scholarly journals The Marriage of Heaven and Hell: On the Functional Approach to Translating Libretti for Modernised Opera Productions

2017 ◽  
pp. 171-183
Author(s):  
Aleksandra Ożarowska
Keyword(s):  
Functional Approach ◽  
High Quality ◽  
Metropolitan Opera ◽  
Skopos Theory ◽  
Opera House ◽  
Opera Productions ◽  
Opera Houses

The present paper focuses on the issue of translating operatic libretti in the form of surtitles. This is a very specific type of translation, and it becomes even more challenging when operatic productions for which surtitles are created are modernised. In such cases the application of skopos theory proves to be the most useful and effective, even though some of its premises may be regarded as controversial. The data for the present study come from the most reputable opera houses, for example the Metropolitan Opera House or Royal Opera House, as they are known for providing their audiences with high-quality libretti translations.

Chicago's Auditorium Building: Opera or Anarchism

1998 ◽  
Vol 57 (2) ◽  
pp. 128-159 ◽  
Author(s):  
Joseph M. Siry
Keyword(s):  
New York ◽  
New York City ◽  
Social History ◽  
Chicago School ◽  
Paris Opera ◽  
Metropolitan Opera ◽  
History Of ◽  
Opera House ◽  
Opera Houses

Adler and Sullivan's Auditorium Building in Chicago (1886-1890) is here analyzed in the context of Chicago's social history of the 1880s. Specifically, the building is seen as a capitalistic response to socialist and anarchist movements of the period. The Auditorium's principal patron, Ferdinand W. Peck, created a theater that was to give access to cultural and civic events for the city's workers, to draw them away from both politicized and nonpoliticized "low" urban entertainments. Adler and Sullivan's theater was to serve a mass audience, unlike opera houses of the period, which held multiple tiers of boxes for privileged patrons. This tradition was represented by the Metropolitan Opera House in New York City (1881-1883). Turning away from works like the Paris Opéra, Peck and his architects perhaps sought to emulate ideas of other European theaters of the period, such as Bayreuth's Festspielhaus (1872-1876). Sullivan's interior had an ornamental and iconographic program that was innovative relative to traditional opera houses. His design of the building's exterior was in a Romanesque style that recalled ancient Roman monuments. It is here compared with other Chicago buildings of its era that represented high capital's reaction to workers' culture, such as Burnham and Root's First Regiment Armory (1889-1891), Peck's own house (1887), and the Chicago Athenaeum (1890-1891). The Auditorium's story invites a view of the Chicago School that emphasizes the role of patrons' ideological agenda rather than modern structural expression.

scholarly journals Beyond the libretto

2021 ◽  
Vol 1 (2) ◽  
pp. 49-63
Author(s):  
Aleksandra Ożarowska
Keyword(s):  
Source Text ◽  
Metropolitan Opera ◽  
Comprehensive Information ◽  
Result Show ◽  
Opera House ◽  
Almost All ◽  
Opera Production ◽  
Opera Productions

Nowadays both intra- and interlingual surtitles are an inherent element of almost all opera produc­tions and, partly thanks to this technology, opera is now going through a renaissance. The trend of staging operas in a modernised fashion is especially popular these days, but it represents a particu­lar challenge for surtitlers. It is argued in this article that while surtitles accompanying traditional opera productions are usually intrasemiotic, as their source text is just the libretto, modernised productions often have intersemiotic surtitles. The article analyses fragments of surtitles prepared for four different operas staged in the Metropolitan Opera House, Bayerische Staatsoper and Royal Opera House. The result show that while traditionally surtitles provide the viewers with the mean­ing of the libretto, the role of intersemiotic surtitles is much more extended, as they provide the audience with more comprehensive information about the whole opera production.

scholarly journals A ópera a que assistimos: um estudo de caso

2010 ◽  
Vol 4 (8) ◽  
pp. 10-22
Author(s):  
Claudio Reis Vieira
Keyword(s):  
Metropolitan Opera ◽  
Opera House ◽  
La Sonnambula

Esse artigo discute as relações de produção que caracterizam as montagens operísticas contemporâneas a partir do programa "Ópera no cinema", que trasmite récitas do Metropolitan Opera House, em alta definição e ao vivo, para salas de cinema em diferentes países. Duas montagens desse programa – Lucia de Lammermoor e La Sonnambula, de Donizetti – são analisadas ao lado da versão de Dimitri Tcherniakov para o Macbeth, de Verdi, realizada pela Ópera de Novossibirski em parceria com a Opéra National de Paris.

scholarly journals The Study of the Proscenium Area in an Opera House

2017 ◽  
Vol 42 (3) ◽  
pp. 515-526
Author(s):  
Anna Sygulska ◽  
Krzysztof Brawata
Keyword(s):  
Sound Source ◽  
Decay Time ◽  
Chamber Opera ◽  
Reverberation Time ◽  
Existing Building ◽  
The Subject ◽  
Opera House ◽  
Acoustic Conditions ◽  
Opera Houses ◽  
Center Time

AbstractThe paper describes issues of the proscenium area shown on the example of two opera houses. The subject of the analysis was the design of the Chamber Opera House in Kalisz and the already existing building of the Opera House in Krakow. It covers the influence of the proscenium walls and forestage ceiling on the acoustic conditions in the auditorium. Another subject of the investigation was the influence of the primary proscenium, designed in the very first opera houses in Baroque. The analyses were carried out by means of two computer softwares: Ray Model and Catt Acoustic, and such parameters as sound strength (G), reverberation time (RT), early decay time (EDT), C80(clarity) index and center time (TS) were calculated. The parameters were further analyzed in the auditorium for three positions of the sound source on the stage.

scholarly journals Celluloid Diva: Staging Leoncavallo's Zazà in the Cinematic Age

2019 ◽  
Vol 144 (2) ◽  
pp. 287-321
Author(s):  
Ditlev Rindom
Keyword(s):  
New York ◽  
Hollywood Cinema ◽  
Metropolitan Opera ◽  
Opera House ◽  
Post War

AbstractGeraldine Farrar's performances in Ruggero Leoncavallo's Zazà (1900) at New York's Metropolitan Opera House in the early 1920s were widely acclaimed as an unexpected triumph for the soprano. This article examines Farrar's Zazà in the context of New York's post-war operatic crisis, the concurrent emergence of Hollywood cinema and Farrar's own highly prominent movements between operatic and cinematic media throughout the 1910s. While Leoncavallo's opera raised a number of pressing difficulties for New York critics, Farrar's critical and popular success in Zazà points to new understandings of operatic performance at the dawn of the cinematic age.

scholarly journals La Metropolitan Opera House canta con voz española: la génesis neoyorkina de la soprano María Barrientos

2018 ◽  
pp. 275
Author(s):  
Virginia Sánchez Rodríguez
Keyword(s):  
Metropolitan Opera ◽  
Opera House ◽  
Siglo Xx

La soprano María Barrientos (*1884; †1946) fue una de las artistas españolas con mayor proyección internacional durante el primer tercio del siglo XX. A pesar de que al final de su vida se dedicó a la canción de concierto, María Barrientos estuvo vinculada a la ópera hasta la década de 1920, perteneciendo a las compañías más relevantes de la época y actuando en los principales teatros. En el presente trabajo ofrecemos un acercamiento a su debut en la Metropolitan Opera House de Nueva York, acaecido en el año 1916. La selección de este evento como objeto de estudio se debe a que significa la presentación musical de la diva española en uno de los espacios operísticos más relevantes y el punto inicial de su carrera norteamericana, caracterizada por las ovaciones del público, la aprobación de la crítica y un lugar destacado en la industria discográfica, tal como demuestran las fuentes hemerográficas consultadas.

scholarly journals The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany

2017 ◽  
Vol 5 (1) ◽  
pp. 90-109 ◽  
Author(s):  
Julia Roll ◽  
Sven-Ove Horst
Keyword(s):  
Digital Media ◽  
Quantitative Study ◽  
Brand Management ◽  
Brand Image ◽  
Digital Transmission ◽  
Cultural Contexts ◽  
Digital Product ◽  
Opera House ◽  
Cultural Marketing ◽  
Opera Houses

AbstractToday, opera houses are confronted by new (global) digital media offers that enable people to remain outside the opera house while attending a live-opera, e.g. via livestreamed opera performances in the cinema. This is a challenge for media managers in these fields because they need to find new ways to work with these new opportunities. Within a cultural marketing context, branding is highly relevant. Based on the brand image approach by Kevin Lane Keller (1993), we use a complex qualitative-quantitative study in order to investigate if, and how, the brand images of live-opera performances and live-streamed operas differ between countries and cultural contexts. By comparing Estonia and Germany, we found that the perception of live-opera is rather a global phenomenon with only slight differences. Furthermore, the ‘classical’ opera performance in an opera house is still preferred, with a corresponding willingness to pay, while the live-streamed opera offer may provide a modern touch. The study may help media managers in adapting their brand management to include new digital product offers and to find targeted differentiation strategies for increasingly competitive markets.

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