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Church, State and an Operatic Outlaw: Jules Massenet's Hérodiade 教会、国家与歌剧界的亡命之徒:朱尔斯·马塞内的Hérodiade
IF 0.3 2区 艺术学 0 MUSIC Pub Date : 2019-07-01 DOI: 10.1017/s0954586720000014
Jennifer Walker
When Jules Massenet began work on Hérodiade in the late 1870s, he likely expected to see his work premiered at the Paris Opéra. But the coveted Parisian premiere was not to be. Based on a liberal reworking of the infamous tale of Herod, Salome and John the Baptist, Hérodiade undoubtedly challenges traditional Catholic doctrine. Yet Massenet's opera was not as ‘secular’ as it may seem. I argue here that it draws instead on a Republican-friendly brand of Catholicism that encouraged individual religiosity as an anticlerical strategy. Herein, I argue, lay the reasons why Hérodiade was outlawed. It was not so much the libretto's liberal transformations of biblical characters as what those transformations represented both to the Catholic Church and to the French state: in the end the representation of a simultaneously Republican and Catholic Christ presented a dangerous analogue to the country's strained political situation.
19世纪70年代末,当Jules Massenet开始创作《Hérodiade》时,他很可能希望看到自己的作品在巴黎歌剧院首演。但令人垂涎的巴黎首映式并非如此。根据对臭名昭著的希律、莎乐美和施洗约翰故事的自由改编,Hérodiade无疑挑战了传统的天主教教义。然而,马塞纳的歌剧并不像看上去那么“世俗”。我在这里认为,它借鉴了共和党友好的天主教品牌,鼓励个人宗教信仰作为反教权策略。我认为,这就是Hérodiade被宣布为非法的原因。与其说歌词对圣经人物的自由主义转变,不如说这些转变对天主教会和法国国家都代表了什么:最终,同时代表共和党和天主教基督的形象与该国紧张的政治局势形成了危险的相似。
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引用次数: 2
Noise and Silence inRigoletto's Venice 里戈莱托的《威尼斯》中的噪音与寂静
IF 0.3 2区 艺术学 0 MUSIC Pub Date : 2019-07-01 DOI: 10.1017/s0954586720000038
A. Jones
In this article I explore how public acts of defiant silence can work as forms of historical evidence, and how such refusals constitute a distinct mode of audio-visual attention and political resistance. After the Austrians reconquered Venice in August 1849, multiple observers reported that Venetians protested their renewed subjugation via theatre boycotts (both formal and informal) and a refusal to participate in festive occasions. The ostentatious public silences that met the daily Austrian military band concerts in the city's central piazza became a ritual that encouraged foreign observers to empathise with the Venetians’ plight. Whereas the gondolier's song seemed to travel separate from the gondolier himself, the piazza's design instead encouraged a communal listening coloured by the politics of the local cafes. In the central section of the article, I explore the ramifications of silence, resistance and disconnections between sight and sound as they shape Giuseppe Verdi'sRigoletto, which premiered at Venice's Teatro la Fenice in 1851. The scenes inRigolettomost appreciated by the first Venetian audiences hinge on the power to observe and overhear, suggesting that early spectators experienced the opera through a mode of engagement born of the local material conditions and political circumstances.
在这篇文章中,我探讨了公开的反抗沉默行为如何成为历史证据的形式,以及这种拒绝如何构成一种独特的视听关注和政治抵抗模式。1849年8月,奥地利人重新征服威尼斯后,多名观察家报告称,威尼斯人通过剧院抵制(正式和非正式)和拒绝参加节日活动来抗议他们再次被征服。在城市中心广场举行的奥地利军乐队每日音乐会上,公众的炫耀性沉默成为一种仪式,鼓励外国观察员同情威尼斯人的困境。尽管船夫的歌曲似乎与船夫本人分开传播,但广场的设计反而鼓励了一种受当地咖啡馆政治影响的集体聆听。在这篇文章的中心部分,我探讨了沉默、抵抗以及视觉和声音之间的脱节对朱塞佩·威尔第的《弄臣》的影响,该作品于1851年在威尼斯的芬尼斯剧院首演。《弄臣》中的场景最受第一批威尼斯观众的欣赏取决于观察和无意中听到的力量,这表明早期观众是通过当地物质条件和政治环境产生的参与模式来体验这部歌剧的。
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引用次数: 0
OPR volume 31 issue 2-3 Cover and Back matter OPR第31卷第2-3期封面和封底
IF 0.3 2区 艺术学 0 MUSIC Pub Date : 2019-07-01 DOI: 10.1017/s0954586720000087
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引用次数: 0
Doctor Atomic or: How John Adams Learned to Stop Worrying and Love Sound Design 原子博士或:约翰·亚当斯如何学会停止担忧并热爱声音设计
IF 0.3 2区 艺术学 0 MUSIC Pub Date : 2019-03-01 DOI: 10.1017/S0954586719000119
R. Ebright
Abstract In his autobiography, John Adams mused that his 2005 opera, Doctor Atomic, challenges directors and conductors owing to its ‘abstracted treatment’ of time and space. This abstraction also challenges scholars. In this article, I bring the cross-disciplinary field of sound studies into the opera house to demonstrate that Adams's obfuscation of operatic space–time is achieved primarily through the use of a spatialised electroacoustic sound design. Drawing on archival materials and new interviews with director Peter Sellars and sound designer Mark Grey, I outline the dramaturgical, epistemological and hermeneutic ramifications of sound design for opera studies and advocate for disciplinary engagement with the spatial dimensions of electroacoustic music generally, and within opera specifically.
在约翰·亚当斯的自传中,他沉思道,他2005年的歌剧《原子博士》对时间和空间的“抽象处理”给导演和指挥家带来了挑战。这种抽象也给学者们带来了挑战。在本文中,我将声音研究的跨学科领域带入歌剧院,以证明亚当斯对歌剧时空的混淆主要是通过使用空间化的电声声音设计来实现的。利用档案材料和对导演彼得·塞拉斯和声音设计师马克·格雷的新采访,我概述了歌剧研究中声音设计的戏剧、认识论和解释学分支,并主张对电声音乐的空间维度进行学科参与,特别是在歌剧中。
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引用次数: 0
Reading Henry Tresham's Theatre Curtain: Metastasio's Apotheosis and the Idea of Opera at London's Pantheon 阅读亨利·特里沙姆的《剧院帷幕》:伦敦万神殿的亚塔西奥的神化和歌剧思想
IF 0.3 2区 艺术学 0 MUSIC Pub Date : 2019-03-01 DOI: 10.1017/S0954586719000181
M. Burden
Abstract When London's new Pantheon Opera opened in 1791, the artist Henry Tresham, not long returned from Italy, was paid to paint the ceiling and proscenium of the new auditorium and to provide a drop curtain. The curtain provided a focus for the new institution's aspirations and for the audience's attention on those inspirations when they arrived at the theatre. Its elaborate nature – the zodiac, the music of the spheres, ancient and modern composers, the passions, and with a centrepiece of the apotheosis of Pietro Metastasio – was the subject of a series articles in the press explaining the curtain's allegory. All visual material was thought to be lost, but the recent identification of a preparatory watercolour of the apotheosis has offered an opportunity to re-examine both its place in the context of late eighteenth-century iconography and the place of Metastasio in the late eighteenth-century London opera house.
当伦敦的新万神殿歌剧院于1791年开幕时,不久从意大利回来的艺术家亨利·特雷沙姆(Henry Tresham)受雇为新礼堂的天花板和舞台刷漆,并提供落幕。幕布为新机构的愿望提供了一个焦点,当观众到达剧院时,他们的注意力集中在这些灵感上。它精致的本质——黄道十二宫、天体音乐、古代和现代作曲家、激情,以及彼得罗·亚塔西奥的神化——是媒体解释这幅窗帘寓意的一系列文章的主题。所有的视觉材料都被认为丢失了,但是最近对一幅预备水彩画的鉴定为重新审视它在18世纪晚期的肖像学背景下的地位和18世纪晚期伦敦歌剧院的亚塔西奥的地位提供了机会。
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引用次数: 0
‘O Strange Transformation!’ The Monologue from Act II Scene 5 of Lully and Quinault's Armide (1686) and the Retelling of Tasso in France “啊,奇怪的变形!”吕利和奎诺的《阿米德》(1686)第二幕第五场的独白与法国塔索的重述
IF 0.3 2区 艺术学 0 MUSIC Pub Date : 2019-03-01 DOI: 10.1017/S0954586719000107
Michael A. Bane
Abstract In the famous monologue from Act II scene 5 of Lully and Quinault's Armide (1686), the title character attempts to slay the sleeping hero Renaud but, overcome by his beauty, falls in love with him instead. As commentators have noted, the monologue departs from the opera's source material, Tasso's epic poem La Gerusalemme liberata (1581). In contrast to the placid scene recounted by Tasso in canto 14 of the original work, the libretto depicts Armide's transformation from enemy to lover as a moment of struggle and psychological doubt. While scholarship has generally credited Quinault with having recognised the dramatic potential of the encounter, this article argues for a broader contextualisation of the scene in seventeenth-century French artistic production. A review of the major translations and adaptations of Tasso's poem published in France before 1686 reveals that Quinault's libretto represents not a decisive break with the past but rather one contribution to a much broader tradition of literary and musical experimentation.
摘要在Lully和Quinault的《Armide》(1686)第二幕第五场的著名独白中,主人公试图杀死熟睡的英雄Renaud,但被他的美丽所征服,反而爱上了他。正如评论家们所指出的,这段独白偏离了歌剧的原始素材,塔索的史诗《解放者》(1581)。与塔索在原作第14小节中讲述的平静场景相反,歌词将阿米德从敌人转变为情人描绘成一个挣扎和心理怀疑的时刻。虽然学术界普遍认为奎诺认识到了这场邂逅的戏剧性潜力,但这篇文章主张在17世纪的法国艺术作品中对这一场景进行更广泛的语境化。对1686年之前在法国出版的塔索诗歌的主要翻译和改编作品的回顾表明,奎诺的剧本并不是对过去的决定性突破,而是对更广泛的文学和音乐实验传统的贡献。
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引用次数: 0
Inhabiting Whiteness: The Eoan Group La traviata, 1956 居住的白人:伊安集团茶花女,1956年
IF 0.3 2区 艺术学 0 MUSIC Pub Date : 2019-03-01 DOI: 10.1017/S0954586719000016
J. Pistorius
Abstract Active at the height of the apartheid regime, the Eoan Group treated South Africans to operas ‘in the true tradition of Italy’. The group relied on elaborate, naturalistic stage settings and the most stereotypical of operatic conventions to construct a hereditary link between itself and Italy, thus creating an alignment with the cultural ideal of Europe and its colonial representative – whiteness. This article offers a materialist reading of the Eoan Group's first operatic endeavour, La traviata in 1956, to argue that their invocation and emulation of the ‘Italian tradition’ served to situate them within a class-based discourse of racially inscribed civility. Drawing on archival records relating to props, costumes, advertisements and funding, it shows how the group constructed an imagined Italian heritage both to emphasise the quality of their productions, and to create an affinity with their white audiences. In this reading, the construction of an Italian operatic tradition functions not as a neutral aesthetic category, but as a historically situated politics of race and class.
摘要活跃在种族隔离制度鼎盛时期的Eoin集团“按照意大利的真正传统”对待南非人欣赏歌剧。该团体依靠精心设计的自然主义舞台设置和最刻板的歌剧惯例,在自己和意大利之间建立了一种世袭的联系,从而与欧洲及其殖民地代表——白人的文化理想保持一致。这篇文章以唯物主义的眼光解读了Eoin集团1956年的第一部歌剧《La traviata》,认为他们对“意大利传统”的援引和模仿有助于将他们置于基于阶级的种族文明话语中。它借鉴了与道具、服装、广告和资金有关的档案记录,展示了该组织如何构建一个想象中的意大利遗产,既强调了他们制作的质量,又与白人观众建立了亲密关系。在这本书中,意大利歌剧传统的构建并不是一个中立的美学范畴,而是一种历史性的种族和阶级政治。
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引用次数: 3
OPR volume 31 issue 1 Cover and Back matter OPR第31卷第1期封面和封底
IF 0.3 2区 艺术学 0 MUSIC Pub Date : 2019-03-01 DOI: 10.1017/s0954586719000211
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引用次数: 0
Thoroughly Modern Middles 彻底的现代中产阶级
IF 0.3 2区 艺术学 0 MUSIC Pub Date : 2019-03-01 DOI: 10.1017/S0954586719000193
L. Tunbridge
Young Millie Dilmount arrives in New York City during the jazz age, shingles her hair and looks for a job with a rich, handsome boss she can marry. The musical-film Thoroughly Modern Millie (dir. George Roy Hill, Universal, 1967) may have been a spoof of the 1920s but various twists and turns in its plot nonetheless reveal its middlebrow scaffolding. Social aspiration is written into the plot, as is the ambiguity of its signifiers: although Millie (Julie Andrews) falls for the penniless Jimmy Smith (James Fox), she sets her sights on the seemingly more appropriate Trevor Graydon (John Gavin) only to discover that, of course, Jimmy was a millionaire all along. This is a narrative as much about cultural and social as financial capital. Through its ‘second-order parody’ of racial, ethnic and gender stereotypes, Angelo Pao argues, Thoroughly Modern Millie – along with other American musicals – ‘has played a significant role in the formation of a national persona’. The middlebrow, though, is not necessarily about identity politics, storylines or style; it is also closely bound with modes of dissemination and their relative costs and, because of that, with questions of class. Indeed, the Broadway musical was (and continues to be) a mainly middle-class affair, from its makers to its consumers, who David Savran points out have long needed ‘a good deal of disposable income’, given that ticket prices have always outstripped cinema, spoken theatre – and, on occasion, opera.
年轻的米莉·迪尔蒙特(Millie Dilmount)在爵士乐时代来到纽约市,梳起头发,找一份可以嫁给的富有英俊的老板的工作。音乐电影《彻底现代的米莉》(导演乔治·罗伊·希尔,环球影业,1967年)可能是对20世纪20年代的恶搞,但其情节中的各种曲折却暴露出其中产阶级的脚手架。社会愿望和其所指的模糊性都被写进了情节中:尽管米莉(朱莉·安德鲁斯饰)爱上了身无分文的吉米·史密斯(詹姆斯·福克斯饰),但她把目光投向了看似更合适的特雷弗·格雷登(约翰·加文饰),却发现,当然,吉米一直都是百万富翁。这是一个关于文化和社会以及金融资本的叙事。Angelo Pao认为,通过对种族、族裔和性别刻板印象的“二阶模仿”,《彻底现代的米莉》和其他美国音乐剧“在国家形象的形成中发挥了重要作用”。然而,中产阶级并不一定是关于身份政治、故事情节或风格;它还与传播方式及其相对成本密切相关,因此也与阶级问题密切相关。事实上,百老汇音乐剧过去(并将继续)主要是中产阶级的事务,从制作人到消费者,大卫·萨夫兰指出,长期以来,消费者需要“大量的可支配收入”,因为票价一直超过电影院、口语剧院,有时甚至超过歌剧。
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引用次数: 0
OPR volume 31 issue 1 Cover and Front matter OPR第31卷第1期封面和封面事项
IF 0.3 2区 艺术学 0 MUSIC Pub Date : 2019-03-01 DOI: 10.1017/s095458671900020x
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引用次数: 0
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Cambridge Opera Journal
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