Pub Date : 2021-03-01DOI: 10.1017/S0954586722000015
Gavin Williams
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.
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Pub Date : 2021-03-01DOI: 10.1017/S0954586722000039
T. Coombes
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.
1900年前后，恩格尔伯特·亨珀丁克和阿德海德·维特的《Hänsel与格蕾特》是欧洲演出最广泛的歌剧之一。巴黎首演引发的批评性讨论为探索19世纪童话的政治动态和阐明这部作品的重要历史意义提供了机会。尽管洪珀丁克的歌剧是延续法德文化竞争的主要工具，但巴黎人对它的一个突出的接受强调了连接法国和德国文化遗产的跨国共性——童话中的民族主义意识形态促进了这种强调。根据一些巴黎评论家的说法，这部歌剧对童年的广泛成功表现解释了它在国际上的成功。当然，Hänsel und Gretel体现了对童年的一种有影响力的看法，这种看法也活跃了19世纪晚期的法国文学和政治领域。在这样做的过程中，歌剧还赋予了神圣保护的孩子的浪漫主义形象的一些高度限制性方面的音乐和戏剧形式。
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Pub Date : 2021-03-01DOI: 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}
Pub Date : 2021-03-01DOI: 10.1017/S0954586721000100
Mark Berry
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.
{"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}
Pub Date : 2021-03-01DOI: 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}
Pub Date : 2021-03-01DOI: 10.1017/S0954586722000040
H. Lee
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.
{"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}
Pub Date : 2021-03-01DOI: 10.1017/s0954586722000027
Donato Somma
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.
{"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}
Pub Date : 2021-03-01DOI: 10.1017/S0954586722000076
Tove Solander
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.
{"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}
Pub Date : 2021-03-01DOI: 10.1017/S0954586721000057
L. Vasilyeva
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.
2020年6月，又有一个视频被发布到包容一切的云中。这张图展示了一场音乐会，听众是2292株植物，在巴塞罗那利切剧院(theatre del Liceu)一个红天鹅绒内衬礼堂的每个座位上都有一株植物。这些精心挑选的植物是普契尼弦乐四重奏《Crisantemi》演出中的绿叶观众，这是在采取封锁措施减缓COVID-19传播期间为纪念医护人员而进行的。按惯例宣布手机静音后，四位音乐家向青翠的听众鞠躬就座，镜头对准他们。当音乐开始时，我们的视线从音乐家身后进入歌剧院:镜头扫描了乐队座位的最初几排，然后移动到包厢和阳台。在剧院的每一个连续的部分，我们看到被选择代替我们倾听的化身。我们的代表是温顺而美好的——普契尼似乎抚慰了他们。有那么一刻，外面世界奇妙的闯入室内甚至开始显得很自然，仿佛礼堂可以容纳整个世界，仿佛这个没有窗户的世界没有外面。
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Pub Date : 2021-03-01DOI: 10.1017/S095458672200009X
Dorian Bandy
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.
摘要除了莫扎特为各种键盘作品创作的模型装饰外，他还为当代咏叹调创作了装饰，包括卢西奥·西拉的《啊，se a morir mi chiama》、K.294的音乐会咏叹调《Non såd‘onde viene》和J.C.巴赫的《Siria中的阿德里亚诺》中的《Cara，la dolce fiamma》。尽管这些在批评文学中被忽视了，但它们揭示了莫扎特旋律装饰艺术的许多方面。在这篇文章中，我首先考察了这些注释性的歌剧装饰：它们的文本历史、表现出的精致风格、展开的节奏、它们的动机结构，以及它们与莫扎特风格中更广泛趋势的关系。然后，我探讨了莫扎特在其他歌剧文本中所做的润饰，认为这些润饰不仅是音乐目的，也是美学目的，进一步推进了人物塑造和戏剧元素，尤其是在《费加罗报》、《唐·乔瓦尼》和《Cosìfan tutte》中。最后，我简单地谈一谈希望为莫扎特歌剧添彩的现代口译员所面临的挑战。
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