Cambridge Opera Journal最新文献_第7页

OPR volume 32 issue 2-3 Cover and Front matter OPR第32卷第2-3期封面和封面问题

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2020-07-01 DOI: 10.1017/s0954586721000070

引用次数: 0

‘Opera and …’: The Pleasures and Perils of Amalgamation “歌剧与…”：融合的快乐与危险

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2020-07-01 DOI: 10.1017/S095458672100001X

R. Parker

引用次数: 0

The Invention of an Opera House: The 1844 Teatro Victoria in Valparaiso, Chile 歌剧院的发明：1844年智利瓦尔帕莱索的维多利亚剧院

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2020-07-01 DOI: 10.1017/S0954586721000021

José Manuel Izquierdo König

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引用次数: 1

OPR volume 32 issue 2-3 Cover and Back matter OPR第32卷第2-3期封面和封底

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2020-07-01 DOI: 10.1017/s0954586721000082

引用次数: 0

‘Ein sonderbar’ Ding’: Music, the Historical and the Problem of Temporal Representation in Der Rosenkavalier “丁”：音乐、历史与德罗森卡瓦利埃的时间表征问题

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2020-07-01 DOI: 10.1017/S0954586721000045

Benedict Taylor

{"title":"‘Ein sonderbar’ Ding’: Music, the Historical and the Problem of Temporal Representation in Der Rosenkavalier","authors":"Benedict Taylor","doi":"10.1017/S0954586721000045","DOIUrl":"https://doi.org/10.1017/S0954586721000045","url":null,"abstract":"Abstract Der Rosenkavalier is an opera that foregrounds time: the problem of time, as transience, passing and ultimately death for the aging Marschallin, and a potentially more redemptive quality, the category of the Augenblick associated with the young lovers Octavian and Sophie, in which the temporal intersects with the eternal. It is also a work that has traditionally marked the turning point in Strauss's relation to historical time and the idea of musical progress, as the composer supposedly retreated from the modernity of Salome and Elektra to a more conservative idiom. The temporal qualities manifested in Der Rosenkavalier invite comparison with another work from this period that similarly foregrounds the concept of time, Thomas Mann's Der Zauberberg. In this self-styled ‘novel of time’, Mann raises a number of problems concerning the human limitations on perceiving time and its artistic representation, especially with regard to music. Disputing the contention of the narrator of Mann's novel that music cannot ‘narrate time’, I show that Strauss's music in fact exemplifies music's capacity to express ‘the historical in time’, using Der Rosenkavalier as a case study for addressing the philosophical problem of temporal representation in art. I argue that Der Rosenkavalier – both Hofmannsthal's text and Strauss's music – is in several significant ways ‘an opera about time’ – the temporal and the eternal, the historical and what I call the ‘metahistorical’.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"32 1","pages":"187 - 225"},"PeriodicalIF":0.3,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49402381","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

Offenbach, Pépito and the Théâtre des Variétés: Politics and Genre in the First Year of the Second Empire 《奥芬巴赫，帕姆皮托和萨姆斯·萨姆斯·瓦瑞斯·萨姆斯:第二帝国元年的政治与体裁》

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2020-07-01 DOI: 10.1017/S0954586721000033

Richard Sherr

{"title":"Offenbach, Pépito and the Théâtre des Variétés: Politics and Genre in the First Year of the Second Empire","authors":"Richard Sherr","doi":"10.1017/S0954586721000033","DOIUrl":"https://doi.org/10.1017/S0954586721000033","url":null,"abstract":"Abstract Offenbach's first commercially performed dramatic work, the opéra comique Pépito, premiered in Paris at the Théâtre des Variétés on 28 October 1853. This article examines it from historical and musical perspectives. First, I argue that its production at the Théâtre des Variétés is an example of what Mark Everist has called ‘the politics of genre’, in this case the attempts by managers of Parisian boulevard theatres to circumvent the hierarchical system of genre imposed on them by the government. Offenbach may have been directly complicit by offering an opéra comique to a theatre that was legally not allowed to perform the genre and by supplying a musical element – ‘local colour’ – as part of the political strategy by which the manager of the Variétés sneaked the opéra comique past the authorities. The subterfuge did not work, however: I argue that Pépito was recognised by audiences as an opéra comique primarily through the character of its music. A discussion of the score, and the musical competence of the original cast and orchestra of the Variétés, allows a partial reconstruction of the actual sound of the first performance of Pépito. Finally, I consider the later history of Pépito, and in a postscript suggest that a faint memory of Offenbach's Spanish opéra comique may have resurfaced twenty-two years later when Georges Bizet, who became part of Offenbach's circle in the late 1850s, was composing his own Spanish opéra comique, Carmen.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"32 1","pages":"154 - 186"},"PeriodicalIF":0.3,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0954586721000033","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48279830","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

Heaven, Hell or Somewhere in Between: Sergei Prokofiev's The Fiery Angel and the Search for Spiritual Truth 天堂，地狱或介于两者之间:谢尔盖·普罗科菲耶夫的《炽热的天使》和对精神真理的探索

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2020-07-01 DOI: 10.1017/S0954586721000069

M. Frainier

引用次数: 0

Orpheus's Civilising Song, or, the Politics of Voice in Late Enlightenment Italy 俄耳甫斯的文明之歌——启蒙运动后期意大利的声音政治

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2020-04-30 DOI: 10.1017/s0954586719000168

Jessica Gabriel Peritz

引用次数: 2

Costumes and Cosmopolitanism: Italian Opera in the North 服装与世界主义:北方的意大利歌剧