Pub Date : 2023-07-01DOI: 10.1017/s0954586723000174
An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.
{"title":"OPR volume 35 issue 2 Cover and Front matter","authors":"","doi":"10.1017/s0954586723000174","DOIUrl":"https://doi.org/10.1017/s0954586723000174","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135856039","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 : 2023-07-01DOI: 10.1017/s0954586723000186
An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.
{"title":"OPR volume 35 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s0954586723000186","DOIUrl":"https://doi.org/10.1017/s0954586723000186","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135856038","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 : 2023-07-01DOI: 10.1017/s0954586723000113
Guillermo Aviles-Rodriguez
Abstract Hopscotch: An Opera for 24 Cars was a celebrated site-based and technetronic musical performance that sought to bring opera into various communities in Los Angeles, many of which were economically disadvantaged. In the process, this opera set off a firestorm of protests that ultimately resulted in confrontations with community members, protests that would test the very premise of the dissemination of opera and performance outside spaces of privilege and in communities of colour. Informed by the concept of transit-oriented performance, this article analyses some ways in which neoliberalism is distorting opera's modern-day resonances.
{"title":"Playing <i>Hopscotch</i> on Dangerous Ground: Site-Based, Transit-Oriented Opera in Los Angeles","authors":"Guillermo Aviles-Rodriguez","doi":"10.1017/s0954586723000113","DOIUrl":"https://doi.org/10.1017/s0954586723000113","url":null,"abstract":"Abstract Hopscotch: An Opera for 24 Cars was a celebrated site-based and technetronic musical performance that sought to bring opera into various communities in Los Angeles, many of which were economically disadvantaged. In the process, this opera set off a firestorm of protests that ultimately resulted in confrontations with community members, protests that would test the very premise of the dissemination of opera and performance outside spaces of privilege and in communities of colour. Informed by the concept of transit-oriented performance, this article analyses some ways in which neoliberalism is distorting opera's modern-day resonances.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"113 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135856040","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 : 2023-05-17DOI: 10.1017/s0954586723000071
Joshua Bedford
Sergei Prokofiev's operatic career exhibits a multitude of exceptional successes and failures, political and cultural idiosyncrasies and compromises, and bold convictions and uncertainties. Prokofiev considered himself an opera composer and showed his affinity for it from an early age, completing his first opera by age nine and continuing his work in the art form for the remainder of his life and career. Each opera takes on vastly different subjects, topics and time periods, evidence of his diverse selection of libretto sources. For his mature works, Prokofiev adapted literary works from Russia's nineteenth-century greats (Dostoyevsky and Tolstoy), a Russian twentieth-century symbolist author (Bryusov) and two socialist-realist authors (Katayev and Polevoy). He adapted two other operas from the eighteenth century with Richard Brinsley Sheridan's comic opera libretto for The Duenna and Carlo Gozzi's fiaba L'amore delle tre melarance.
{"title":"Reappraising Prokofiev's Operas","authors":"Joshua Bedford","doi":"10.1017/s0954586723000071","DOIUrl":"https://doi.org/10.1017/s0954586723000071","url":null,"abstract":"Sergei Prokofiev's operatic career exhibits a multitude of exceptional successes and failures, political and cultural idiosyncrasies and compromises, and bold convictions and uncertainties. Prokofiev considered himself an opera composer and showed his affinity for it from an early age, completing his first opera by age nine and continuing his work in the art form for the remainder of his life and career. Each opera takes on vastly different subjects, topics and time periods, evidence of his diverse selection of libretto sources. For his mature works, Prokofiev adapted literary works from Russia's nineteenth-century greats (Dostoyevsky and Tolstoy), a Russian twentieth-century symbolist author (Bryusov) and two socialist-realist authors (Katayev and Polevoy). He adapted two other operas from the eighteenth century with Richard Brinsley Sheridan's comic opera libretto for The Duenna and Carlo Gozzi's fiaba L'amore delle tre melarance.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46526293","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 : 2023-04-11DOI: 10.1017/s0954586723000058
Micaela Baranello
Franz Lehár's 1928 Berlin operetta Friederike boasts an unusual subject: a romantic incident in the early life of Johann Wolfgang von Goethe. Weimar Berlin is usually considered as a haven for experimentation between high and low culture, a bifurcated view which has dominated German studies, but in this article I argue that Friederike is best considered as an example of the middlebrow. I examine the many sources which contributed to Friederike, from Goethe to Wagner to contemporary plays; analyse the score's stylistic allusions and the performance of star tenor Richard Tauber; and finally turn to Lehár's rhetorical positioning of his work on the Berlin theatrical scene. I argue that operetta scholarship itself has traditionally been ill-equipped to deal with Lehár's late works and operetta more generally, and that middlebrow studies’ nuanced consideration of questions of art, commerce and prestige can contribute more widely to operetta and Weimar historiography.
Franz Lehár于1928年创作的柏林轻歌剧《弗里德里克》有一个不同寻常的主题：约翰·沃尔夫冈·冯·歌德早年的浪漫事件。魏玛柏林通常被认为是高低文化之间实验的天堂，这是一种主导德国研究的分歧观点，但在这篇文章中，我认为弗里德里克最好被认为是中产阶级的一个例子。我研究了许多对弗里德里克有贡献的来源，从歌德到瓦格纳，再到当代戏剧；分析了配乐的风格典故和明星男高音理查德·陶伯的表演；最后转向Lehár对其作品在柏林戏剧舞台上的修辞定位。我认为，轻歌剧学术本身传统上无法更全面地处理Lehár的晚期作品和轻歌剧，而中产阶级研究对艺术、商业和声望问题的细致入微的考虑可以对轻歌剧和魏玛史学做出更广泛的贡献。
{"title":"Franz Lehár's Friederike as Weimar Middlebrow Culture","authors":"Micaela Baranello","doi":"10.1017/s0954586723000058","DOIUrl":"https://doi.org/10.1017/s0954586723000058","url":null,"abstract":"\u0000 Franz Lehár's 1928 Berlin operetta Friederike boasts an unusual subject: a romantic incident in the early life of Johann Wolfgang von Goethe. Weimar Berlin is usually considered as a haven for experimentation between high and low culture, a bifurcated view which has dominated German studies, but in this article I argue that Friederike is best considered as an example of the middlebrow. I examine the many sources which contributed to Friederike, from Goethe to Wagner to contemporary plays; analyse the score's stylistic allusions and the performance of star tenor Richard Tauber; and finally turn to Lehár's rhetorical positioning of his work on the Berlin theatrical scene. I argue that operetta scholarship itself has traditionally been ill-equipped to deal with Lehár's late works and operetta more generally, and that middlebrow studies’ nuanced consideration of questions of art, commerce and prestige can contribute more widely to operetta and Weimar historiography.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42181340","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 : 2023-03-01DOI: 10.1017/S0954586723000034
C. Armstrong
Abstract Like many modernist engagements with the theme of outsider identity, Alexander Zemlinsky's 1921 opera Der Zwerg (The Dwarf) finds its dramatic nexus in the disabled body. In opera, such bodies are not only (historically) texted but also (presently) performed, with modern stagings offering a form of mediation between the historical and contemporary. With reference to two productions of Der Zwerg, this article unpicks aspects of the representation and performance of disability on the operatic stage. I first explore disability's simultaneous exaggeration and disappearance as a result of the problematic practice of ‘disability mimicry’. The effects of this practice and its proximity to issues of authenticity and embodiment are only made more tangible in the context of live performance, where attempts to embody disability's physicality are often sensationalised and unconvincing at best. However, disability can be, and is, represented in myriad ways. While disability mimicry can engender modes of perceiving disability from a voyeuristic perspective, these productions in fact make use of processes of ‘enfreakment’ to present disability through modes of theatrical production and aesthetic choice. This raises pertinent questions about why and by what means the disabled body is mobilised (or not) on the operatic stage, highlighting, moreover, disability's tendency to indicate meaning in registers beyond the body.
{"title":"The Body Behind the Curtain: Performing Disability in Zemlinsky's Der Zwerg","authors":"C. Armstrong","doi":"10.1017/S0954586723000034","DOIUrl":"https://doi.org/10.1017/S0954586723000034","url":null,"abstract":"Abstract Like many modernist engagements with the theme of outsider identity, Alexander Zemlinsky's 1921 opera Der Zwerg (The Dwarf) finds its dramatic nexus in the disabled body. In opera, such bodies are not only (historically) texted but also (presently) performed, with modern stagings offering a form of mediation between the historical and contemporary. With reference to two productions of Der Zwerg, this article unpicks aspects of the representation and performance of disability on the operatic stage. I first explore disability's simultaneous exaggeration and disappearance as a result of the problematic practice of ‘disability mimicry’. The effects of this practice and its proximity to issues of authenticity and embodiment are only made more tangible in the context of live performance, where attempts to embody disability's physicality are often sensationalised and unconvincing at best. However, disability can be, and is, represented in myriad ways. While disability mimicry can engender modes of perceiving disability from a voyeuristic perspective, these productions in fact make use of processes of ‘enfreakment’ to present disability through modes of theatrical production and aesthetic choice. This raises pertinent questions about why and by what means the disabled body is mobilised (or not) on the operatic stage, highlighting, moreover, disability's tendency to indicate meaning in registers beyond the body.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"35 1","pages":"26 - 49"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47665006","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 : 2023-03-01DOI: 10.1017/s0954586723000083
{"title":"OPR volume 35 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s0954586723000083","DOIUrl":"https://doi.org/10.1017/s0954586723000083","url":null,"abstract":"","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"35 1","pages":"f1 - f2"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44462251","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 : 2023-03-01DOI: 10.1017/S0954586723000046
Nicholas Jones
Abstract The Doctor of Myddfai (1995), Peter Maxwell Davies's third full-scale opera and his first collaboration with David Pountney, is a work that occupies an important position within the composer's output for the opera house and theatre. However, whereas a significant amount of scholarly attention has been afforded to Davies's music-theatre works of the 1960s and the operas Taverner (1962–8) and Resurrection (1986–7), The Doctor of Myddfai has been somewhat neglected by comparison. This article examines the opera from two perspectives. The first addresses the work's dystopian setting and argues that key issues highlighted in the libretto – especially in relation to certain political concerns and environmental anxieties – have a strong contemporary resonance. The second focuses on the opera's articulation of Welsh identity, particularly through the use of Welsh folklore, native landscape and place, and indigenous musical signifiers. The intersection of these two elements – the work's celebration of Welshness and its dystopian qualities – imbues the opera with an intrinsic yet highly productive sense of tension and opposition: characteristics that drive the work towards its compelling conclusion.
{"title":"‘The rain soaked sky is leaden’: Welsh Identity and Dystopian Impulses in The Doctor of Myddfai","authors":"Nicholas Jones","doi":"10.1017/S0954586723000046","DOIUrl":"https://doi.org/10.1017/S0954586723000046","url":null,"abstract":"Abstract The Doctor of Myddfai (1995), Peter Maxwell Davies's third full-scale opera and his first collaboration with David Pountney, is a work that occupies an important position within the composer's output for the opera house and theatre. However, whereas a significant amount of scholarly attention has been afforded to Davies's music-theatre works of the 1960s and the operas Taverner (1962–8) and Resurrection (1986–7), The Doctor of Myddfai has been somewhat neglected by comparison. This article examines the opera from two perspectives. The first addresses the work's dystopian setting and argues that key issues highlighted in the libretto – especially in relation to certain political concerns and environmental anxieties – have a strong contemporary resonance. The second focuses on the opera's articulation of Welsh identity, particularly through the use of Welsh folklore, native landscape and place, and indigenous musical signifiers. The intersection of these two elements – the work's celebration of Welshness and its dystopian qualities – imbues the opera with an intrinsic yet highly productive sense of tension and opposition: characteristics that drive the work towards its compelling conclusion.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"35 1","pages":"75 - 105"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45888514","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 : 2023-03-01DOI: 10.1017/s0954586723000095
{"title":"OPR volume 35 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s0954586723000095","DOIUrl":"https://doi.org/10.1017/s0954586723000095","url":null,"abstract":"","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"35 1","pages":"b1 - b2"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46228691","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 : 2023-02-16DOI: 10.1017/S0954586722000337
Tina Frühauf
Abstract This article examines the conception and subsequent reception of Jaromír Weinberger's 1927 opera Schwanda the Bagpiper in the context of various expressions of nationalism, anti-Semitism and Jewish identity politics throughout the interwar period. It takes into consideration the many historical, political and musical junctures before and during the opera's trajectory. While remaining rooted in nineteenth-century Czech nationalism, Weinberger sought to blend a plurality of cultural expressions, thus responding to the transitory state of nationalism during the interwar period. This is evident in the dialectics of the work – including its music, its libretto by Miloš Kareš and the first production. In this way, Schwanda and its divergent reception represents young Czechoslovakia's liminalities in relation to nationalism and the complexities of the new multi-ethnic state, especially with regard to its minorities. The article thus offers insights into the phenomenon of nationalism, which at the time of the opera's conception was inescapably co-constructed with anti-Semitism, and demonstrates Schwanda's importance as part of larger histories of European music and opera.
{"title":"The Dialectics of Nationalism: Jaromír Weinberger's Schwanda the Bagpiper and Anti-Semitism in Interwar Europe","authors":"Tina Frühauf","doi":"10.1017/S0954586722000337","DOIUrl":"https://doi.org/10.1017/S0954586722000337","url":null,"abstract":"Abstract This article examines the conception and subsequent reception of Jaromír Weinberger's 1927 opera Schwanda the Bagpiper in the context of various expressions of nationalism, anti-Semitism and Jewish identity politics throughout the interwar period. It takes into consideration the many historical, political and musical junctures before and during the opera's trajectory. While remaining rooted in nineteenth-century Czech nationalism, Weinberger sought to blend a plurality of cultural expressions, thus responding to the transitory state of nationalism during the interwar period. This is evident in the dialectics of the work – including its music, its libretto by Miloš Kareš and the first production. In this way, Schwanda and its divergent reception represents young Czechoslovakia's liminalities in relation to nationalism and the complexities of the new multi-ethnic state, especially with regard to its minorities. The article thus offers insights into the phenomenon of nationalism, which at the time of the opera's conception was inescapably co-constructed with anti-Semitism, and demonstrates Schwanda's importance as part of larger histories of European music and opera.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"35 1","pages":"50 - 74"},"PeriodicalIF":0.3,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47282496","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：