The fascination with exoticism was more and more prevalent within romantic compositions as there was an increased yearning for far off lands within the composer’s imagination. ‘Composers of such works were not terribly interested in authenticity; their primary concern was to create a picturesque atmosphere that would appeal to audiences.’(Machlis p.190) Bizet romanticized gypsy culture in his opera and through the character, ‘Carmen’. The libretto gives off ideas in relation to the emerging theme of ‘naturalism’, where much focus was given to the working class and their suffering. Carmen and the other gypsies don’t have that middle class virtue. ‘But they are seen against the exotic allure of Spain and Bizet’s music invests them with a human dignity.’ (Machlis192) In much of the art, music and literature of the 19th century the female gypsy, in particular was characterized and stereotyped as free-spirited, strong, deviant, demanding, sexually arousing, alluring and dismissive. This romantic construct of the Gypsy woman may be viewed as completely opposite to the proper, controlled and chaste, submissive woman held as the Victorian, European ideal. These descriptions are likened to the characters of Carmen in contrast to Micaela. ‘Carmen’ is all about women, especially women with exotic qualities who challenge the traditional morale. The women in ‘Carmen’ are seen not as passive but as active players in the social game. Carmen forever sings about freedom and love with no limits. ‘The freedom to travel, the freedom to exist – Carmen fights for the right to live.’(Feminist endings) The oriental fascination with the forbidden and taboo world of the gypsy other in music is characterized by the spontaneous dance-like rhythms, melodies and orchestration. Carmen’s most famous aria, ‘Habanera’ in which she tells of her conception of love, is a borrowed Cuban dance form, from Havana exhibiting Spanish flounces and likened to the ‘Tango’ dance style. The duple metre slow dance, lined with graceful dotted rhythms involves a lot of body movement and expression, characteristic of the gypsy. ‘Seguidilla’ also demonstrates the importance of dance to the gypsy culture, set in a typical ¾ rhythm and sung to a poetic verse form. The combination of guitar-like accompaniment, pizzicato on the strings laced with ornaments and triplets, gives the piece character and cheek, as Carmen taunts Don Jose to fall for her charms. The accelerating gypsy dance opening Act 2 uses dissonances and sliding harmonies, creating that colour and richness typical of the exotic influence.
Bizet’s use of exoticism within the opera directly correlates to Carmen’s exotic characteristics and lack of morality. His exoticism portrays characteristics from the “Spanish” or “Gypsy” cultures. A prime example is the “Habanera” Aria (one of the most famous and recognizable melodies from the opera) which is a dance song borrowed from the Cuban culture. During this time Gypsies were associated with a lack of morality as they were stereotyped to have a disr...
Tobias, T. (2008, July 7). Mark Morris Rethinks Prokofiev's `Romeo' as Lusty, Gender Bending, Not Tragic. Retrieved February 27, 2010, from Seeing Things: Tobi Tobias on Dance et al.: http://www.artsjournal.com/tobias/2008/07/mark_morris_rethinks_prokofiev.html
It holds such power over captives and captors alike that they cannot help but feel enamoured to the life it brings. Cesar especially feels the beauty of music “Oh, how he loved to hear the words in his mouth… It didn't matter that he didn't understand the language, he knew what it meant. The words and music fused together and became a part of him” and through music, he discovers his latent talent for singing (224). Based only on Roxanne’s previous arias, Cesar’s potential is outstandingly bright when he sings for the first time without any training whatsoever. Not only do the others learn to appreciate his gift, but Roxanne herself recognizes how promising he is or she would not have bothered to waste her time tutoring him. Beforehand, Cesar is nothing remarkable, just another one of the terrorists who detains them, but the opera transforms him into a separate person. Like the mansion enveloped in the garua, Cesar is heavily shrouded by serious self-esteem issues and fear, but after his breakthrough, his worries suddenly disappear and his life becomes a reservoir of joy. If “life, true life, was something stored in music”, then Cesar has lived a deprived life; his passion for music was just unfolding, but fate robs the world of who “was meant to be the greatest singer of his time” (5,
Grande introduces to the audience various characters that cross Juana 's path to either alter or assist her on her journey to find her father. Through those individuals, Grande offers a strong comparison of female characters who follow the norms, versus those that challenge gender roles that
...lm of curanderismo can be misconstrued due to the ideas and images set upon by another culture. Many of the stereotypes that the author Avila mentions in her book, such as “a folkway” (p.4) and “the devil’s work” (p.5), are said to originate from the dominating culture that tried to paint these traditional practices in a bad light in order for the conquered people to practice the traditions of the dominating culture. An example of this can be drawn from the early attempts to push the dominance of the Catholic Church onto many of the natives, forcing them to assimilate and forget about their ancestral roots. Instead of this choice of either or, the idea of black or white, Elena and La Malinche reveal a choice of gray, one in which all of the choices are meshed together not in order to avoid one culture or the other, but to better and broaden their cultural horizons.
Christmas and Opera did not merely seem to correlate, but understanding where the two events derived from can help one to understand the similarities and differences between them. The development of Christmas was different from the creation of opera because the working class was controlling the other social classes for profit. Whereas for opera, the different social classes unified to keep opera as entertainment and not a social event. Another difference came within the writing and context throughout the article and the presentation of information conveyed by the author. Yet the events share the similarity of both being refined and reinvented.
For a first example of stereotypes, In “The Myth of the Latin Woman,” Judith Ortiz Cofer writes about the many stereotypes that she, as a Puerto Rican woman, has endured. She opens with a tale of how she had been publicly serenaded—on a London bus, of all places—by, as Cofer puts it, “a young man, obviously fresh from a pub” (187). Later on, she mentions a second random serenade of sorts, this time from a older man in a classy metropolitan hotel. The young man sang “Maria” from West Side Story, the older man first chose a song from Evita, then encored with a crudely-worded song to the tune of “La Bamba.” In both situations, whether it was their intention or not, their actions resulted in alienation of the author, singling her out and thrusting the stereotypes of her lineage in her face. The men may have meant well; they may have felt that what they were doing was good-hearted fun. They may have even been trying to...
...loss of their friendship but of a man who was both an idol and kindred spirit. In the space Wagner left, Bizet was able to root himself by planting his music. It had roots; it was real and based on experience in that it allowed the audience to brings theirs to the theatre. Where Wagnerian theatre told the audience what to feel, Carmen just told them to feel. It asked the audience to overcome its imperfections, to evaluate why they liked it, what it made them feel. Parsifal made them feel till they believed. Bizet was more appropriate for small theatres in that he only sought to produce the best thing that he could; what was his best over the best. That is the realm of Wagner, and in order to compose the greatest, most popular opera one has to pander to the masses. Those rabble which Nietzsche says are afflicted by the illness of Christianity, morality and decadence.
...e two main forms of Zarzuelo, the Baroque and romantic Zarzuela. The masque-like musical theatre had existed in Spain since the era of Juan del Encina, the genre was giving dramatic function to the musical numbers and choruses were incorporated as well. In 1657 at the Royal Palace of El Prado, King Phili IV of Spain and Queen Mariana attended the first performance of a new comedy by Pedro Calderon de la Barca. The golden age of zarzuela lasted under two decades from the 1920s and 30s. During this period, venues in La Habana hosted a number of production theater shows. Cuban zarzuela played a major role in the development of Cuban identities
To help me understand and analyze a different culture, I watched the film Selena. The film tells the life story of the famous singer Selena Quintanilla-Pérez. Not only does it just tell personal stories from her life, it also gives insight to the Mexican-American culture. Her whole life she lived in the United States, specifically in Texas, but was Hispanic and because of that both her and her family faced more struggles than white singers on the climb to her success. Even though the film is a story about a specific person, it brought understanding into the culture in which she lived. Keeping in mind that these ideas that I drew about the Mexican-American culture is very broad and do not apply to every single person in the culture, there were very obvious differences in their culture and the one that I belong. Mexican-American culture identifies with their family rather than individualized or spiritual identities and the culture has gone through significant changes because of discrimination and the changing demographics of the United States.
Folklore is a collection of stories passed down from generation to generation that includes Legends, Myths and Fairy tales. Legends are a semi-true story, which has been passed on from a person to another person that has an important meaning. Myths are a traditional story, especially one concerning the early history of a people or explaining some natural or social phenomenon. A Fairytale is a children's story about magical which they have imaginary beings and lands. Hispanic Folklore is the traditional is mostly about beliefs, legends, customs and stories of the community of the hispanic culture. Hispanic or latino culture encompasses the traditions, language, religious beliefs and practices, legends, music and history.
With the Romantic era taking a foothold in the nineteenth century, the rise of the German opera was nourished with the rise of nationalism in music. Due to the comparative nature of the German language versus the Italian language, early German language operas were imitative but could not effectively compete with Italian language operas. “Traditional operatic singing was a function, an outgrowth of the Italian language, the nature of its vowels, and consonants, and its ability to sustain melisma. As long as German language opera attempted to compete with Italian opera on its own artistic turf without one embracing the unique character of German language vocal music and two, by employing plot elements that would somehow distinguish it from
The reputations of Maria Callas and Madonna as divas have both been earned for different reasons and yet, both can easily place their titles next to each other. All their musical performances have and are adapted to suit the public eye and sheltered by each singer’s creative influence, in order to improve their labels as divas. √ you give your reader a sense of the discussion that will follow, which is good.
In 1922, one of Spain’s greatest writers organized the “Concurso de Cante Jondo”, a music festival. They did this to stimulate interest in the different styles of flamenco and other dancing. They were falling to oblivion as they were regarded commercial and, therefore not appropriate for cafés. This led to the “Theatrical Period” (1892-1956) also known as “Flamenco Opera”. The café cantantes were replaced by larger venues; this affected flamenco a lot and became very popular, but also caused it to fall into commercialism. A new type of flamenco dancing was born. This period has been considered a time of complete untraditional dancing.
Through the personalities and narrative of Angela and her fiance Bayardo, the author introduces the foundation and builds the understanding of the Columbian sense of the machismo and the marianismo. Machismo is defined as strong or aggressive masculine pride, where men are allowed to have different partners. Women, on the other hand, are only allowed to have one partner and it cannot be outside of the marriage; it’s also a way for men to express their dominance over the women. For example, it was said that “No one would of thought, nor did anyone say, that Angela Vicario wasn’t a virgin… ‘The only thing I [Angela Vicario] prayed to God for was to give me the courage to kill myself’’’ (Marquez 37). This clearly tells the reader that Angela had failed to fulfill her culture 's expectation, because “no one” would 've thought that she “wasn’t a virgin” and now she is living in fear, similar to living beside a bomb, because you have no idea when the bomb is going to explode. She tried to pray for “courage” in order to kill herself because she knew when her family find out about the truth, either she or the man who took her virginity would end up dead. On the other hand, it was said that “...Bayardo San Roman was going to marry whomever he chose...‘love can be learned too.’”(Marquez 34). This quote serves as an example of the power and choice that an upper