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3659 results in Opera

Page 39 of 183

Saint-Saëns and the Stage
  • Operas, Plays, Pageants, a Ballet and a Film
  • Hugh Macdonald
  • Published online:
    22 February 2019
    Print publication:
    14 March 2019
  • The stage works of Saint-Saëns range from grand open-air pageants to one-act comic operas, and include the first composed film score. Yet, with the exception of Samson et Dalila, his twelve operas have lain in the shadows since the composer's death in 1921. Widely performed in his lifetime, they vanished from the repertory - never played, never recorded - until now. With four twenty-first-century revivals as a backdrop, this timely book is the first study of Saint-Saëns's operas, demonstrating the presence of the same breadth and versatility as in his better known works. Hugh Macdonald's wide knowledge of French music in the nineteenth century gives a powerful understanding of the different conventions and expectations that governed French opera at the time. The interaction of Saint-Saëns with his contemporaries is a colourful and important part of the story.

  • Lars von Trier’s Lost Ring

  • Nila Parly
  • Journal:
    Cambridge Opera Journal / Volume 30 / Issue 1 / March 2018
    Published online by Cambridge University Press:
    14 February 2019, pp. 1-28

  • In 2002, film director Lars von Trier agreed to stage Richard Wagner’s Ring cycle in Bayreuth. The project was abandoned, however, after two years of preparation. For this article’s research, I conducted interviews with key persons involved with the project, not least Lars von Trier himself, and I was given access to unseen materials (documents, videotapes and other items) from the archives of Lars von Trier’s film company, Zentropa, which shed light both on the director’s plans for the production and on the process that would eventually spell the end of the project. The materials, however, turned out to illuminate not only what the opera world lost, but also what von Trier’s later films gained from his immersion into Wagner’s creative world. In this article I seek to map both the ill-fated process and explore the later benefits from it in the films Antichrist (2009), Nymphomaniac (2013) and, above all, Melancholia (2011), with its echoes of Wagner’s apocalyptic Götterdämmerung.

  • OPR volume 30 issue 1 Cover and Front matter

  • Journal:
    Cambridge Opera Journal / Volume 30 / Issue 1 / March 2018
    Published online by Cambridge University Press:
    14 February 2019, pp. f1-f2
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  • Ivan Susanin by Catterino Cavos and A Life for the Tsar by Mikhail Glinka: Comparing the Incomparable

  • Anna Giust
  • Journal:
    Cambridge Opera Journal / Volume 30 / Issue 1 / March 2018
    Published online by Cambridge University Press:
    14 February 2019, pp. 60-102

  • The myth of Mikhail Glinka still divides the history of Russian music, to the point that any influence on the creation of Russian opera before him is considered part of ‘prehistory’ in artistic terms. This is certainly true for the works of Catterino Cavos, a Venetian composer who made his career as a music director at the St Petersburg Imperial Theatres. The main purpose of this article is to compare Cavos’s opera Ivan Susanin (1815) with Glinka’s A Life for the Tsar (1836), in order to highlight aspects of continuity in the process of creating the Russian operatic tradition. In this analysis, both Western and Russian traditions will be taken into consideration, which will enable a better assessment of Cavos’s contribution to the evolution of Russian music within a European frame.

Page 39 of 183