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Gioachino Rossini | Italian Composer & Opera Pioneer [1]
Our editors will review what you’ve submitted and determine whether to revise the article.. – “Armida” “Aureliano in Palmira” “Cinderella” “Count Ory” “Demetrio e Polibio” “Il viaggio a Reims” “Otello” “Semiramide” “Tancredi” “The Barber of Seville” “The Bill of Marriage” “The Italian Girl in Algiers” “The Siege of Corinth” “The Touchstone” “William Tell”
Of his later, larger-scale dramatic operas, the most widely heard is William Tell (1829).. Gioachino Rossini was the son of Giuseppe Rossini, an impoverished trumpeter who played in miscellaneous bands and orchestras, and Anna Guidarini, a singer of secondary roles
Though a lazy student, the young Rossini found it easy to learn to sing and play. At age 14 he entered Bologna’s Philharmonic School (now the G.B
Hector Berlioz’s Symphonie fantastique [2]
Berlioz’s Symphonie fantastique is considered by music historians to be an ideal example of programmatic music: music that follows a specific story or aims to depict a scene. Programmatic music rose to prominence in secular music during the Romantic era when Beethoven, one of the first to explore the style, composed his “Pastoral” Sixth Symphony
Symphonie fantastique solidified the epic potential of programmatic music and the distinct emotional effect it could achieve. However, many were skeptical of the compositional style
These critics condemned programmatic music’s reliance on a story, seeing it as a deficient musical style that necessitated a narrative crutch.. In Berlioz’s case, critics of programmatic music, and even those who supported the style, could find something controversial in the Symphonie fantastique’s narrative content
Berlioz’s Symphonie fantastique: Keeping Score [3]
The story is a self-portrait of its composer, Hector Berlioz.. Hector Berlioz was born in 1803 in La Cote St André, a small town near the French Alps
He became an accomplished flautist, picked up the guitar and then taught himself to play drums.. As a teen, Berlioz suffered from isolation and bouts of uncontrollable mood swings
Berlioz left home for Paris to study medicine, but soon turned his attention to music. His father allowed him time to prove himself in this new endeavor but his mother considered theatrical ambitions sinful and disowned him.
Photographic diva:Massenet, Sibyl Sanderson, and the soprano as spectacle (Chapter 3) [4]
– Introduction: On not singing and singing physiognomically. – 1 Verdi, Victor Maurel, and the operatic interpreter
– 4 Jean de Reszke, the “problem” of the tenor, and early international Wagner performance. 3 – Photographic diva:Massenet, Sibyl Sanderson, and the soprano as spectacle
– Introduction: On not singing and singing physiognomically. – 1 Verdi, Victor Maurel, and the operatic interpreter
“A Study of Six Selected Coloratura Soprano “Mad Scenes” in Nineteenth ” by Charlotte Fakier Pipes [5]
The coloratura “mad scene” was an outstanding feature found in several nineteenth-century operas. Significant in its display of the performer’s talent, it requires the ultimate combination of vocal virtuosity and dramatic expression
This study will seek to define and illustrate some of these characteristics as found in the following six scenes: (1) “Al dolce guidami,” Anna Bolena (1830), Gaetano Donizetti (1797-1848); (2) “Ah! Non credea mirarti,” La Sonnambula (1831), Vincenzo Bellini (1801-1835). (4) “Argon gl’incensi,” Lucia di Lammermoor (1835), Donizetti
(6) “Ah vos yeux, mes amis,” Hamlet (1868), Ambroise Thomas (1811-1896). The introductory chapter of this monograph surveys the musical, literary, and social influences which affected the development of the Romantic era mad scene
Opera Definition, Styles & Types – Video & Lesson Transcript [6]
An opera is a staged theater piece that uses music, sung text, or a libretto to convey a narrative. The earliest operas premiered around 1600, and since that time, multiple operatic styles have developed
Later eras brought with them a proliferation of other styles. These types of opera include opera verismo, like Puccini’s Tosca; grand opera, like Verdi’s Don Carlos; and the personal styles of composers like Wagner.
The combination of music and storytelling dates back to Ancient Greece and the sung choruses of Euripides’ and Sophocles’ plays. Liturgical dramas often involved singing, and secular plays frequently featured musical accompaniment like those of Shakespeare, frequently featured musical accompaniment
Classic holiday film gets Heggie and Scheer’s operatic treatment in Macky [7]
One of the most beloved onscreen holiday classics has been taking the opera stage by storm since 2016. After touring across the United States, esteemed composer Jake Heggie and renowned librettist Gene Scheer’s “It’s a Wonderful Life” returns home to the Eklund Opera Program and Macky Auditorium—this time in its final stage with a few exciting alterations.
After wading through classics like “How the Grinch Stole Christmas,” “A Charlie Brown Christmas” and “Frosty the Snowman,” Heggie landed on “It’s a Wonderful Life.”. “At its core, there’s a man thinking of taking his life because he doesn’t recognize his value on the planet
Those are all great elements for an operatic landscape,” Heggie explained.. The opera will feature the familiar and widely adored story of George Bailey in the small town of Bedford Falls
American Opera (review) [8]
(Music in American Life.) Urbana: University of Illinois, 2001. A number of fine studies in the field of American music history have appeared in recent years and American Opera continues this trend
While Hipsher attempted to be as comprehensive and objective as possible, Kirk’s treatment is selective and subjective. The current study distinguishes the many inherent influences on American opera and identifies the broad traditions that have emerged over the past three centuries
Despite the domination of the European repertory in American opera houses, a rich and abundant store of native-composed works has been produced since the early eighteenth century. Kirk has sifted through countless numbers and chosen representative examples to illustrate both the wide diversity of styles and the common underlying features of American opera
OPERA America Announces 2009-2010 Season of Online Learning Courses [9]
OPERA America Announces 2009-2010 Season of Online Learning Courses. Twelve Professional Companies Form Partnership in Ongoing National Effort to Inform Audiences
This season’s offerings include: Verdi’s La traviata, Puccini’s Madama Butterfly, Mozart’s Le nozze di Figaro, and the world premiere of Andre Previn’s Brief Encounter.. Designed as a service for opera lovers and those who wish to learn more about the art form, the courses offer an opportunity to explore the many diverse elements of opera using the unique capacity and convenience of the Internet.
Links to written course lectures are e-mailed to participants once each week for four weeks, which allows learners to review the course material at their own pace. Audio clips and production photos are also provided, aiding in the study of musical style and analysis
Florida Grand Opera Features First Cuban-born Female Conductor in Miami for Tales of Hoffmann [10]
The Tales of Hoffmann, presented by the Florida Grand Opera and opening at the Arsht Center Saturday night, is a 19th century, three-act opera by German-born French composer Jacques Offenbach.. And, as it is with the best operas, the stirring tale involves forbidden love, ominous symbolism and, of course, tragic untimely deaths
Based on the short stories by German fantasy and horror author E.T.A. Hoffmann, with the French libretto written by Jules Barbier, Tales of Hoffman is the story of the poet Hoffmann and his drunken odyssey of love
Because the Muse is a supernatural broad, she uses all the power cosmic at her disposal (the spirit realm, disguises, spells, that sort of thing) to win Hoffmann’s love. It’s a lot like The Bachelor, except more ass-kicky and awesome.
Chapter 19: Opera and Music Drama in the Nineteenth Century [11]
Chapter 19: Opera and Music Drama in the Nineteenth Century. Opera was popular with audiences of all classes and professions
The music itself now became the most important element of an opera’s success, and a permanent repertory of operas began to emerge. Paris became the operatic capital of Europe and French grand opera was designed to appeal to middle-class audiences
Singspiel was at the root of German opera, and composers intensified its national features while absorbing Romantic elements from French opera.. French Grand (and Not So Grand) Opera (CHWM 443–48, NAWM 139, 144, and 146)
Grand opera [12]
Grand opera is a genre of 19th-century opera generally in four or five acts, characterized by large-scale casts and orchestras, and (in their original productions) lavish and spectacular design and stage effects, normally with plots based on or around dramatic historic events. The term is particularly applied (sometimes specifically used in its French-language equivalent grand opéra, pronounced [ɡʁɑ̃t‿ɔpeʁa]) to certain productions of the Paris Opéra from the late 1820s to around 1860;[1] ‘grand opéra’ has sometimes been used to denote the Paris Opéra itself.
It may also be used colloquially in an imprecise sense to refer to ‘serious opera without spoken dialogue’.[3]. Paris at the turn of the 19th century drew in many composers, both French and foreign, and especially those of opera
Others, such as Gaspare Spontini, wrote works to glorify Napoleon. These operas were composed on a suitably grand scale for the Emperor
Bulgakov’s “Moonlight Sonata”: The Thematic Functions of Grand Opera and Lieder in “The Master and Margarita” [13]
Several articles have connected Mikhail Bulgakov’s many musical allusions to the actual composers and compositions, exploring how these references influence and inform his masterpiece, The Master and Margarita. David Lowe traces the narrative transformation of the Faust legend from Goethe through Gounod’s opera to Bulgakov’s novel
These sources are models for the analysis of musical influences on Bulgakov. However, their contributions illuminate interesting but minor aspects of the novel
This analysis will have three argumentative threads. First, I will show how Bulgakov’s allusions to Romantic lyric music define the politico-cultural environment of Moscow and its central moral conflict in the novel
Sources
- https://www.britannica.com/biography/Gioachino-Rossini#:~:text=Gioachino%20Rossini%2C%20in%20full%20Gioachino,and%20Semiramide%20(1823)%20are%20among
- https://ton.bard.edu/hector-berliozs-symphonie-fantastique/#:~:text=Berlioz’s%20Symphonie%20fantastique%20is%20considered,aims%20to%20depict%20a%20scene.
- https://www.pbs.org/keepingscore/berlioz-symphonie-fantastique.html#:~:text=Through%20its%20movements%2C%20it%20tells,and%20murder%2C%20ecstasy%20and%20despair.
- https://www.cambridge.org/core/books/opera-acts/photographic-divamassenet-sibyl-sanderson-and-the-soprano-as-spectacle/AACB85E23F1D475B49C3D302FCF9637D
- https://digitalcommons.lsu.edu/gradschool_disstheses/5087/
- https://study.com/learn/lesson/opera-styles-buffa-seria.html
- https://www.colorado.edu/music/2019/10/15/classic-holiday-film-gets-heggie-and-scheers-operatic-treatment-macky
- https://muse.jhu.edu/article/25049/summary
- https://www.operaamerica.org/get-involved/about-us/press-room/2008/opera-america-announces-2009-2010-season-of-online-learning-courses/
- https://www.miaminewtimes.com/arts/florida-grand-opera-features-first-cuban-born-female-conductor-in-miami-for-tales-of-hoffmann-6494136
- https://wwnorton.com/college/music/concise-history-western-music4/ch/19/outline.aspx
- https://en.wikipedia.org/wiki/Grand_opera
- https://www.bu.edu/writingprogram/journal/past-issues/issue-2/collins/
