Introduction. On Analyzing Opera

Abbate, Carolyn; Parker, Roger

doi:10.1525/9780520310810-003

Cited by 9 publications

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“…In both examples, the opera object is a performed artefact that is intrinsically tied to all artists who contributed to the 'work' performance creation, and that operates with a different set of power relations than those proposed by Goehr. New contemporary methods of creating opera challenge the very nature of opera creation and the 'sacred object' (Abbate & Parker, 2015) of the opera artefact embodied solely in the score. Evolving practice-led research challenges the ways in which spaces for creative practice are constructed, as well as the essential roles of all artists -performers, directors, designers, composers and librettists -in the making and performing of operatic works.…”

Section: Australian-born Vocalist Jessicamentioning

confidence: 99%

Alternative Forms and Approaches to Operatic Practice in Australia

Blackwood

2023

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This timely research presents an excerpt of my analysis of opera and operatic practice in Australia in 2021. The aim of the broader research is to interrogate the sustainability, viability and evolution of the Australian operatic field. Situated during the globally recognised Coronavirus pandemic era, this qualitative research project was conducted over the period 2018–2021. The fieldwork component of the research is an investigation conducted through long-form interviews with a selection of the central figures in the operatic field in Australia today. This excerpt is from Chapter 8, Part III Stories We Tell: Making and Staging Opera in Australia. I examine how and why repertoire opera is being reframed, and who is taking the lead in this reframing, juxtaposed with the personal and societal cost of performing unexamined extant opera works and perpetuating the ‘opera gaze’. The vision and division of the operatic field is deconstructed in an exploration of contemporary Australian opera and contemporary practices, fictional ritual spaces, and explorations of gender, Aboriginal opera and decolonising the postcolonial operatic lens.

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Section: Australian-born Vocalist Jessicamentioning

confidence: 99%

Alternative Forms and Approaches to Operatic Practice in Australia

Blackwood

2023

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“…The judgement of Abbate and Parker might stand for this relationship:These political upheavals ushered in a period commonly called the “Restoration,” which is usually seen as a misguided (or at least unsuccessful) attempt to quash the threat of renewed revolution by reinstating the eighteenth-century status quo … there is no doubt both for us and for audiences of the time, that the operatic Restoration period was inescapably characterized by Rossini. (Abbate and Parker, 2012: 188–189)…”

Section: Some Theoretical Considerationsmentioning

confidence: 99%

Bel canto among the barricades: Rossini, his music, and history

Tristano

2022

Forum Italicum: A Journal of Italian Studies

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Rossini is often historicized by placing him in the context of the Restoration period (1815–1848). This article uses a historical methodology to examine that assumption in order to propose new insights into Rossini, his music, and his place in Italian history, culture, and opera. Rossini's experience shows how one of the great cultural icons of the Ottocento navigated the vicissitudes of one of Italy's most tumultuous centuries. The history is in dialogue with musicological research, especially by analyzing what listeners heard in his music. His music evoked strong binaries, the opposition of German and Italian music, which is sometimes identified with teleological history, here the tendency to manipulate the musical past for some more present purpose, for example, forcing Rossini into a nationalist narrative. Noting its dangers, this study expands the context in terms of time, by considering Rossini's entire career subject to historical categories, not only the Restoration but also the Risorgimento, the French Second Empire, and especially the often-overlooked Bologna period, and Rossini's relationship to politics. It also enlarges the sources consulted to include some of his minor works, for example his Messa di Gloria (1820), Cantata in onore del Sommo Pontefice Pio Nono (1847), and Hymn à Napoleon III (1867). Finally, the study also examines how Rossini developed his own historical consciousness amid his alienation from both the 19th-century and Italian opera in particular.

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“…Why Mediterranean sea travel (Tempest, L'Amour)?," they ask, suggesting that "perhaps timelessness is alluring because there remains some pervasive uneasiness about opera's fragile position in contemporary culture." 13…”

Section: [Insert Figure 2 Around Here]mentioning

confidence: 99%

Vocal Philologies: Written on Skin and the Troubadours

Dillon

2017

The Opera Quarterly

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Introduction. On Analyzing Opera

Cited by 9 publications

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Alternative Forms and Approaches to Operatic Practice in Australia

Alternative Forms and Approaches to Operatic Practice in Australia

Bel canto among the barricades: Rossini, his music, and history

Vocal Philologies: Written on Skin and the Troubadours

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