La traviata

2001 ◽  
pp. 404-411
Author(s):  
Hans-Joachim Wagner
Keyword(s):  
La Traviata

La Traviata Affair

2018 ◽  
Author(s):  
Hilde Roos
Keyword(s):  
South Africa ◽  
Racial Boundaries ◽  
Cultural Organization ◽  
Colored People ◽  
Art Forms ◽  
Group A ◽  
La Traviata ◽  
Apartheid Regime ◽  
Opera Production ◽  
The Way

Opera, race, and politics during apartheid South Africa form the foundation of this historiographic work on the Eoan Group, a so-called colored cultural organization that performed opera in the Cape. The La Traviata Affair: Opera in the Time of Apartheid charts Eoan’s opera activities from its inception in 1933 until the cessation of its work by 1980. By accepting funding from the apartheid government and adhering to apartheid conditions, the group, in time, became politically compromised, resulting in the rejection of the group by their own community and the cessation of opera production. However, their unquestioned acceptance of and commitment to the art of opera lead to the most extraordinary of performance trajectories. During apartheid, the Eoan Group provided a space for colored people to perform Western classical art forms in an environment that potentially transgressed racial boundaries and challenged perceptions of racial exclusivity in the genre of opera. This highly significant endeavor and the way it was thwarted at the hands of the apartheid regime is the story that unfolds in this book.

„LA TRAVIATA“ IN DER STAATSOPER

1972 ◽  
Vol 27 (JG) ◽  
Author(s):  
Rudolf Klein
Keyword(s):  
La Traviata

scholarly journals El espacio escénico en la nueva normalidad del Covid-19. Análisis gráfico de los montajes contemporáneos de La Traviata en el Teatro Real de Madrid

2021 ◽  
Vol 26 (43) ◽  
pp. 236-247
Author(s):  
Juan José González Ferrero ◽  
Manuel Blanco Lage ◽  
María-Elia Gutiérrez-Mozo
Keyword(s):  
El Paso ◽  
La Traviata

En la ópera, drama musical, la acción se sitúa gracias a las descripciones de los distintos espacios que aparecen en el texto, pero ¿qué sucede cuando se representa sobre el escenario? Estas indicaciones sirven para entender las intenciones del compositor en su época, sin embargo, con el paso del tiempo, constituyen una guía para que un equipo artístico adapte, en cada momento, el espacio escénico en relación a la pieza musical, interpretándolo. La concepción de este espacio se ha visto obligada a cambiar debido a la normativa impuesta por el COVID-19, entonces ¿qué sucede cuando se imponen unas restricciones concretas? El Teatro Real de Madrid ha sido la primera institución en dar una posible respuesta con la representación de una nueva Traviata. A través del análisis gráfico y la comparación entre las distintas adaptaciones de la obra en la segunda etapa del Teatro Real, se quiere evidenciar la actualidad del espíritu de esta obra verdiana.

Genre and content in mid-century Verdi: ‘Addio, del passato’ (La traviata, Act III)

1989 ◽  
Vol 1 (3) ◽  
pp. 249-276 ◽  
Author(s):  
James A. Hepokoski
Keyword(s):  
Important Work ◽  
Work Of Art ◽  
Standard Practice ◽  
Artistic Production ◽  
Italian Opera ◽  
Structural Types ◽  
Historical Progress ◽  
Theodor Adorno ◽  
La Traviata

In the attempt to construct the ‘story’ of post-Rossinian Italian opera it has been standard practice to identify as the central plot the dissolution of traditional structural types and genres. The charting of those musical ‘facts’ that illustrate this dissolution is a familiar musicological endeavour, and there remains a persistent temptation not merely to notice the ever-weakening pull of convention but also to identify it with the notion of ‘historical progress’: a move towards the mature virtues of dramatic complexity, idiosyncrasy and flexibility. Considerations of established conventions and their modifications tend to encourage anti-generic evaluative positions, judgements which are then bolstered by appealing to influential aesthetic systems. Thus Benedetto Croce: ‘Every true work of art has violated some established kind and upset the ideas of the critics’. Or Theodor Adorno: ‘Actually, there may never have been an important work that corresponded to its genre in all respects’. Or Hans Robert Jauss: ‘The more stereotypically a text repeats the generic, the more inferior is its artistic character and its degree of historicity […]. A masterwork is definable in terms of an alteration of the horizon of the genre that is as unexpected as it is enriching’? So bewitching is this image of genre dissolution that artistic production is often assessed by the degree to which it rebels against the idées reçues of tradition or encourages the momentum of the ‘historically inevitable’.

Structure of the Vocal Discourse of the Character Leonora From the Opera "Il trovatore" by Giuseppe Verdi

2021 ◽  
Vol 66 (1) ◽  
pp. 273-283
Author(s):  
Edith Georgiana Adetu
Keyword(s):  
Stylistic Analysis ◽  
Giuseppe Verdi ◽  
History Of ◽  
La Traviata

"The opera ""Il Trovatore"" crowns the famous Verdi trilogy (”Rigoletto”, ”Il Trovatore”, ”La Traviata”) leaving as a legacy in the history of lyrical theatre vocal archetypes relevant to the Italian romantic opera. This research aims at the formal and stylistic analysis of the vocal discourse of the character Leonora, considering the solo moments and outstanding overall moments, attributed to the role. In carrying out this approach we will highlight the vocal peculiarities of the character, as well as relevant technical and interpretive aspects. In essence, the research represents a correlation between the structure of the moments that make up the vocal discourse and the nature of the character’s Verdi vocality, Leonora’s role summing up various technical and interpretive requirements. Keywords: Verdi, Il Trovatore, Leonora, Structure, Discourse, Vocality "

4. Im Zenit des Erfolgs: Rigoletto, Il trovatore und La traviata

Verdis Opern ◽  
2013 ◽  
pp. 42-60
Author(s):  
Sabine Henze-Döhring
Keyword(s):  
La Traviata

Truffles and Radishes, Food and Wine at the Opera

2013 ◽  
Author(s):  
Fred Plotkin
Keyword(s):  
Giuseppe Verdi ◽  
Italian Opera ◽  
Real Place ◽  
The World ◽  
La Traviata ◽  
Title Character

“It’s raining truffles, radishes and fennels,” says Sir John Falstaff, the richly humane and deeply funny title character of Giuseppe Verdi’s final masterpiece. While there are many ways that food, wine and other libations have been used in opera, somehow this line best captures both the grandeur and common touch that opera and gastronomy possess. For every rare and fragrant truffle, there are plenty of common but no less essential radishes and fennels, all of which have their metaphorical place in opera and real place in cookery. Giuseppe Verdi (1813-1901) was probably the most important Italian creative artist since the Renaissance. Not only was he the foremost composer of Italian opera and, for many, the greatest opera composer of all, but he was a knowledgeable gastronome and farmer as well. His most famous operas include tragedies and dramas such as Rigoletto, Il Trovatore, La Traviata, Aïda and Otello, but it was in his last work, the human comedy Falstaff, that he achieved his fullest expression of a philosophy that believes ‘All the world is a joke and man is born a clown.’

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