Cambridge Opera Journal最新文献_第8页

Rethinking Operatic Masculinity: Nicola Tacchinardi's Aria Substitutions and the Heroic Archetype in Early Nineteenth-Century Italy 对歌剧男子气概的再思考——塔奇纳尔迪的咏叹调替代与19世纪初意大利的英雄原型

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2020-03-01 DOI: 10.1017/S0954586720000099

Parkorn Wangpaiboonkit

{"title":"Rethinking Operatic Masculinity: Nicola Tacchinardi's Aria Substitutions and the Heroic Archetype in Early Nineteenth-Century Italy","authors":"Parkorn Wangpaiboonkit","doi":"10.1017/S0954586720000099","DOIUrl":"https://doi.org/10.1017/S0954586720000099","url":null,"abstract":"Abstract This article looks at representations of masculinity in Italian operatic performance in the 1820s and 1830s, with a particular focus on the ways in which male characters were transformed through the practice of aria and scene substitutions. Upon his retirement in 1833, the tenor Nicola Tacchinardi chastised musico performers – women who sang male roles – for their unconvincing portrayal of operatic heroes. Rather than complain about their high-lying voices, he chose to criticise these women's feminine appearance and idiosyncratic stage behaviours as unmasculine. Tacchinardi's criteria for gender performance, then, sidestepped embodied vocality and centred on performer appearance and behaviour in specific narrative situations. My study explores how Tacchinardi and his contemporaries employed aria substitution in heroic roles as a means for plot substitution, forgoing arias of dramatic stasis for dynamic scenes that showcase decisive action and augmented narrative significance. In this pre-Duprez milieu, before the onset of predetermined physiology in operatic discourse, male singers across the 1820s achieved an explicitly masculine self-definition not through voice, but as masters of textual control. Aria substitutions in the operas La Sacerdotessa d'Irminsul, La donna del lago and Norma demonstrate how singers established the components of masculine-heroic conventions through sensitive consideration of dramaturgy. I stress that the singing voice before 1830 was under-assimilated as an index of gender, and that rethinking the history of the ‘rise of the tenor’ may be crucial to understanding the history of the vocalic body.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"32 1","pages":"1 - 26"},"PeriodicalIF":0.3,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0954586720000099","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48372901","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

Competing Ways of Hearing Nature in Berg's Wozzeck 伯格《沃泽克》中听觉自然的竞争方式

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2020-03-01 DOI: 10.1017/S0954586720000117

Marc Brooks

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引用次数: 0

The Opera and the Omnibus: Material Culture, Urbanism and Boieldieu's La dame blanche 歌剧与公共汽车:物质文化、城市主义与博伊尔迪厄的《白夫人》

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2020-03-01 DOI: 10.1017/S0954586720000130

Nicole Vilkner

{"title":"The Opera and the Omnibus: Material Culture, Urbanism and Boieldieu's La dame blanche","authors":"Nicole Vilkner","doi":"10.1017/S0954586720000130","DOIUrl":"https://doi.org/10.1017/S0954586720000130","url":null,"abstract":"Abstract In the summer of 1828, the Entreprise générale des Dames Blanches launched a fleet of white omnibuses onto the streets of Paris. These public transportation vehicles were named and fashioned after Boieldieu's opéra comique La dame blanche (1825): their rear doors were decorated with scenes of Scotland, their flanks painted with gesturing opera characters, and their mechanical horns trumpeted fanfares through the streets. The omnibuses offered one of the first mass transportation systems in the world and were an innovation that transformed urban circulation. During their thirty years of circulation, the omnibuses also had a profound effect on the reception history of Boieldieu's opera. When the omnibuses improved the quality of working- and middle-class life, bourgeois Parisians applauded the vehicles’ egalitarian business model, and Boieldieu's opera became unexpectedly entwined in the populist rhetoric surrounding the omnibus. Viewing opera through the lens of the Dames Blanches, Parisians conflated the sounds of opera and street, as demonstrated by Charles Valentin Alkan's piano piece Les omnibus, Op. 2 (1829), which combines operatic idioms and horn calls. Through these examples and others, this study examines the complex ways that material culture affects the dissemination and reception of a musical work.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"32 1","pages":"90 - 114"},"PeriodicalIF":0.3,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0954586720000130","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44279742","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: 3

OPR volume 32 issue 1 Cover and Front matter OPR第32卷第1期封面和封面

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2020-03-01 DOI: 10.1017/s0954586720000154

引用次数: 0

OPR volume 32 issue 1 Cover and Back matter OPR第32卷第1期封面和封底

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2020-03-01 DOI: 10.1017/s0954586720000142

引用次数: 0

Italians Abroad: Verdi'sLa traviataand the 1906 Milan Exposition 海外意大利人：凡尔登悲剧与1906年米兰博览会

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2019-07-01 DOI: 10.1017/s0954586720000026

Ditlev Rindom

引用次数: 1

Violetta's Further Predicament: La traviata under Apartheid 维奥莱塔的进一步困境：种族隔离下的悲剧

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2019-07-01 DOI: 10.1017/s0954586720000051

J. Allison

{"title":"Violetta's Further Predicament: La traviata under Apartheid","authors":"J. Allison","doi":"10.1017/s0954586720000051","DOIUrl":"https://doi.org/10.1017/s0954586720000051","url":null,"abstract":"Long before opera was first heard in South Africa, and even longer before it took root there, the country had its own operatic figure. But Adamastor was not introduced to the rest of the operatic world until 1865 and the premiere of Meyerbeer's L'Africaine, where in Nélusko's Act III ballade the terrifying story is told of the Titan whose body, legend has it, formed the rocky spine of the Cape Peninsula and barred sailors from rounding the ‘Cape of Storms’ and opening up the sea route to the East. The literary invention – perhaps via Rabelais – of Luís Vaz de Camões, the great Portuguese Renaissance poet who himself was the first European artist to round the Cape, Adamastor appears in Canto V of Os Lusíadas (1572) and has exercised a considerable fascination over South African artists and writers. But to whom does Adamastor belong? This is a question that some, increasingly, have sought to answer, re-examining Camões's myth from an indigenous perspective – for example, André Brink in his postmodernist novella The First Life of Adamastor, imagining how that meeting with the Portuguese fleet would have looked from the landward side, and the artist Cyril Coetzee in his huge T'kama-Adamastor painting commissioned for the University of the Witwatersrand.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0954586720000051","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44809494","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

‘Chinatown’ and Global Operatic Knowledge 《唐人街》与全球歌剧知识

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2019-07-01 DOI: 10.1017/s0954586720000063

Yvonne Liao

{"title":"‘Chinatown’ and Global Operatic Knowledge","authors":"Yvonne Liao","doi":"10.1017/s0954586720000063","DOIUrl":"https://doi.org/10.1017/s0954586720000063","url":null,"abstract":"In recent years opera studies have taken a distinctly global and migratory turn: Nancy Rao'sChinatown Opera Theateris a notable example. Rao's book sheds new light on the art form's transpacific networks, Cantonese immigrant communities and their highly racialised experience of everyday entertainment in early twentieth-century America, thereby ‘strip[ping] the veneer of exoticism from [southern] Chinese [i.e., Cantonese] opera, placing it firmly within the bounds of American music and a profoundly American experience’. Still more illuminating is Rao's focus on the Chinatown theatre companies, their contracting of touring performers and their role in transoceanic commerce. Woven into the book is an intimately connected narrative of Cantonese opera in the 1920s, encompassing San Francisco, Vancouver, New York, Honolulu and (to a lesser extent) Havana. The selection of these locations is no coincidence, given their significance in the interwar years as port cities linked within imperial steamship networks, amidst the part-conflicting, part-intersecting agenda of dominant and emergent empires (for instance, Japan and the United States, in the case of the latter).","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0954586720000063","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48938076","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 31 issue 2-3 Cover and Front matter OPR第31卷第2-3期封面和封面

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2019-07-01 DOI: 10.1017/s0954586720000075

引用次数: 0

Uniting the Arts to Stage the Nation: Le Sueur's Ossian (1804) in Napoleonic Paris 团结艺术来展示国家：勒苏厄的《奥西安》（1804）在拿破仑时代的巴黎

IF 0.3 2区艺术学

Cambridge Opera Journal Pub Date : 2019-07-01 DOI: 10.1017/s095458672000004x

A. Andries

引用次数: 3