In order to understand a composer’s popularity one not only needs to analyse the circumstances and the composer’s works, but those pieces that provided the basis of the operas as well. Dent’s (1926) idea is that the melody of the music should follow the rhythm and pace of spoken English language. He also has a language requirement: an opera cannot become genuinely English if it is composed to foreign language. He emphasises that Purcell’s work needs to be studied; his works are in connection with the proper musical adaptation, since in Dent’s view Purcell was a master in following the rhythm of the language with the music. He even adds that the original story does not need to be written by an English author. In this chapter I am examining …show more content…
However, only the half of his sources are from English literature, the other half comes from American and German writers.
The source of Britten’s first opera, Peter Grimes, was The Borough, a narrative poem, by George Crabbe (White, 1983a). Crabbe was not only English, but came from the same part of Great Britain as Britten, which was Suffolk (White, 1983a). This close homeland was especially important for Britten; therefore not only the author’s Englishness suggested the choice, but the roots of Crabbe and the story’s location as well.
The Rape of Lucretia and Albert Herring seem to be exceptions: both stories come from French tales (Whittall, 1999). However, there is a significant difference between the two operas; the setting of The Rape was not converted to England, Albert Herring’s location was changed to England. There is one fact that could link The Rape to Great Britain. This fact is that Shakespeare wrote a poem on this theme; although, none of my sources support this idea. However, Britten showed an interest for Shakespeare’s works, and he composed his second grand opera of the story of A Midsummer Night’s Dream (Cooke,
…show more content…
It seems that it was more significant for him to choose works with original English text than works by English authors. Although, most of the instances he changed the plot in a way that it could take place in Great Britain. A reason for his language preference could be the fact that by choosing English texts he could use parts and pieces from the original text in the libretto, as he did in A Midsummer Night’s Dream (Milner, 1992). In this manner the opera libretto can become even more
Until the nineteenth century, music was generally regarded as an international language. Folk music had always been in place and linked directly with particular regions. On a larger scale though, European music was a device for expression through the application of Italian techniques and styles. In other words, its technical vocabulary was Italian, and from the time of the early baroque, European music, in general, had evolved its styles and technical devices from the developments of Italian composers. Furthermore, court opera was nearly always performed in Italian, whether in Dresden or in London, no matter who composed it or where it was performed. For example, in 1855, Queen Victoria suggested to Richard Wagner that he translate his opera Tannhauser into Italian so that it could secure a production in London. Thus, European music, regardless of where it was composed could be (and was) performed throughout Europe and understood through the common Italian commands, descriptions, and styles. It was unacceptable for most to compose in any other way. The international idea began to collapse in the early nineteenth century as embattled nations or nations subjugated by a foreign invader began to think of music as an expression of their own national identity, personality, or as a way of voicing national aspirations.
Since he published both Romeo and Juliet and A Midsummer’s Night Dream around the same time and chose to have the story of Pyramus and Thisbe in both, one could argue it was an intentional decision. He uses the story in Romeo and Juliet to show tragic events but also uses it in A Midsummer’s Night Dream to show how if the actors are not skilled, they are unable to effectively evoke the emotions of fear and pity in audience members, thus making it a comedic experience instead of a tragic one. The dichotomy created shows that skills are needed to be an actor and has helped to make it the respected profession that it is
Rosow, L 2009, Opera in Paris from Campra to Rameau, The Cambridge History of Eighteenth-Century Music, Simon Keefe, ed., Cambridge University Press, Cambridge.
For the musical composer essay, I have chosen to write about a man who I felt made the greatest impact on Romantic opera in the 19th century this master of a man was given the name Giuseppe Fortunio Francesco Verdi but was commonly known as Giuseppe Verdi by all who knew and loved him. This great man was born on either October 9, or 10 in the year 1813 in the community of Le Roncole, near a small town called Busseto in the province of Parma, Italy his astrological sign is that of a Libra. His mother and father were both of Italian descent and their names were Carlo and Luigia Verdi respectively. Now this is where it gets complicated Verdi told every person that talked to him about his background that his parents were illiterate peasants. Despite this lie that Verdi told them they later discovered that his parents were not illiterate peasants as he had claimed but were very smart individuals tha...
William Shakespeare wrote the play, A Midsummer Night's Dream, sometime in the 1590's. The play, a romantic comedy, portrays the adventures of four young lovers, an amateur actor's group, their interactions with a Duke and Duchess, and with fairies in a moonlit forest. Although Shakespeare used certain themes in this play to portray Greek aspects, the reflection of Elizabethan England is dominant in several different ways. Shakespeare's use of fairies, the way women are treated, and the use of a class system in this play are all perfect examples of how very Elizabethan this beloved tale actually is.
When I heard about an anthology written by Liverpool poets, I immediately decided to write this paper about it. I have been in love with the pop music and The Beatles since I was a young teenager. That is the reason why I thought that reading the poetry of the three authors that constitute the anthology The Mersey Sound (Adrian Henri, Roger McGough and Brian Patten) would be accessible and a pleasure for me.
This article contributed to my project by giving an example of the impact of Opera on the public, and the importance it had in Italy. The article was able to specify certain events that Opera was apart of, whether it was the cause or the victim of a punishment from the invaders. Not only that, but the article also explains the improvement of Opera after the French Revolution. This source is reliable, because it was an official journal that was written long ago and was digitized for the public.
This was an era that had lasted for decades and it varied with musical artists from all around the European countries such as England, France, Spain, etc. Many famous musicians that we know of today have originated from those areas. Purcell was one of those geniuses who had a talent, which was bound to be explored. This happened between the years 1600 to 1750. There were many famous composers such as Johann Sebastian Bach and Handel.
Opera in the Romantic Period was a time when opera changed drastically, especially in the country of Italy. The recognition of singers as being important, almost irreplaceable, in the art of “bel canto” opera changed the idea of a vocalist in opera forever. A singer’s voice was prized and Italian composers, like Rossini, Donizetti, and Bellini wrote operas and works to showcase the voice, it’s color, range and agility. These Italian composers were moving away from the normal style of composition of the time, and the composer Rossini, who set the stage for many other followers. Many of the operas written during this time are still performed today and are highly acclaimed. For the most part, before Italy became a main player, France and Germany were the main areas for music. These composer’s lives were extremely important in the development of the romantic period of opera and they really put Italy in the eye of the public for their amazing operas and musical styles.
The Classical era in music encompasses the latter half of the eighteenth century and the early decades of the nineteenth century. During this time, the rule of strong aristocrats continued through Europe. Louis XV presided over Versailles, while Frederick the Great ruled Prussia, Maria Theresa ruled Austria, and Catherine the Great ruled Russia. In such societies, the ruling class enjoyed its power through hereditary right, passed down from one generation to the next. At the same time, a new economic power was growing through the Industrial Revolution, which gathered momentum in the mid-eighteenth century through a series of important inventions. There were also significant advances in science and intellectual life during this time.
William Shakespeare was a really great play writer of his time, if not the best. Even till this day, he is considered one of the greatest of all time. This assumption can be proven to be true because of the many adaptations of Shakespeare’s plays throughout the years. When it comes to art in any form, especially if it’s really good, imitations are bound to exist. Not only do we see this with plays, but also we see this with movies, music, and even a style of painting. This is not necessarily a bad thing. Adaptations are not just simply copying an idea but taking the idea and making it their own through variations and revisions. In some cases, adaptations can be better than the original. The idea is taken and modified by adding some things that the original artist might have missed. More or less, Akira Kurosawa, a famous Japanese author, took adaptations from Shakespeare into his own works. One adaptation in particular is one of his films, Throne of Blood, which is an adaptation of Shakespeare’s Macbeth.
I think it's interesting that Haydn's audience wanted to listen to music in Italian despite it not being their native language. I'm guessing the audience didn't actually understand what the song was talking about, but they just enjoyed the sound of it. It makes sense for the musicians to want to make their music in Italian because it would become popular and generate a bigger audience. I wonder if Italian librettos was just a trend at the time similar to how we have trends in music nowadays? You made such a great
Phantom of the Opera is the longest running musical to date, as it has been touring non-stop for 28 years. Phantom is known as being a tremendously heart wrenching performance that centers around a love triangle and angst. The love triangle involves Christine Daae, Raoul, and the Phantom, who is also known as Erik. Christine came to the Opera Populaire as a young child where she grew up mastering the arts when her father passed. The Phantom was a man deformed at birth and was shown in a freak show until he eventually ran away as child and found shelter in the lake beneath the Opera House, where he found Christine and became captivated with her. Raoul, who was once a childhood friend, became a benefactor of the Opera House where he sees Christine
This essay will seek to explore how far literature of the time subscribes to the view in The Beggar’s Opera – ‘O London is a Fine Town’. In order to do this, the essay will examine ‘London’ by William Blake, ‘Tintern Abbey’ and ‘Composed upon Westmisnster bridge by Wordsworth and Oliver Twist by Dickens.
It is harder to imagine a more universal writer than William Shakespeare. Rarely if ever is one of his many plays not being performed somewhere in the world and similarly rare is the tertiary English student who has not examined his work at length. His plays, sonnets and poems are common fodder for high school English departments across the globe.