Cambridge Opera Journal最新文献_第5页

‘In my end is my beginning’: Peter Grimes and Death in Venice “在我的尽头是我的开始”：彼得·格里姆斯与威尼斯之死

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2022-03-01 DOI: 10.1017/S0954586722000064

Sterling Lambert

{"title":"‘In my end is my beginning’: Peter Grimes and Death in Venice","authors":"Sterling Lambert","doi":"10.1017/S0954586722000064","DOIUrl":"https://doi.org/10.1017/S0954586722000064","url":null,"abstract":"Abstract Benjamin Britten, gravely ill at the time of its composition, was surely aware that Death in Venice would be his last opera, and it is not surprising that the work should make reference to his first opera, Peter Grimes, as if to bookend his entire operatic career, and survey the enormous distance he had travelled, as a hallmark of what might be considered the composer's late style. Even so, the dramatic and musical relationships between the two works are unusually extensive. Both operas concern an outsider at odds with the society around him, in a strange reflection of the composer's particular situation as he wrote each work. Each is set in a place particularly special to the composer, where land borders sea in a metaphor for the boundary between life and death. Finally, the protagonist's interactions with a mysterious silent boy in each case hints at a part of Britten's character that dared not speak its name. These dramatic correspondences are paralleled in important musical connections between the operas, despite their ostensibly very different musical languages. Britten's final opera could therefore be understood to exemplify the famous words borrowed by T.S. Eliot from Mary, Queen of Scots: ‘In my end is my beginning’, an appropriate concept given the degree to which Britten was occupied with Eliot's verse at this time.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"34 1","pages":"97 - 123"},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44997601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

An ‘Execution’ at the Hofoper: Czech Perspectives on the Viennese Premiere of Dvořák's The Cunning Peasant 霍夫歌剧院的“处决”：捷克人对德沃夏克《狡猾的农民》维也纳首演的看法

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2022-03-01 DOI: 10.1017/S095458672200012X

E. Branda

{"title":"An ‘Execution’ at the Hofoper: Czech Perspectives on the Viennese Premiere of Dvořák's The Cunning Peasant","authors":"E. Branda","doi":"10.1017/S095458672200012X","DOIUrl":"https://doi.org/10.1017/S095458672200012X","url":null,"abstract":"Abstract On the score of his St Ludmila oratorio, Dvořák scribbled: ‘completed in the days when The Cunning Peasant was executed in Vienna’. Indeed, Dvořák's comic opera sparked a riot at its Hofoper premiere in 1885 and was met with harsh criticism in the Viennese press. David Brodbeck argues that the rioters were motivated to action not by The Cunning Peasant itself, but by the composer's nationality. Likewise, Brodbeck shows that the opera's harshest Viennese critics belonged to a new generation of German liberals, who subscribed to an increasingly ethnic, rather than civic, view of nationalism and were thus predisposed to disapprove of any Dvořák opera because it was not German. Based on this analysis, it would appear that Dvořák's fate was sealed long before the first notes of The Cunning Peasant were sounded at the Vienna Hofoper. This article builds on Brodbeck's claims, by exploring the Viennese scandal from the perspective of Czech critics, many of whom remained unconvinced that all Czech operas – whether by Dvořák or by another composer – would have been greeted with the same kind of disdain. In their view, The Cunning Peasant failed because it was too overtly Czech for Vienna, having been designed for Prague's Provisional Theatre, and because it was insufficiently representative of Czech achievement in the genre, paling in comparison with the operas of Smetana. Rather than offering a more plausible explanation for the riot, the opinions articulated in the Prague press reveal much about the biases and motivations of the Czech critics themselves.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"34 1","pages":"67 - 96"},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45786157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The Importance of Being Serious 认真的重要性

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2022-03-01 DOI: 10.1017/S0954586722000180

Marco Ladd

{"title":"The Importance of Being Serious","authors":"Marco Ladd","doi":"10.1017/S0954586722000180","DOIUrl":"https://doi.org/10.1017/S0954586722000180","url":null,"abstract":"What exactly is operetta? As a genre it seems defined by its lack of definition, by its inherent in-betweenness. On an aesthetic scale defined by opera at one end and music hall, revue and burlesque at the other, it lies somewhere in the middle. But where? True, it is difficult to disentangle operetta from the various kinds of variety theatre; it shares their fondness for a chorus line and a catchy refrain. On the other hand, the name operetta suggests a love–hate relationship with opera, its high-brow relative. ‘Little opera’ is generally shorter than opera (though what about concise classics of ‘big opera’ such as La bohème?), funnier than opera (though what about comic touchstones such as Il barbiere di Siviglia?) and less serious than opera (though the satirical bent of some operettas can be taken seriously). Perhaps, then, the difference is that it takes itself less seriously, with fewer pretensions to grandeur and more concessions to popular taste. Capitalising unashamedly on its popularity through promotional tie-ins, flaunting musical numbers poised to become well-known hits on the bandstand or on the mechanical piano, and almost invariably giving spectators the happy ending they desire: operetta is selling out, in all senses of the phrase.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"34 1","pages":"124 - 134"},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48881366","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Censoring the Muses: Opera and Creative Control in Nicholas's Russia (1825–1855) 审查缪斯:尼古拉俄国的歌剧与创作控制(1825-1855)

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2022-02-23 DOI: 10.1017/S0954586721000112

Daniil Zavlunov

引用次数: 0

OPR volume 33 issue 3 Cover and Front matter OPR第33卷第3期封面和封面

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2021-11-01 DOI: 10.1017/s0954586722000155

引用次数: 0

Allusion in the Composition of Contemporary Opera 当代歌剧创作中的典故

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2021-11-01 DOI: 10.1017/S0954586721000136

W. A. Sheppard

{"title":"Allusion in the Composition of Contemporary Opera","authors":"W. A. Sheppard","doi":"10.1017/S0954586721000136","DOIUrl":"https://doi.org/10.1017/S0954586721000136","url":null,"abstract":"Abstract In memoriam Contemporary opera exhibits a wide range of motivations for and approaches to making musical allusions to the past, more so than in any other period in the genre's history. I find, contrary to common definitions of musical postmodernism, that allusions are typically meaningful and symbolic in recent postmodern operas. I briefly consider musical collage in operas that represent a proverbial ‘postmodern’ approach to the past, with operas by Cage and Corigliano serving as extreme cases. The core sections of the article are devoted to three of the most prominent contemporary composers whose operas illustrate the range of forms and motives musical allusion has taken over the past few decades: John Adams's Nixon in China (1987), Louis Andriessen's ‘film opera’ La Commedia (2008) and The Exterminating Angel (2016) by Thomas Adès. By detailing musical allusion in these works, I offer evidence in support of a revisionary understanding of these operas and the aesthetic stances of these composers, who each engaged extensively in musical allusion to varying degrees. I conclude with rather unexpected examples of operatic allusion by composers (Glass, Nova, Mazzoli) who typically do not reference the past in their works. For numerous recent composers, opera appears to function as a particularly powerful magnetic attraction to the past, pulling into its orbit the most unlikely figures and warping their proclaimed aesthetic profiles. For opera audiences, allusion is experienced differentially and shapes popular perceptions of the genre as a whole.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"33 1","pages":"212 - 272"},"PeriodicalIF":0.3,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44970686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Opera History, the Travel Edition 歌剧历史，旅游版

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2021-11-01 DOI: 10.1017/S0954586721000094

Jonathan Hicks

引用次数: 0

Displaying the Magician's Art: Theatrical Illusion in Ingmar Bergman's The Magic Flute (1975) 展示魔术师的艺术：英格玛·伯格曼《魔笛》（1975）中的戏剧幻想

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2021-11-01 DOI: 10.1017/S0954586722000052

Estela Ibáñez-García

引用次数: 0

OPR volume 33 issue 3 Cover and Back matter OPR第33卷第3期封面和封底

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2021-11-01 DOI: 10.1017/s0954586722000167

引用次数: 0

The Woman with No Escape: Operatic Retellings of the Zhu Maichen Story 无处可逃的女人：朱买臣故事的歌剧重述

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2021-03-01 DOI: 10.1017/S0954586722000088

Chao Guo, Josh Stenberg

{"title":"The Woman with No Escape: Operatic Retellings of the Zhu Maichen Story","authors":"Chao Guo, Josh Stenberg","doi":"10.1017/S0954586722000088","DOIUrl":"https://doi.org/10.1017/S0954586722000088","url":null,"abstract":"Abstract The Zhu Maichen story originates as a case of ‘female-initiated divorce' in an ancient Chinese biography, before later becoming a familiar late imperial narrative. In the last hundred years, it has featured as a prominent part of the narrative heritage available for operatic reworking. The absence of a canonical authorial version gives more space for playwrights and performers to incorporate their current perspectives of gender and sexuality into various renditions. We have seen a continuance of older patterns where the wife is demonised for her desire to divorce, as well as productions tending to reconsider the travails of the wife. The Hokkien-language genre liyuanxi draws on local narrative versions to arrive at a happy ending, enabling Zhu to remarry his wife, while a new jingju (Beijing opera) version at the turn of century even enables the disillusioned wife to liberate herself from the hypocritic Confucian family. Yet in liyuanxi the wife is taken back, having retained chastity during their parting, while in jingju the wife's materialistic motivations led to criticism in the press. The female-initiated divorce thus provides no escape for Zhu Maichen's wife, who is condemned even when tragedy is averted or the narrative’s patriarchal morality subverted.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"33 1","pages":"71 - 88"},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46980005","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0