A.)--University of Wisconsin--Madison, 1946. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [101]-102).
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A classic style in French opera (1750-1825)Fox, Leland Stanford, January 1962 (has links)
Thesis--Florida State University. / Includes bibliographical references (leaves 268-274).
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Transforming opera ... from high art to people's art ...De Jager, Salomon van Niekerk 30 June 2010 (has links)
MA Faculty of Humanities, Univerasity of the Witwatersrand, 2009. / The aim of this research report will be to determine:
The repositioning of opera as a genre in the Free State to ensure its survival;
Intended and / or unintended consequences of The White Paper on Arts, Culture and
Heritage, 4 June 1996, that sanctioned the survival of opera in the Free State.
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She Had No Peer: A Chamber OperaWhiteman, Lauren A. (Lauren Ann) 08 1900 (has links)
The work is a chamber opera in five movements. The vocal forces include soprano, mezzo-soprano and baritone solos and a small mixed chorus. The instrumental forces include flute, oboe, alto and tenor saxophone, bassoon, cello and percussion. The opera is a character study of Eve and the Virgin Mary that compares and contrasts their evolving emotions. Recurring motives and texts are used to help the characters portray their emotions . The English texts were chosen from poetry ranging primarily from the 16th to the 20th century.
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Opera reviews as theatrical criticism /Herrig, Robert Arthur January 1985 (has links)
No description available.
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Captain: a chamber operaPayne-Passmore, Susanna 06 September 2018 (has links)
This opera, for soprano, contralto, baritone, treble voice, and chamber orchestra, sets an original story, a meditation on gender and the effects of restrictive gender norms in a society. The narrative follows a young sailor who wishes nothing more than to work on the sea forever, but is derailed from that destiny by her forced betrothal to a captain. She escapes this fate through the discovery of a latent power, sailing away from her home into an uncertain future of her own making.
The work is approximately one hour in duration.
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Chicago Opera Theater Standard bearer for American opera, 1976--2001 (Illinois).Ratner, Carl Joseph. Unknown Date (has links)
Thesis (D.M.)--Northwestern University, 2005. / Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1556. Adviser: Judith L. Schwartz.
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Music for a Risorgimento myth : Joan of Arc 1789-1849 /Rizzuti, Alberto. January 2001 (has links)
Thesis (Ph. D.)--University of Chicago, Department of Music, August 2001. / Includes bibliographical references. Also available on the Internet.
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