Introduction: Of Modern Operatic Mythologies and Technologies

Henson, Karen

doi:10.1017/cbo9781139031240.002

Cited by 2 publications

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“…As Karen Henson has noted, following Philip Auslander, the basic notion of opera's essence "being live and technologically unmediated singing" is a historical by-product of the mediatization of performance events and the advent of recordings, "for one cannot have an ideal of unmediated singing unless one is in a profoundly technological environment." 32 The listening practices of Milliard-City's music lovers, however, are many and varied. While sailing the Pacific Ocean, the billionaires regularly attend the concert hall of the boat, listening to operas that are being performed live in European and American opera houses via a cutting edge théâtrophone.…”

Section: Sound Stage Screen 2022/2mentioning

confidence: 99%

Opera, Audio Technologies, and Audience Practices in the Late Nineteenth Century

Palazzetti

2023

SSS

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This article analyzes several novels and short stories by Jules Verne devoted to opera, audio technologies, and audience practices. This portion of Verne’s output is particularly thought-provoking for the cultural history of recording technologies, technologically-influenced listening practices, audience behavior, and music fandom. As often in Verne, the exploration of art worlds is connected with the exploration of technological inventions, such as recording and broadcast technologies. This article focuses in particular on L’Île à hélice (1895) and Le Château des Carpathes (1892). These novels are linked to their wider cultural, social, and technological contexts as well as to recent theoretical frameworks developed in the field of opera studies, sound studies, media studies, fan studies, the cultural history of technology, and Verne studies. The aim of the article is to shed light on the genesis of the relation between operatic audiences and audio technologies through a survey of Jules Verne’s visionary and imaginative narratives.

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Section: Sound Stage Screen 2022/2mentioning

confidence: 99%

Opera, Audio Technologies, and Audience Practices in the Late Nineteenth Century

Palazzetti

2023

SSS

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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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Introduction: Of Modern Operatic Mythologies and Technologies

Cited by 2 publications

References 0 publications

Opera, Audio Technologies, and Audience Practices in the Late Nineteenth Century

Opera, Audio Technologies, and Audience Practices in the Late Nineteenth Century

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

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