Diva Poses by Anna Netrebko: On the Perception of the Extraordinary in the Twenty-First Century

Risi, Clemens

doi:10.1017/cbo9781139031240.011

Cited by 3 publications

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“…With the growth of available recordings, however, all the styles tended to merge and homogenise, and he interprets this to be due to the influence of the recording industry, in that the artists' own musical styles were being influenced by the recordings of other artists they had heard. 21 Recognising this effect of the recording industry, he also found a noticeable change in this relatively 'homogenised' stylistic fashion after the Second World War. 'One thing that recording has undoubtedly caused [...] is a trend towards the literal performance of scores.…”

Section: The Commodification Of Vocalitymentioning

confidence: 98%

“…20 Anna Fishzon, Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Siècle Russia (Palgrave Macmillan, 2013), 144. 21 Daniel Leech-Wilkinson, 'The Changing Sound of Music: Approaches to Studying Recorded Musical Performance ', London: CHARM, 2009, para. 44, www.charm.kcl.ac.uk/studies/chapter/chap4.html.…”

Section: The Commodification Of Vocalitymentioning

confidence: 99%

“…20 She sang this aria numerous times in concert, however, and videos of her performing it in Hamburg and at Covent Garden in London, both from 1962, remain popular online. 21 These seem to have been the models used for the video but in fact even when only viewed on a computer screen the original film clips are so much more engaging than the hologram version.…”

Section: The Ghost Of Maria Callasmentioning

confidence: 99%

“…In her book Opera for Lovers Te Kanawa reveals her admiration for Callas's expressive vocal quality, naming the 'Callas-sound' as 'one of the wonders of opera'. 21 Te Kanawa presumably did attempt to emulate this sound at some stage, as she continues 'Never have I been able to put that particular Callas quality into my voice.' If one had to place her on either side of the Callas-Tebaldi dichotomy built up during the late 1950s by their fans and amplified by the press, it would seem logical to align her artistic approach with that of Tebaldi.…”

Section: Callas or Tebaldi: Influencesmentioning

confidence: 99%

“…The first of these he characterises as the 'erotic, seductive, provocative woman', as in the staging by Willy Decker of La Traviata for the 2005 Salzburg Festival, and the second as the 'girlnext-door' image. 21 In fact, the 'girl-next-door' image seems to have been set up by Netrebko herself when she was seen cycling through Salzburg after her success as Donna Anna, thereby initiating a new image of the 'un-diva' which the media eagerly promulgated. 22 Her willingness to connect socially with the public, rather than retreat from the general populace, has certainly been a deviation from the standard 'style' of the opera diva, and her use of social media, including her Facebook page ('Anna Netrebko') which she seems to operate herself, or at least engage with regularly, has added to this aspect of her public 'face'.…”

Section: The Staging Of Stardommentioning

confidence: 99%

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From Callas To Netrebko: Diva power, vocality, and the mediatisation of the operatic voice

Wollerman¹

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<p>Maria Callas’s fame as an opera star in the 1950s is still recognised today, and, for many, her name is synonymous with the modern concept of the opera ‘diva’. The increasing diversity of mediatised forms of operatic performances since her time has altered the way audiences engage with the art form. This has implications for singers in terms of values around vocality, authorship and power, and, in particular, the agency of singers in creating the meaningful, affective, and distinctively personal vocal tone that opera calls for. I suggest that for “divas” as defined by twentieth- and twenty-first century global stardom, power is amassed at least in part through particular ways in which they make use of their vocality or vocal timbre, and the way they manage their voices’ presentation in the mediatised versions of their performances. The recent turn towards a performative focus in musicology encourages the investigation of such aspects of performance. While authorship remains central in the consideration of performance, the contribution of the singer to the authorial and creative process has tended to be ignored, and at times the singer’s work has been regarded as servile to the point of nullification. A critical examination of scholarly writings around operatic performance, with reference to those of diva, voice, and stardom studies, forms the foundation of my study. In case studies of Callas and two later divas, Kiri Te Kanawa and Anna Netrebko, I examine the individual vocality of each singer, their interaction with the forms of mediatisation of their time, their position in the continuum of vocal fashion and influence, and the function of all of these factors in relation to perceptions of creative agency. My study investigates these issues from the standpoint of a singer, and it provides insights into the singer’s processes around the creation of vocality. It offers a new perspective through a fine-tuned analysis of vocal production, which reconnects perceptions of specific timbres with explicitly defined techniques for their production. Through this dissertation I show how signature vocality works: how it is created and managed by these divas, and how the mediatisation of vocality affects perceptions of their power as performers.</p>

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Section: The Commodification Of Vocalitymentioning

confidence: 98%

Section: The Commodification Of Vocalitymentioning

confidence: 99%

Section: The Ghost Of Maria Callasmentioning

confidence: 99%

Section: Callas or Tebaldi: Influencesmentioning

confidence: 99%

Section: The Staging Of Stardommentioning

confidence: 99%

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From Callas To Netrebko: Diva power, vocality, and the mediatisation of the operatic voice

Wollerman¹

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The Phenomenal Side of the Operatic Performance: Implications of Promotion Strategies on Cinematic Representations of the 21st Century

Pontara

2021

Open Library of Humanities

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During the last decades, scholars have paid increasing attention to how cinema deals with traditional aesthetic values in its representation of opera. This research shows that contemporary cinema both manifests and challenges conceptions of opera anchored in romantic-modernist ideals. Recent film, however, also reveals an intriguing complexity surrounding conceptions of opera through the way in which it reflects promotion strategies of the classical music industry. This article draws attention to promotions of singers and opera music found in recent cinema that contribute to juxtapositions of different conceptions of opera. By letting operatic performances have a particular impact on fictional listeners and their ensuing actions, films associate opera with ideals belonging to a romantic-modernist discourse. However, they let this impact emanate from a way of performing opera that stands in contradiction to these same ideals. Discussing some central scenes from three recent films, I argue that the films’ displays of singers and opera music in this way remodels romantic-modernist discourses.

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Metanarratives and Storytelling in Contemporary Mainstream Popular Music: Romeo and Juliet in the Making of the Star Persona

Viñuela

2020

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This article analyzes how mainstream artists respond to the dynamics of online fan communities, developing complex metanarratives that interrelate their songs and music videos with their “personal” activity on social media. Audiences analyze in depth and discuss each release, contributing to its viralization on the internet. However, these strategies need strong narratives that allow convincing developments and transmedia storytelling, and this is where literature becomes a significant source of inspiration. I argue that the assumption (or subversion) of popular literary characters and narratives contributes to a positioning of artists in the music scene and facilitates their “reading” by the audience. To illustrate this process, I analyze the references to Romeo and Juliet by mainstream pop artists in the last decade, paying special attention to Troye Sivan’s debut album Blue Neighborhood (2015), considered a homosexual version of Shakespeare’s drama, and to Halsey’s concept album Hopeless Fountain Kingdom (2017), understood as a queer version of the play. Both artists explained their personal reading of Shakespeare’s drama as a way of expressing their own feelings and experiences. These examples of metanarrative storytelling achieved their aim, and millions of fans engaged with both artists, discussing lyrics, photos and music videos related to Romeo and Juliet on social media.

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Diva Poses by Anna Netrebko: On the Perception of the Extraordinary in the Twenty-First Century

Cited by 3 publications

References 0 publications

From Callas To Netrebko: Diva power, vocality, and the mediatisation of the operatic voice

From Callas To Netrebko: Diva power, vocality, and the mediatisation of the operatic voice

The Phenomenal Side of the Operatic Performance: Implications of Promotion Strategies on Cinematic Representations of the 21st Century

Metanarratives and Storytelling in Contemporary Mainstream Popular Music: Romeo and Juliet in the Making of the Star Persona

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