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The Reproduction of Caruso 《卡鲁索的再现
IF 0.3 2区 艺术学
Cambridge Opera Journal Pub Date : 2021-03-01 DOI: 10.1017/S0954586722000015
Gavin Williams
{"title":"The Reproduction of Caruso","authors":"Gavin Williams","doi":"10.1017/S0954586722000015","DOIUrl":"https://doi.org/10.1017/S0954586722000015","url":null,"abstract":"Abstract Few figures loom larger in the early history of recorded sound than Enrico Caruso. Man and voice are ubiquitous in the making of gramophone markets, and conspicuous, too, as means of scholarly explanation by which a sound medium was born. In sound studies, Caruso has become a cipher for ‘audile technique’ (Jonathan Sterne's coinage), the bodily practices by which listeners came to engage musical media as something for their ears alone. This article inquires after what made Caruso a reproducible person. It portrays him as a singer celebrity deeply involved in his own reproduction through the media of caricature, sculpture, film and opera house. Through analysis of Caruso's productions for New York's Italian diaspora and farther afield, it argues that an ensemble of media meant he was reproduced beyond familiar, cosmopolitan circuits of operatic celebrity. Finally, it shows how politics of celebrity reproduction were transformed following Caruso's death, through the writing of history, into new imaginations and techniques for listening.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"33 1","pages":"161 - 179"},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44711811","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
(Trans)National Fairy Tale and Romantic Childhood: Humperdinck's Hänsel und Gretel through its Parisian Reception （Trans）国家童话与浪漫童年：Humperdink的《Hänsel und Gretel》在巴黎的招待会
IF 0.3 2区 艺术学
Cambridge Opera Journal Pub Date : 2021-03-01 DOI: 10.1017/S0954586722000039
T. Coombes
{"title":"(Trans)National Fairy Tale and Romantic Childhood: Humperdinck's Hänsel und Gretel through its Parisian Reception","authors":"T. Coombes","doi":"10.1017/S0954586722000039","DOIUrl":"https://doi.org/10.1017/S0954586722000039","url":null,"abstract":"Abstract Around 1900, Engelbert Humperdinck and Adelheid Wette's Hänsel und Gretel was one of the most widely performed operas in Europe. The critical discourse prompted by its Paris premiere provides an opportunity for exploring the political dynamics of nineteenth-century fairy tales and for elucidating the piece's considerable historical significance. Although Humperdinck's opera was a prime vehicle for perpetuating Franco-German cultural competition, a prominent strand of its Parisian reception emphasised transnational commonalities linking French and German cultural heritage – an emphasis facilitated by the fairy tale's nationalist ideologies. According to some Parisian critics, the opera's wildly successful representation of childhood explained its international success. Certainly, Hänsel und Gretel embodied an influential perception of childhood that also animated late nineteenth-century French literary and political spheres. In so doing, the opera also gave musical and dramatic shape to some highly restrictive aspects of the Romantic image of the divinely protected child.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"33 1","pages":"50 - 70"},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45036941","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
OPR volume 33 issue 1-2 Cover and Back matter OPR第33卷第1-2期封面和封底
IF 0.3 2区 艺术学
Cambridge Opera Journal Pub Date : 2021-03-01 DOI: 10.1017/s0954586722000143
{"title":"OPR volume 33 issue 1-2 Cover and Back matter","authors":"","doi":"10.1017/s0954586722000143","DOIUrl":"https://doi.org/10.1017/s0954586722000143","url":null,"abstract":"","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"33 1","pages":"b1 - b2"},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46519504","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
Opera and the Politics of Postdramatic Theatre: Frank Castorf's Bayreuth Ring 歌剧与后戏剧政治：弗兰克·卡斯托夫的《拜罗伊特环》
IF 0.3 2区 艺术学
Cambridge Opera Journal Pub Date : 2021-03-01 DOI: 10.1017/S0954586721000100
Mark Berry
{"title":"Opera and the Politics of Postdramatic Theatre: Frank Castorf's Bayreuth Ring","authors":"Mark Berry","doi":"10.1017/S0954586721000100","DOIUrl":"https://doi.org/10.1017/S0954586721000100","url":null,"abstract":"Abstract This article considers Frank Castorf's Bayreuth Festival production of Wagner's Ring (2013–17) and its relationship to postdramatic theatre, including the latter's fraught relationship to conceptions of the political. Framework and context are provided by Castorf's theatrical practice, both prior to and following German reunification; by Wagner's nineteenth-century revolutionary and post-revolutionary experience, both historical and as dramatised in the Ring; and by Hans-Thies Lehmann's theoretical writing on postdramatic theatre. The production was a story of fascinating collisions: on the one hand, between different, often opposing, conceptions of drama and theatre; on the other, between different, yet in some ways complementary, political experiences. Interpretation proceeds by means of detailed description and analysis of the staging and a broader theoretical discussion. Compelled to reconcile themselves, at least in part, with ideas of musical drama and the work concept, Castorf's postdramatic aesthetics underwent significant challenge. In the wake of this production, ideas of Wagner staging and, more broadly, staging of opera in general have similarly undergone transformation.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"33 1","pages":"24 - 49"},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47372925","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
OPR volume 33 issue 1-2 Cover and Front matter OPR第33卷第1-2期封面和封面
IF 0.3 2区 艺术学
Cambridge Opera Journal Pub Date : 2021-03-01 DOI: 10.1017/s0954586722000131
{"title":"OPR volume 33 issue 1-2 Cover and Front matter","authors":"","doi":"10.1017/s0954586722000131","DOIUrl":"https://doi.org/10.1017/s0954586722000131","url":null,"abstract":"","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":" ","pages":"f1 - f2"},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48875859","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 Opera about the ‘Progress of Music’: Charles Burney, Domenico Corri's The Travellers (1806) and the Macartney Embassy to China 1792–1794 关于“音乐进步”的歌剧：查尔斯·伯尼、多梅尼科·科里的《旅行家》（1806）和马戛尔尼驻华使馆1792-1794
IF 0.3 2区 艺术学
Cambridge Opera Journal Pub Date : 2021-03-01 DOI: 10.1017/S0954586722000040
H. Lee
{"title":"An Opera about the ‘Progress of Music’: Charles Burney, Domenico Corri's The Travellers (1806) and the Macartney Embassy to China 1792–1794","authors":"H. Lee","doi":"10.1017/S0954586722000040","DOIUrl":"https://doi.org/10.1017/S0954586722000040","url":null,"abstract":"Abstract Premiered in London twelve years after the unsuccessful return of the first British embassy to China, led by Lord George Macartney, Domenico Corri's five-act ‘dramatic opera’, The Travellers, or Music's Fascination (1806), is a unique work exhibiting concrete connections to the embassy in its dramatic concept, musical and visual sources. This article explores how the subject of the opera – tracing the ‘progress of music’ from China to Britain – reflected the contemporary discussion about Chinese music, articulated most clearly by Charles Burney, who held a significant interest in the embassy's musical exchange. By incorporating a Chinese melody and ‘realistic’ visual representation connected to the embassy, the opera reconstructs certain ceremonies and musical experience witnessed by the members of the embassy. Interestingly, the opera balances first-hand knowledge of Chinese music and culture with an emerging imperialist view, and dramatises the aim of the embassy to show British advancement in the arts and sciences.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"33 1","pages":"89 - 108"},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44516106","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
A Tale of Two Houses: Opera Houses in Cairo and Cape Town 两座房子的故事:开罗和开普敦的歌剧院
IF 0.3 2区 艺术学
Cambridge Opera Journal Pub Date : 2021-03-01 DOI: 10.1017/s0954586722000027
Donato Somma
{"title":"A Tale of Two Houses: Opera Houses in Cairo and Cape Town","authors":"Donato Somma","doi":"10.1017/s0954586722000027","DOIUrl":"https://doi.org/10.1017/s0954586722000027","url":null,"abstract":"Abstract This article considers the parallel histories of the opera houses in Cairo, Egypt and Cape Town, South Africa. Their respective stories reflect common and divergent experiences of the colonial and postcolonial and the emergent national and nationalist identities at the terminal cities of Africa. Considered separately from the content performed on their stages, the article traces the significance of the buildings as part of their cities. In each city the opera house has been destroyed and rebuilt, under new regimes with new purposes. The discursive value of opera houses is considered more broadly, with evidence presented for the houses as functionaries of the ‘operatic state’ or impresarialist institutions. Who is welcomed in and courted at the opera house is investigated as part of the phenomenon of a nominally public space with conventionalised issues of access.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"33 1","pages":"129 - 160"},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46383250","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 Takarazuka Opera Company? On the Persistent Ties between the Takarazuka Revue and Opera 宝冢剧团?论宝冢剧团与歌剧的持久联系
IF 0.3 2区 艺术学
Cambridge Opera Journal Pub Date : 2021-03-01 DOI: 10.1017/S0954586722000076
Tove Solander
{"title":"The Takarazuka Opera Company? On the Persistent Ties between the Takarazuka Revue and Opera","authors":"Tove Solander","doi":"10.1017/S0954586722000076","DOIUrl":"https://doi.org/10.1017/S0954586722000076","url":null,"abstract":"Abstract Although the Takarazuka Revue is technically a musical company, its founder's ambition was to create a uniquely Japanese form of opera or operetta, merging elements from Western and Japanese forms. Like opera, and unlike musicals in general, trouser roles play a central part in the all-female Takarazuka Revue, and are typically cited as its main appeal. Research from a Japanese-studies perspective tends to discuss the Takarazuka Revue trouser roles, otokoyaku, as a gender-reversal of all-male kabuki, or put them in the context of androgynous or cross-dressing Japanese idols. This article addresses their connection to trouser roles in non-Japanese music theatre, specifically opera. It does so through three lenses: first, the Takarazuka Revue's opera loans and adaptations; second, the shared aesthetic appeal of trouser roles in these two theatre forms; and finally, the singing styles employed in the Takarazuka Revue, including their change over time and relation to classical singing.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"33 1","pages":"109 - 128"},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44621407","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
Opera and the Built Environment 歌剧与建筑环境
IF 0.3 2区 艺术学
Cambridge Opera Journal Pub Date : 2021-03-01 DOI: 10.1017/S0954586721000057
L. Vasilyeva
{"title":"Opera and the Built Environment","authors":"L. Vasilyeva","doi":"10.1017/S0954586721000057","DOIUrl":"https://doi.org/10.1017/S0954586721000057","url":null,"abstract":"In June 2020 one more video was released into the all-accommodating cloud. This one shows a concert addressed to 2,292 plants, one in each seat of a red velvet-lined auditorium at the Teatre del Liceu in Barcelona. These hand-selected plants are the leafy audience at a performance of Puccini's ‘Crisantemi’ string quartet, conducted in honour of healthcare workers amid lockdown measures to slow the spread of COVID-19. Once the usual announcements about silencing cell phones have been made, the camera closes in on four musicians as each bows to the verdant audience and takes a seat. When the music starts, our view advances from behind the musicians into the opera house: the camera scans the initial rows of the orchestra stalls, then moves into the boxes and balconies. In each successive section of the theatre we see the avatars chosen to listen in place of us. Our representatives are docile and beatific – Puccini seems to soothe them. For a moment the wondrous intrusion of the outside world indoors even starts to seem natural, as if the auditorium can hold the whole world within it, as if there is no outside to this windowless world.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"33 1","pages":"180 - 189"},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46711848","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
Mozart's Operatic Embellishments 莫扎特的歌剧装饰
IF 0.3 2区 艺术学
Cambridge Opera Journal Pub Date : 2021-03-01 DOI: 10.1017/S095458672200009X
Dorian Bandy
{"title":"Mozart's Operatic Embellishments","authors":"Dorian Bandy","doi":"10.1017/S095458672200009X","DOIUrl":"https://doi.org/10.1017/S095458672200009X","url":null,"abstract":"Abstract Alongside the model embellishments Mozart composed for various keyboard works, he also wrote embellishments for contemporary arias including ‘Ah, se a morir mi chiama’ from Lucio Silla, the concert aria ‘Non sò d'onde viene’ K.294 and ‘Cara, la dolce fiamma’ from J.C. Bach's Adriano in Siria. Although these have been overlooked in the critical literature, they shed light on many aspects of Mozart's art of melodic decoration. In this article, I begin by examining these notated operatic embellishments: their textual histories, the styles of elaboration they evince, the pacing with which they unfold, and their motivic construction, as well as their relation to broader trends in Mozart's style. I then explore the embellishments Mozart composed into the texts of his other operas, arguing that these served not only a musical but also an aesthetic purpose, furthering elements of characterisation and drama, particularly in Le nozze di Figaro, Don Giovanni, and Così fan tutte. I end with brief remarks on the challenges facing modern-day interpreters who wish to embellish Mozart's operas.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"33 1","pages":"1 - 23"},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42694373","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
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