The Operatic State examines the cultural, financial, and political investments that have gone into the maintenance of opera and opera houses in Europe, the USA and Australia. It analyses opera's nearly immutable form throughout wars, revolutions, and vast social changes throughout the world. Bereson argues that by legitimising the power of the state through universally recognised ceremonial ritual, opera enjoys a privileged status across three continents, often to the detriment of popular and indigenous art forms.
The importance of opera houses to the cultural and community life in nonmetropolitan areas of the country from the last quarter of the nineteenth century to the advent of motion pictures in the 1920s has seldom been documented. The stories the reader will encounter here--related with a healthy dose of humor--are based on historical facts, anecdotes, urban legends, and tall tales associated with three of the more than one hundred opera houses that existed in Michigan during this period. As there are similar stories about similar structures throughout Michigan as well as in other Midwestern and Western states, this could be considered a storybook about the golden age of opera houses in many of America's rural regions.
The Operatic Archive: American Opera as History extends the growing interdisciplinary conversation in opera studies by drawing on new research in performance studies and the philosophy of history. Moving beyond traditional aesthetic conceptions of opera, this book argues for opera's powerful potential for historical impact and engagement in late twentieth- and twenty-first-century works by American composers. Considering opera's ability to serve as a vehicle for memory, historical experience, affect, presence, and the historical sublime, this volume demonstrates how opera's ability to represent and evoke historical events and historical experience differs fundamentally from the representations and recreations of other modes (specifically, literary and dramatic representations). Building on the work of performance scholars such as Joseph Roach, Rebecca Schneider, and Diana Taylor, and in consultation with recent debates in the philosophy of history, the book will be of interest to a wide range of scholars and researchers, particularly those working in the areas of opera studies and performance studies.
In Bewitching Russian Opera: The Tsarina from State to Stage, Inna Naroditskaya investigates the musical lives of four female monarchs who ruled Russia for most of the eighteenth century - Catherine I, Anna, Elizabeth, and Catherine the Great. Engaging with ethnomusicological, historical, and philological approaches, her study traces the tsarinas' deeply invested interest in musical drama, as each built theaters, established drama schools, commissioned operas and ballets, and themselves wrote and produced musical plays. Naroditskaya examines the creative output of the tsarinas across the contexts in which they worked and lived, revealing significant connections between their personal creative aspirations and contemporary musical-theatrical practices, and the political and state affairs conducted during their reigns. Bewitching Russian Opera ultimately demonstrates that the theater served as an experimental space for these imperial women, in which they rehearsed, probed, and formulated gender and class roles, and enacted on the musical stage political ambitions and international conquests which they would later carry out on the world stage itself. Beginning with the eighteenth-century imperial court, Naroditskaya illustrates the increased theatricality of the court and the popularity of musical theater among nobles, which occurred alongside an appropriation of folk and court ceremonies into the theater. Through contemporary performance theory, she demonstrates how the opportunity for role-playing and costume-changing in performative spaces allowed individuals to cross otherwise rigid boundaries of class and gender. A close look at a series of operas and musical theater productions - from Catherine the Great's fairy tale operas to Tchaikovsky's Pique Dame - illuminates the transition of these royal women from powerful political and cultural figures during their own reigns, to a marginalized and unreal Other under the patriarchal dominance of the subsequent period. These tsarinas successfully fostered the concept of a modern nation and collective national identity, only to then have their power and influence undone in Russian cultural consciousness through the fairy-tales operas of the 19th century that positioned tsarinas as "magical" and dangerous figures rightfully displaced and conquered—by triumphant heroes on the stage, and by the new patriarchal rulers in the state.
A story of friendship, first crushes, opera and the high drama of middle school told by award-winning Kyo Maclear in her debut graphic novel. Somewhere in the universe, there is the perfect tune for you. It’s almost the end of middle school, and Charlie has to find her perfect song for a music class assignment. But it’s hard for Charlie to concentrate when she can’t stop noticing her classmate Emile, or wondering about Luka, who hasn’t been to school in weeks. Then, the class learns about opera, and Charlie discovers the music of Maria Callas. The more she learns about Maria’s life, the more Charlie admires her passion for singing and her ability to express herself fully through her music. Can Charlie follow the example of the ultimate diva, Maria Callas, when it comes to her own life? Key Text Features speech bubbles captions bibliography Correlates to the Common Core State Standards in English Language Arts: CCSS.ELA-LITERACY.RL.4.3 Describe in depth a character, setting, or event in a story or drama, drawing on specific details in the text (e.g., a character's thoughts, words, or actions). CCSS.ELA-LITERACY.RL.6.3 Describe how a particular story's or drama's plot unfolds in a series of episodes as well as how the characters respond or change as the plot moves toward a resolution. CCSS.ELA-LITERACY.RL.6.6 Explain how an author develops the point of view of the narrator or speaker in a text.
The study of the business of opera has taken on new importance in the present harsh economic climate for the arts. This book presents research that sheds new light on a range of aspects concerning marketing, audience development, promotion, arts administration and economic issues that beset professionals working in the opera world. The editors' aim has been to assemble a coherent collection of essays that engage with a single theme (business), but differ in topic and critical perspective. The collection is distinguished by its concern with the business of opera here and now in a globalized market. This includes newly commissioned operas, sponsorship, state funding, and production and marketing of historic operas in the twenty-first century.
"Leads the reader on an operatic tour of pre-Civil War America in this cultural study of what was an almost ubiquitous art form. It covers orchestral and choral musicians as well as stars, impresarios, business methods, repertories, advertising techniques, itineraries, sizes of companies, and methods of travel." -- Publisher's description
The death of classical music, the distinguished critic and musicologist Joseph Kerman declares, is “a tired, vacuous concept that will not die.” In this wide-ranging collection of essays and reviews, Kerman examines the ongoing vitality of the classical music tradition, from the days of Guillaume Dufay, John Taverner, and William Byrd to contemporary operas by Philip Glass and John Adams. Here are enlightening investigations of the lives and works of the greatest composers: Bach and his Well-Tempered Clavier, Mozart’s and Beethoven’s piano concertos, Schubert’s songs, Wagner’s and Verdi’s operas. Kerman discusses The Magic Flute as well as productions of the Monteverdi operas in Brooklyn and the Ring in San Francisco and Bayreuth. He also includes remembrances of Maria Callas and Carlos Kleiber that make clear why they were such extraordinary musicians. Kerman argues that predictions—let alone assumptions—of the death of classical music are not a new development but part of a cultural transformation that has long been with us. Always alert to the significance of historical changes, from the invention of music notation to the advent of recording, he proposes that the place to look for renewal of the classical music tradition in America today is in opera—in a flood of new works, the rediscovery of long-forgotten ones, and innovative productions by companies large and small. Written for a general audience rather than for experts, Kerman’s essays invite readers to listen afresh and to engage with his insights into how music works. “His gift is so uncommon as to make one sad,” Alex Ross has said.
Throughout her fiction, Willa Cather mentioned forty-seven operas. References to opera appear in all but three of her twelve novels and in roughly half of her short stories. Despite a dearth of musical education, Cather produced astute writing about the genre beginning in her earliest criticism and continuing throughout her career. She counted opera stars among her close friends, and according to Edith Lewis, her companion throughout adulthood, the two women frequently visited the theater, even in the early days, when purchasing tickets to attend performances proved a financial sacrifice. Melding cultural history with thoughtful readings of her works and discussions of opera’s complex place in turn-of-the-century America, David McKay Powell’s Cather and Opera offers the first book-length study of what drew the writer so powerfully and repeatedly to the art form. With close attention to Cather’s fiction and criticism, Powell posits that at the heart of both her work and the operatic corpus dwells an innate tension between high artistic ideals and popular acceptance, often figured as a clash between compositional integrity and raw, personal emotion. Considering her connection to opera in both historical and intertextual terms, Cather and Opera investigates what operatic references mean in Cather’s writing, along with what the opera represented to her throughout her life.
