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 "

Grand Illusion

2020 ◽  
Author(s):  
Gabriela Cruz
Keyword(s):  
Karl Marx ◽  
Walter Benjamin ◽  
Richard Wagner ◽  
Giuseppe Verdi ◽  
Theodor Adorno ◽  
Tristan Und Isolde ◽  
Giacomo Meyerbeer ◽  
History Of ◽  
Grand Opera ◽  
Philosophical Understanding

Grand Illusion is a new history of grand opera as an art of illusion facilitated by the introduction of gaslight illumination at the Académie Royale de Musique (Paris) in the 1820s. It contends that gas lighting and the technologies of illusion used in the theater after the 1820s spurred the development of a new lyrical art, attentive to the conditions of darkness and radiance, and inspired by the model of phantasmagoria. Karl Marx, Walter Benjamin, and Theodor Adorno have used the concept of phantasmagoria to arrive at a philosophical understanding of modern life as total spectacle, in which the appearance of things supplants their reality. The book argues that the Académie became an early laboratory for this historical process of commodification, for the transformation of opera into an audio-visual spectacle delivering dream-like images. It shows that this transformation began in Paris and then defined opera after the mid-century. In the hands of Giacomo Meyerbeer (Robert le diable, L’Africaine), Richard Wagner (Der fliegende Holländer, Lohengrin, and Tristan und Isolde), and Giuseppe Verdi (Aida), opera became an expanded form of phantasmagoria.

The history of construction of St. Petersburg museums in the time of Nicholas II

2020 ◽  
Vol 2020 (12-2) ◽  
pp. 60-68
Author(s):  
Marina Deveykis
Keyword(s):  
Cultural Heritage ◽  
Spiritual Development ◽  
Stylistic Analysis ◽  
Museum Architecture ◽  
Architectural Styles ◽  
Important Region ◽  
History Of Construction ◽  
History Of ◽  
First Time

The topic is relevant, since the museum, having become a civilization achievement, has been serving the spiritual development of society for over three centuries and preserving St. Petersburg’s cultural heritage. The article considers the peculiarities of building museums in the most important region of the country, different architectural styles of museum buildings, for the first time the grouping of all created museums of St. Petersburg from 1894 to 1917 in accordance with the areas of museum architecture was carried out, the problems faced by architects in designing museum buildings of each group were highlighted, the degree of dependence between museum founders and types of buildings was determined. The methods of historicism, artistic and stylistic analysis and systematization were used in the research.

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.’

Some Reflections on Gloriana

Tempo ◽  
1953 ◽  
pp. 16-21 ◽  
Author(s):  
John W. Klein
Keyword(s):  
Common Sense ◽  
Artistic Integrity ◽  
History Of ◽  
La Traviata ◽  
Vincent D'indy

Occasionally, in the history of operatic art, great works, with no pronounced revolutionary tendencies, yet models of simplicity, of sincerity, of artistic integrity, have been subjected to the most savage criticism, as unintelligent as it was undiscerning. We remain astounded at the lack of insight, of common-sense on the part of cultured critics. Even la Traviata was held up for censure as “prurient, foul and hideous”; whereas, in the whole of Verdi's work, there is nothing more poignant and sublime than Violetta's appeal: “Dite alia giovane.” Carmen was stigmatized as “grossly vulgar and vile,” whilst Vincent d'Indy—amazed at the aberrations of men—sadly remarked that the “music seemed crazy to nearly everybody.”

Marble relief ‘Nero and Armenia’ from the Sebasteion at aPhrodisias in Caria (Asia Minor)

Światowit ◽  
2019 ◽  
Vol 57 ◽  
pp. 185-206
Author(s):  
Hasmik Z. Markaryan
Keyword(s):  
Comparative Analysis ◽  
Historical Study ◽  
Asia Minor ◽  
Stylistic Analysis ◽  
Temple Complex ◽  
History Of ◽  
Imperial Art ◽  
The Temple

The article is devoted to an artistic and historical study of a marble relief with a symbolic scene of Nero’s victory over Armenia from the Sebasteion sanctuary complex in the ancient town of Aphrodisias in Asia Minor. The temple complex was dedicated to the cult of the Julio-Claudian imperial dynasty. The artistic and stylistic analysis of the relief was performed in the context of the sculptural program and decoration of the whole complex, and took into consideration other images of Nero in the Sebasteion. Through a comparative analysis of the figure personifying Armenia depicted on the marble relief in Aphrodisias, as well as a series of images on coins and small statuary samples, characteristic iconographic traits of Armenia in the Roman imperial art were revealed. Along with this, the paper presents an in-depth ‘reading’ of this scene within the context of specific epi- sodes from the history of the Parthian-Roman conflict and the Roman struggle for Armenia during the period of 54–68 AD.

A Stylistic and Historical Analysis of Shoulder Patterns on Plains Indian Pottery

1962 ◽  
Vol 28 (1) ◽  
pp. 25-40 ◽  
Author(s):  
W. Raymond Wood
Keyword(s):  
Historical Analysis ◽  
Stylistic Analysis ◽  
Northern Plains ◽  
Time And Space ◽  
Central Plains ◽  
Eastern Boundary ◽  
History Of ◽  
Historic Data ◽  
Linguistic Groups ◽  
Art Style

AbstractA stylistic analysis of the incised patterns executed on the shoulders of the pottery of five Central and Northern Plains village groups yields two broad pattern types. The configurations of these types and their variants in time and space conform to what is now known of the development of the five historic socio-linguistic groups considered: Pawnee, Arikara, Cheyenne, Crow, and Mandan-Hidatsa. The spread of a distinctive triangular pattern, the “Alternating Triangle,” from its inception along the eastern boundary of the Central Plains, provides a test of the hypothesis that incised Plains pottery shoulder patterns derive in large part from stimuli from Mississippian groups to the east. Subsequent history of the incised patterns is that of a strong collective tradition over-riding earlier patterns in the Northern Plains. This incised tradition is related to historic data on skin and robe painting and to the concept of a general art style of the area, as well as to fundamental problems in the field of art.

scholarly journals Between the sacred and the decorative: Сhristian iconography in the sketches for "Lily" decorative panel by Mykhailo Zhuk

2020 ◽  
pp. 102-113
Author(s):  
Stefaniia Demchuk ◽  
Yuliia Kizyma
Keyword(s):  
Historical Analysis ◽  
Early Period ◽  
Virgin Mary ◽  
Stylistic Analysis ◽  
Early 20Th Century ◽  
Symbolic Language ◽  
Art Nouveau ◽  
Graphic Artist ◽  
Comparative Historical Analysis ◽  
History Of

Mykailo Zhuk was a graphic artist and a writer who is among the most famous and influential figures in the history of the early 20th century Ukrainian art. His artworks bear the mark of the in-depth reception of the Art Nouveau style. Although art historians who studied Zhuk’s early period (1904 - 1918) did mention the complex symbolism of his works (including that of the sketches for the floral panels which we shall examine), they avoided plunging deeper in the semantic interweaving he indulged himself in. Thus, this essay shall examine the two panels titled “Lilies”, which were treated mostly as ornamental works deprived of any hidden meaning. It seems that the formal and stylistic analysis should be complemented with the other methods. The iconographic analysis shall allow us to interpret Zhuk’s symbolic language and to discern different semantic layers, and the comparative historical analysis shall help to distinguish typical and individual features in Zhuk’s artworks, which, in its turn, shall allow us to put the artist's work within the pan-European artistic context.Images in Zhuk’s case were supplemented with texts. We could not avoid studying them along with the sketches for they contained the same motives as his graphic works. By means of content analysis we analysed how the artists addressed the image of lily and discovered the biblical bias of its representation in Zhuk’s texts and images. The iconography of the “Lilies”, we suggest, has no direct predecessors and is mainly based on the author’s interpretation of St. John’s Revelation or on works of his teacher at the Krakow Academy of Arts, Stanislaw Wyspiański. For Wyspiański used floral motifs on numerous occasions and experimented with the iconographic types of Virgin Mary in his monumental religious works.

La traviata. Giuseppe Verdi

1997 ◽  
Vol 13 (3) ◽  
pp. 159-162
Author(s):  
R. Prag
Keyword(s):  
Giuseppe Verdi ◽  
La Traviata
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