Pub Date : 2018-11-01DOI: 10.1017/s0954586719000120
{"title":"OPR volume 30 issue 2-3 Cover and Back matter","authors":"","doi":"10.1017/s0954586719000120","DOIUrl":"https://doi.org/10.1017/s0954586719000120","url":null,"abstract":"","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"30 1","pages":"b1 - b2"},"PeriodicalIF":0.3,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0954586719000120","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41495928","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}
Pub Date : 2018-11-01DOI: 10.1017/s0954586719000132
{"title":"OPR volume 30 issue 2-3 Cover and Front matter","authors":"","doi":"10.1017/s0954586719000132","DOIUrl":"https://doi.org/10.1017/s0954586719000132","url":null,"abstract":"","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"30 1","pages":"f1 - f2"},"PeriodicalIF":0.3,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0954586719000132","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43574106","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}
Pub Date : 2018-11-01DOI: 10.1017/S0954586719000065
Jean-Christophe Branger
Abstract Lucy Arbell (1878–1947) assumed an important position in Massenet's compositional process and output. Beginning with Ariane in 1906, he wrote principal or secondary roles for the singer in all of his operas, as well as the celebrated song cycle Expressions lyriques (1909–1911). Despite Massenet's admiration, the French contralto was received ambivalently by critics and she fell into oblivion soon after his death. For some, her talents as an actress could not make up for the mediocre quality of her voice. Drawing on unpublished and hitherto unknown archival documents, this article explores Arbell's career, which has been largely overlooked by scholars. I reveal how her career's evolution was intimately connected to the professional and sentimental relationship between singer and composer. Massenet notably wrote roles for her that included extensive use of spoken declamation, which sets them apart in the history of opera.
{"title":"‘There Must Be Something There That We Don't Know About’: Massenet and Lucy Arbell","authors":"Jean-Christophe Branger","doi":"10.1017/S0954586719000065","DOIUrl":"https://doi.org/10.1017/S0954586719000065","url":null,"abstract":"Abstract Lucy Arbell (1878–1947) assumed an important position in Massenet's compositional process and output. Beginning with Ariane in 1906, he wrote principal or secondary roles for the singer in all of his operas, as well as the celebrated song cycle Expressions lyriques (1909–1911). Despite Massenet's admiration, the French contralto was received ambivalently by critics and she fell into oblivion soon after his death. For some, her talents as an actress could not make up for the mediocre quality of her voice. Drawing on unpublished and hitherto unknown archival documents, this article explores Arbell's career, which has been largely overlooked by scholars. I reveal how her career's evolution was intimately connected to the professional and sentimental relationship between singer and composer. Massenet notably wrote roles for her that included extensive use of spoken declamation, which sets them apart in the history of opera.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"30 1","pages":"186 - 213"},"PeriodicalIF":0.3,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0954586719000065","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45961271","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}
Pub Date : 2018-11-01DOI: 10.1017/S0954586719000090
Claudio Vellutini
Abstract This article addresses several historiographical questions about narratives of nineteenth-century Italian opera by discussing the international career of prima donna Fanny Tacchinardi-Persiani during the 1830s and 1840s. A number of hitherto overlooked letters between the singer and Carlo Balocchino, impresario of the Kärntnertortheater in Vienna, provide important insights into Tacchinardi-Persiani's strategies of self-representation in the context of a dynamic operatic network that included the Italian States, Vienna, Paris and London. By revealing shifting power dynamics between opera impresarios, performers and composers, these letters, read in parallel with reviews and other writings of the time, offer a fresh look at the economic, ideological and artistic factors that contributed to the shifting geography of the European operatic landscape in the first half of the nineteenth century.
{"title":"Fanny Tacchinardi-Persiani, Carlo Balocchino and Italian Opera Business in Vienna, Paris and London (1837–1845)","authors":"Claudio Vellutini","doi":"10.1017/S0954586719000090","DOIUrl":"https://doi.org/10.1017/S0954586719000090","url":null,"abstract":"Abstract This article addresses several historiographical questions about narratives of nineteenth-century Italian opera by discussing the international career of prima donna Fanny Tacchinardi-Persiani during the 1830s and 1840s. A number of hitherto overlooked letters between the singer and Carlo Balocchino, impresario of the Kärntnertortheater in Vienna, provide important insights into Tacchinardi-Persiani's strategies of self-representation in the context of a dynamic operatic network that included the Italian States, Vienna, Paris and London. By revealing shifting power dynamics between opera impresarios, performers and composers, these letters, read in parallel with reviews and other writings of the time, offer a fresh look at the economic, ideological and artistic factors that contributed to the shifting geography of the European operatic landscape in the first half of the nineteenth century.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"30 1","pages":"259 - 304"},"PeriodicalIF":0.3,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0954586719000090","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47814885","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}
Pub Date : 2018-11-01DOI: 10.1017/S0954586719000053
Kimberly White
Abstract This article explores the emergent genre of singers’ autobiographies in late nineteenth-century France. The moment singers took up the pen is telling, as it coincides with their dislodgement in the operatic marketplace from creator and collaborator to interpreter. In their life writings, Gilbert Duprez and Gustave Roger demonstrate a strong preoccupation with revising their public images and the histories that had been written about them. I argue that what critics felt was a flaw – the tenors’ predominant focus on relationships in their autobiographies, rather than on art – reveals how Duprez and Roger sought to reconstruct their artistic identities beyond the voice, locating their most profound contributions in their exchanges and actions within the musical community.
{"title":"Autobiographical Voices: Performing Absence in Singers’ Memoirs","authors":"Kimberly White","doi":"10.1017/S0954586719000053","DOIUrl":"https://doi.org/10.1017/S0954586719000053","url":null,"abstract":"Abstract This article explores the emergent genre of singers’ autobiographies in late nineteenth-century France. The moment singers took up the pen is telling, as it coincides with their dislodgement in the operatic marketplace from creator and collaborator to interpreter. In their life writings, Gilbert Duprez and Gustave Roger demonstrate a strong preoccupation with revising their public images and the histories that had been written about them. I argue that what critics felt was a flaw – the tenors’ predominant focus on relationships in their autobiographies, rather than on art – reveals how Duprez and Roger sought to reconstruct their artistic identities beyond the voice, locating their most profound contributions in their exchanges and actions within the musical community.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"30 1","pages":"165 - 185"},"PeriodicalIF":0.3,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0954586719000053","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49602146","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}
Pub Date : 2018-11-01DOI: 10.1017/S0954586719000028
Kimberly White, Hilary Poriss
Paris was the operatic centre of Europe for much of the nineteenth century, producing two of the most important – and most heavily exported – operatic genres: opéra comique and grand opéra. Theatres were strictly regulated, and many were heavily subsidised by the French state, despite the frequent changes in regime from monarchy and empire to a democratic republic. The city’s relative financial strength and abundance of talented artists provided a situation wherein theatres could take creative risks, cultivate new genres, develop new works and mount lavish productions. Many French opera houses boasted a stable company of performers: singers could devote much of their career to a single stage, thereby developing long-term, intimate relationships with other cultural producers (composers, librettists, musicians, etc.), journalists and the public. The expansive newspaper industry along with the professionalisation of music criticism supported the country’s cultural production and its artists, at home and abroad, through lively debate and discourse. From the 1850s, moreover, France stood at the forefront of key technological developments, from photography to the phonograph, which significantly affected the dissemination, circulation and reception of opera and its singers. Nevertheless, by the century’s end, Paris slipped from its dominant position as opera became a global phenomenon. The changes to the operatic industry were profound, affecting the constitution of the repertoire, the circulation of works and artists and performance aesthetics and traditions. Parisian theatres faced increasing competition for operas and singers not only from far-flung places, but also from cities within France’s borders that sought to challenge the capital’s cultural pre-eminence. The articles in this special issue explore this vibrant period in the history of French operatic culture from the unique perspective of the singer, bringing into focus specific performing contexts of the French stage as well as the changes to the status of performers brought about by internationalisation. Although the subject matter of all seven articles is rooted in France, and most specifically in Paris, each author approaches the geographical field from a distinct perspective, illustrating the myriad experiences singers faced as they sought fame and fortune, both at home and abroad. Despite the variety in this set of articles, a few common themes thread their way through the volume. Sarah Fuchs and Sean Parr, for example, seek to understand how nuances embedded in bodily and vocal gestures could help singers articulate their uniqueness amongst a sea of competitors, while Kimberly White,
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Pub Date : 2018-11-01DOI: 10.1017/S095458671900003X
Sarah Fuchs
Abstract In 1900, the soprano Jeanne Hatto recorded a scene from Gluck's 1779 opera Iphigénie en Tauride for the Phono-Cinéma-Théâtre, an exhibit at the Paris Exposition Universelle that screened silent films manually synchronised with cylinder recordings. Recently restored and digitised by the Cinémathèque Française and the Gaumont Pathé Archives, Hatto's film affords us a glimpse into the revitalising force ascribed to female performers around the turn of the century: the ability to bring ancient statues – and antiquity itself – to life through physical movement. Through their embodiment of ancient Greek figures on stage and in visions animées, prima donnas laid claim to a form of corporeal authority that had all but disappeared from the French stage over the preceding century.
摘要1900年，女高音Jeanne Hatto为Phono Cinéma Théâtre录制了Gluck 1779年歌剧《Iphigénie en Tauride》中的一幕，这是巴黎世博会的一个展览，放映了与圆柱体录音同步的无声电影。哈托的电影最近由法国国家美术馆和高蒙特档案馆修复并数字化，让我们得以一窥世纪之交赋予女性表演者的复兴力量：通过身体运动将古代雕像和古代本身赋予生命的能力。通过他们在舞台上和动画中对古希腊人物的体现，女主角们声称自己拥有一种在上个世纪几乎从法国舞台上消失的物质权威。
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Pub Date : 2018-11-01DOI: 10.1017/S0954586719000077
K. Ellis
Abstract It seems historiographically implausible to ascribe the reputation of fin-de-siècle Lyon as France's Bayreuth to the impact of a single middle-ranking soprano, but the Danish singer Louise Janssen's long-term presence, galvanic musical influence and box-office value suggest precisely that conclusion. Part of the explanation lies with the diva-worship of her supporters (‘Janssenistes’), who curated her image both during her career and in her retirement to create an adopted musical heroine whose memory remains guarded by Lyon council policy. That image, selectively constructed from among her Wagner roles, also typecast her as a singer who had much in common with Symbolist art – a potential Mélisande that Lyon never saw. This article brings together archival and press materials to explain how a foreign-born singer's agency and mythification contributed to a double French naturalisation – her own, and that of Wagner(ism).
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Pub Date : 2018-11-01DOI: 10.1017/S0954586719000089
C. Rowden
Abstract This article explores a slice of the careers of two ‘rival’ coloratura singers – the Swedish soprano Christine Nilsson and the French soprano Caroline Miolan Carvalho – during the period 1867 to 1870, and considers the internationalisation of singing careers, women's choices and negotiation of their career paths, and fortunes made and lost. With both singers employed at the Paris Opéra from November 1868 onwards as Gounod's Faust went into rehearsal, the focus falls on the ‘Battle of the Marguerites’ in the Parisian press in spring 1869, which raised heated questions of dramatic and vocal interpretation and style, often linked to cultural stereotypes, as well as artistic legitimacy and stature. Through examination of previously overlooked archival financial and legal records, this article also reveals for the first time that Miolan Carvalho was indentured to the director of the Opéra Emile Perrin during this period.
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Pub Date : 2018-11-01DOI: 10.1017/S0954586719000041
S. Parr
Abstract It is now a historical commonplace that nineteenth-century operatic singing became generally louder and heavier over the course of the century. Early in the century, before the advent of singers such as Gilbert-Louis Duprez, tenors sang high notes with a light, mixed voice, sometimes even falsetto. Strikingly, while such singing was virtually eliminated from Italian opera by the end of the century, the vocal practice continued in certain cases in the French repertory, some of which were created with one particular tenor in mind, Jean-Alexandre Talazac (1851–1896). Talazac was praised for his unique ability to sing high notes both softly and loudly. This article investigates the physical practice of producing what pedagogues and critics have called voix mixte, an enigmatic timbre applied to moments of soft, high tenor singing. In exploring these moments of what I call ‘léger mode’, I suggest that, by singing high notes softly in a post-Duprez operatic world, tenors transcend stage gestures through their use of a formerly normative performance style to mark moments musically as representations of vocal and masculine vulnerability. The historical evidence also argues for a renewed focus on what soft tenor singing might do for opera today.
摘要19世纪的歌剧演唱在本世纪变得越来越响亮和沉重，这在历史上已经司空见惯。本世纪初，在吉尔伯特·路易斯·杜佩雷斯（Gilbert Louis Duprez）等歌手出现之前，男高音歌唱家用轻快、混合的声音演唱高音，有时甚至用假声。引人注目的是，尽管到本世纪末，这种歌唱几乎从意大利歌剧中消失了，但在某些情况下，声乐练习仍在法国剧目中继续，其中一些剧目是在创作时考虑到了一位特定的男高音，让-亚历山大·塔拉扎克（1851–1896）。塔拉扎克因其轻柔而响亮地唱高音的独特能力而受到赞扬。本文探讨了产生教育家和评论家所称的voix mixe的物理实践，voix mixte是一种神秘的音色，适用于柔和、高音的演唱。在探索这些我称之为“léger模式”的时刻时，我建议，通过在后杜佩雷斯歌剧世界中轻柔地唱高音，男高音们通过使用以前的规范表演风格，在音乐上将时刻标记为声音和男性脆弱性的表现，从而超越舞台手势。历史证据也表明，人们应该重新关注当今柔和的男高音演唱对歌剧的影响。
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