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3659 results in Opera

Page 42 of 183

  • OPR volume 29 issue 3 Cover and Back matter

  • Journal:
    Cambridge Opera Journal / Volume 29 / Issue 3 / November 2017
    Published online by Cambridge University Press:
    19 July 2018, pp. b1-b3
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  • Reaching the Operatic Stage: The Geographical and Social Origins of British and Irish Opera Singers, c.1850–c.1960

  • Dave Russell
  • Journal:
    Cambridge Opera Journal / Volume 29 / Issue 3 / November 2017
    Published online by Cambridge University Press:
    19 July 2018, pp. 312-352

  • The backgrounds of opera singers have received little systematic study and this article attempts to help redress this situation through analysis of a collective biography of 344 British and Irish-born performers active in the century from 1850. It argues that certain areas, notably London and Wales, made a particularly significant contribution to the operatic profession and notes that certain other patterns of regional under- and over-production are discernible. While singers from a broadly defined middle class were numerically dominant within this sample, this study stresses the unexpectedly strong contribution from those born into the lower-middle and working classes. Such performers were able to build on skills honed in the amateur musical sphere partly as a result of an expanding state-funded higher education system, but also due to an extraordinary variety of forms of patronage. The ‘popular’ social tone of singers, however, is shown to have done little to challenge perceptions of opera as an elitist cultural form.

  • OPR volume 29 issue 3 Cover and Front matter

  • Journal:
    Cambridge Opera Journal / Volume 29 / Issue 3 / November 2017
    Published online by Cambridge University Press:
    19 July 2018, pp. f1-f2
    • Article
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  • Setting the Stage: Drama, Libretti and the ‘Invention’ of Opera in Leipzig in the 1680s

  • Markus Rathey
  • Journal:
    Cambridge Opera Journal / Volume 29 / Issue 3 / November 2017
    Published online by Cambridge University Press:
    19 July 2018, pp. 287-311

  • The opera house in Leipzig opened its doors in 1693. Operas had been performed in central Germany for quite some time but they were primarily confined to courts. With the founding of the opera, Leipzig, home of an important trade fair, provided an additional musical attraction that could entertain merchants coming for the fair. While the year 1693 marks the beginning of regular opera performances in Leipzig, the preceding decades saw an increased interest in dramatic genres in the realms of both secular and sacred music. The connection between these dramatic works and the opera house are not just circumstantial. Some of the key players in the opera business in Leipzig were involved in these earlier pieces as well, especially the poet Paul Thymich, the first librettist for the Leipzig opera, who provided the majority of texts for the drammi per musica, Singspiels and sacred cantatas.

  • Opera Scenes in Video Games: Hitmen, Divas and Wagner’s Werewolves

  • Tim Summers
  • Journal:
    Cambridge Opera Journal / Volume 29 / Issue 3 / November 2017
    Published online by Cambridge University Press:
    19 July 2018, pp. 253-286
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  • This article aims to illuminate the meanings and aesthetic effects generated by scenes of staged opera in video games. It also explores the images of opera transmitted to the huge audiences that games address. Three dimensions of the opera-game encounter are discussed. First, Tosca in Hitman: Blood Money and The Beggar’s Opera in Assassin’s Creed III are used to examine the treatment of violence and the discourse of popular appeal in games and opera. Second, the arias sung by women in Final Fantasy VI and Parasite Eve illustrate how a melodramatic mode of expression represents a confluence of the aesthetic priorities of the two media. Finally, The Beast Within’s meditation on Wagner reveals how opera sequences aim to engage players by conjuring phantasmagorias through a unifying and enrapturing spectacle.

Female Singers on the French Stage, 1830–1848
  • Kimberly White
  • Published online:
    08 June 2018
    Print publication:
    24 May 2018
  • The study of singers' art has emerged as a prominent area of inquiry within musicology in recent years. Female Singers on the French Stage, 1830–1848 shifts the focus from the artwork onstage to the labour that went on behind the scenes. Through extensive analysis of primary source documents, Kimberly White explores the profession of singing, operatic culture, and the representation of female performers on the French stage between 1830 and 1848, and reveals new perspectives on the social, economic, and cultural status of these women. The book attempts to reconstruct and clarify contemporary practices of the singer at work, including vocal training, débuts, rehearsals and performance schedules, touring, benefit concerts, and retirement, as well as the strategies utilized in publicity and image making. Dozens of case studies, many compiled from singers' correspondence and archival papers, shed light on the performers' successes and struggles at a time when Paris was the operatic centre of Europe.

Page 42 of 183