Pub Date : 2020-07-01DOI: 10.1017/s0954586721000070
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Pub Date : 2020-07-01DOI: 10.1017/S095458672100001X
R. Parker
We might start with the Index, often a good indicator of a book's flavour, its local habitation. First up is ‘Abbate, acoustics, acting, Adler, Adorno’, a reassuring miscellany; later on, the German-speaking collective of ‘Schopenhauer, Schreker, Schubart, Schumann-Heink’ awakens memories of time past. ‘Ventilation systems, Verdi, vitalism’, however, turns on the landing lights for a distinctly new approach, while ‘hygiene [both mental and moral], hyperacusis, hyperaesthesia acoustica, hypnosis, hysteria’ ushers in another region entirely: medicine, pathologies. Starting at the end, we are thus prepared: a sense of anticipation is allied to hopes of intriguing surprises in the offing. And such expectations are on the whole justified. In spite of its title – that fence-sitting conjunction – this collection is a worthy and serious attempt to write new chapters in musicology's revolving challenge to the internalist preoccupations of its past.
{"title":"‘Opera and …’: The Pleasures and Perils of Amalgamation","authors":"R. Parker","doi":"10.1017/S095458672100001X","DOIUrl":"https://doi.org/10.1017/S095458672100001X","url":null,"abstract":"We might start with the Index, often a good indicator of a book's flavour, its local habitation. First up is ‘Abbate, acoustics, acting, Adler, Adorno’, a reassuring miscellany; later on, the German-speaking collective of ‘Schopenhauer, Schreker, Schubart, Schumann-Heink’ awakens memories of time past. ‘Ventilation systems, Verdi, vitalism’, however, turns on the landing lights for a distinctly new approach, while ‘hygiene [both mental and moral], hyperacusis, hyperaesthesia acoustica, hypnosis, hysteria’ ushers in another region entirely: medicine, pathologies. Starting at the end, we are thus prepared: a sense of anticipation is allied to hopes of intriguing surprises in the offing. And such expectations are on the whole justified. In spite of its title – that fence-sitting conjunction – this collection is a worthy and serious attempt to write new chapters in musicology's revolving challenge to the internalist preoccupations of its past.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"32 1","pages":"253 - 258"},"PeriodicalIF":0.3,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S095458672100001X","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47175166","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 : 2020-07-01DOI: 10.1017/S0954586721000021
José Manuel Izquierdo König
Abstract The 1844 Teatro Victoria in Valparaiso, Chile, can be considered the first purpose-built opera house in the Andean region of the Americas. Managed by impresario Pietro Alessandri, it became the centre of an early operatic scene in the South Pacific and a model for theatres built during the following decades. In this article, I discuss the Teatro Victoria as an opera house and the way in which it functioned on the borders of what was then a new global operatic scene. Latin American research on opera has focused mostly on singers and performances, rather than on the workings of the opera houses and the operatic scene. This article discusses the rationale behind the development of the Teatro Victoria project, some of the strategies underpinning its success and the notion of this particular opera house as a projection of certain ideas of ‘Italian culture’ and networks. The article shows, first, that the successful reception and appropriation of Italian opera in this period was not necessarily guaranteed, and it differed across the Americas. Second, that local brokers and host communities had key roles in shaping that reception, which can easily be perceived as a passive one when looked at only from the perspective of the singers or the music itself.
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Pub Date : 2020-07-01DOI: 10.1017/s0954586721000082
{"title":"OPR volume 32 issue 2-3 Cover and Back matter","authors":"","doi":"10.1017/s0954586721000082","DOIUrl":"https://doi.org/10.1017/s0954586721000082","url":null,"abstract":"","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"32 1","pages":"b1 - b3"},"PeriodicalIF":0.3,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45237613","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 : 2020-07-01DOI: 10.1017/S0954586721000045
Benedict Taylor
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’.
{"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}
Pub Date : 2020-07-01DOI: 10.1017/S0954586721000033
Richard Sherr
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.
1853年10月28日，奥芬巴赫第一部商业演出的戏剧作品《幻影幻影》(opsamra comique psampito)在巴黎的th tre des variacemots剧院首演。本文将从历史和音乐的角度来考察它。首先，我认为它在thsamutredes variacemots的制作是马克·埃弗里斯特(Mark Everist)所说的“类型政治”的一个例子，在这种情况下，巴黎林荫大道剧院的经理们试图绕过政府强加给他们的类型等级制度。奥芬巴赫可能是直接的同谋，他向一家在法律上不被允许表演这种类型的剧院提供了一种歌剧喜剧，并提供了一种音乐元素——“地方色彩”——作为政治策略的一部分，通过这种策略，瓦里西姆斯的经理将歌剧喜剧偷偷地通过了当局。然而，这一花招并没有奏效:我认为，观众主要是通过它的音乐特征来认识到psampito是一个喜剧性的opsamia。通过对乐谱的讨论，以及对瓦里萨梅斯的原班演员和管弦乐队的音乐能力的讨论，我们可以部分地再现出《瓦里萨梅斯》第一次演出时的真实声音。最后，我考虑了pemozpito后来的历史，并在一篇后记中指出，22年后，乔治·比才(george Bizet)在创作他自己的西班牙语opemozra comique时，对奥芬巴赫的西班牙语opemozra comique的模糊记忆可能重新浮现。比才在19世纪50年代末成为奥芬巴赫圈子的一员，当时他正在创作自己的西班牙语opemozra comique《卡门》(Carmen)。
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Pub Date : 2020-07-01DOI: 10.1017/S0954586721000069
M. Frainier
Abstract Sergei Prokofiev's The Fiery Angel (Ognennyi angel) has remained comparatively little studied among his operatic works, interpreted primarily as a parody of Russian symbolist beliefs and practice. In the last few years, however, new biographical information has emerged about the period during which Prokofiev wrote The Fiery Angel that points to ways of reconsidering the opera's compositional history and legacy. Furthermore, recent scholarship on the application of narrative theory to opera studies presents new methods for examining how opera might incorporate a narrative point of view. Combining these lines of inquiry, this article scrutinises Prokofiev's two complete versions of Angel (1923 and 1927) in the context of the composer's conversion to Christian Science during the intervening period. It argues that the 1927 version privileges its central character's point of view, as he experiences a process of spiritual awakening similar to the composer's own.
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Pub Date : 2020-04-30DOI: 10.1017/s0954586719000168
Jessica Gabriel Peritz
This article explores new conceptions of voice in late eighteenth-century Italy as expressed in discourses connected with opera reform. Inspired by the convergence of Enlightenment epistemologies of feeling and neoclassical aesthetics, certain progressive singers and literati sought to rebrand the singing voice as an agent of moral and political edification. Here, this ideology-laden project is traced through two conflicting representations of singer-poets, both of whom wield the power of lyric song to achieve political ends. First, the article unpacks Giuseppe Millico's narrative of his performance as Gluck's Orfeo (published in Naples in 1782), in which the singer argues for voice as audible interiority and, as such, a warrant of political subjectivity. It then turns to a reading of Gastone della Torre di Rezzonico's libretto for Giuseppe Sarti's dramma per musicaAlessandro e Timoteo(Parma, 1782), in which voice transforms into an instrument of anti-absolutist critique. The article concludes by considering how these two modes of voice were imagined, together, as capable of revivifying Italian culture.
本文探讨了18世纪晚期意大利与歌剧改革相关的话语中所表达的新的声音概念。受启蒙运动情感认识论和新古典美学融合的启发，某些进步歌手和文人试图将歌声重塑为道德和政治熏陶的媒介。在这里，这个充满意识形态的项目是通过歌手和诗人的两种相互冲突的表现来追踪的，他们都运用抒情歌曲的力量来实现政治目的。首先，这篇文章揭开了朱塞佩·米利科关于他扮演格鲁克的《奥费奥》（1782年发表在那不勒斯）的叙述，在这篇文章中，这位歌手认为声音是可听的内在性，因此也是政治主观性的保证。然后阅读Gastone della Torre di Rezzonico为Giuseppe Sarti的《每首音乐的戏剧》Alessandro e Timoteo（Parma，1782）创作的剧本，在这本书中，声音变成了反绝对主义批判的工具。文章最后考虑了这两种声音模式是如何被想象成能够复兴意大利文化的。
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Pub Date : 2020-03-01DOI: 10.1017/S0954586720000105
C. Jeanneret
Abstract This article explores operatic costumes from a perspective of cultural exchange, with a focus on Giuseppe Sarti, first director of the permanent opera theatre in Copenhagen. Sarti's Danish audience had almost no prior exposure to opera and little understanding of Italian. After a disastrous first season, he took measures to realise more successful productions of Italian opera in a context of migration, notably by focusing on the costumes to bypass language differences. I argue here that the theatrical costumes commissioned by Sarti were crucial tools for transmitting and adapting the operatic genre to its new context, functioning as visual signifiers and as body technology. They represented the audience's first encounter with the character and conveyed crucial information about dramaturgy.
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Pub Date : 2020-03-01DOI: 10.1017/S0954586720000129
Ditlev Rindom
‘Spain is different’, the Spanish tourist board famously declared in the 1960s as part of its strategy to attract mass tourism to the country. The campaign played a key role in opening up Spain's economy during the later years of Franco's regime – the so-called apertura – following two decades of autarchic rule that had left the country geopolitically isolated. As the slogan suggested, however, exoticism was a key part of Spain's nation-branding. Ideas of Spanish difference were now marketed for their tourist appeal, with images of gypsies and flamenco joined by sizzling beaches and ice-cold sangria.
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