Results 61 to 70 of about 1,131 (155)

Chrystus na Górze Oliwnej op.85 Ludwiga van Beethovena. Próba introspekcji (część II)

Seminare, 2018
Ludwig van Beethoven, znany w kręgach muzycznych głównie z dorobku instrumentalnego, żywo interesował się twórczością wokalno-instrumentalną. Studiując dokonania swoich poprzedników, mistrzów baroku i klasycyzmu, starał się zrozumieć relację między ...
Marek Dudek
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Totaleindruck o impresión total: La Telésfora de Aquinas Ried como proyecto político, creación literario-musical, reflejo personal y encuentro con el otro Totaleindruck or total impression: Aquinas Ried's Telésfora as a Political Project, a Literary and Musical Creation, a Personal Reflection and an Encounter with the Others

Revista Musical Chilena, 2011
La Telésfora (1847), ópera en tres actos de Aquinas Ried, se ha instalado desde los trabajos de Eugenio Pereira Salas, como el primer drama lírico escrito en suelo chileno.
José Manuel Izquierdo König
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“Faust” by J. W. Gethe and A. H. Radziwill: Poetics and Issue of Musical Adaptation

Pitannâ Lìteraturoznavstva, 2018
The pinnacle of the Faust literary processing became the great Goethe’s embodiment. He created three versions of the plot. They are “Urfaust”, a well-known literature “Faust” and opera libretto of the same name.
Tatsiana Suprankova
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FROM CONCEPTION TO TEXT: PARADOXES OF INCOMPLETENESS (“POEM WITHOUT A HERO”, SKETCHES OF A BALLET LIBRETTO AND “PROSE ABOUT A POEM”)

Филологический класс, 2019
Three unfinished texts by Akhmatova (“Poem without a Hero”, sketches of a ballet libretto for “A Poem without a Hero” and “Prose about a Poem”) became the object of the paper. According to our hypothesis, these works go back to a primary idea, the traces
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„Melpomeny podrzucone dziecię” oraz „grand monstre”: Porównanie dramatycznej architektoniki dzieł Wojciecha Bogusławskiego «Herminia, czyli Amazonki» oraz «Izkahar, król Guaxary»

Pamiętnik Teatralny, 2017
The text approaches the problems of music-dramatic work of Wojciech Bogusławski in a new way by examining it from the standpoint of opera studies. The article analyses relations between opera libretto and melodrama in the work of the father of the Polish
Daniel Stachuła
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Le Henri VIII de Saint-Saëns : entre affirmation idéologique et liberté théâtrale

Revue LISA, 2011
A late example of French grand opera, Saint-Saëns’ Henri VIII (1883), a setting of the libretto by Léonce Détroyat and Armand Silvestre draws from Shakespeare’s and Fletcher’s Henry VIII as well as Calderón de la Bark’s La Cisma de Inglaterra.
Thierry Santurenne
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Konwencja lieto fine w «Ifigenii w Taurydzie» Glucka

Pamiętnik Teatralny, 2016
The convention of the happy ending in opera librettos, which had reigned supreme virtually since the beginnings of the genre until the rise of grand opera, was a result of theoretical reflection as much as of the preferences of the audiences.
Stefan Münch
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Page to Stage: A New Opera Howards End, America [PDF]

Polish Journal of English Studies, 2017
The author begins by describing her function as an opera librettist adapting a great work of literature, comparing it to that of a voltage transformer channeling and converting the energy of one dynamic, kinetic vehicle to that of another. She goes on to
Claudia Stevens
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“JANKO”, THE “FOLK OPERA” LISZT NEVER WROTE

Studia Universitatis Babeş-Bolyai. Musica, 2014
On the basis of his extant correspondence, Liszt planned composing an opera with Hungarian scenes and titled it Janko, der ungarische Rosshirt (Janko, the Hungarian horse-herder).
Mónika IVÁNYI-PAPP
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Malicious Dwarfs, Fair Nymphs, Heroic Gods. Application and Transformation of Germanic Mythology in Richard Wagner’s libretto «The Rhinegold»

Studia theodisca, 2012
According to Joachim Heinzle, the Nibelungensage represents the «most German among all German issues». The following essay seeks to analyze in how far the German composer Richard Wagner resorts either to a more traditional or to a more innovative ...
Martin Blawid
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