Browsing by Subject "Opera"
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Item Bohème bohème : finding a way into new design using disruption of design method(2014-05) Bennett, Hope MacRoberts; Mickey, Susan E.This thesis describes an exploration of creative process and a set of methods used to find new ideas for theatrical design. The project began with questions about repetition and disruption. Can altering a typical process of designing a show help when designing the same show repeatedly, as an opera designer needs to be able to do? Can new ideas be generated not from streamlining one process but using a diverse pattern of research methods? How does using one design of the same opera as a lens for another affect the sum of both works and the understanding of the work? Several methods of work process are examined and explained.Item Buck Jones : an electroacoustic opera in three acts(2006-05) Stamps, Jack W.; Sharlat, Yevgeniy, 1977-Buck Jones is a three-act electro-acoustic opera set in a western themed family steakhouse located between a highway interchange and a suburban node. The libretto, written by John Navarro, depicts one anomalous day in the life of the restaurant through three acts, named for the three traditional meals of the day: Breakfast, Lunch, and Dinner. The interior subject matter often humorously spiritualizes the character of the Old West while gently reminding the audience of the profundity of our existence in the universe, even in such a seemingly uninteresting place as a roadside restaurant. The musical score supports the story with the use of such western sounds as electric guitar and lap steel guitar and others. It is written in a quasi-western vernacular in places and seeks to carve a space between the worlds of serious opera and more accessible elements of musical theater.Item Castrati : the history of an extraordinary vocal phenomenon and a case study of Handel’s opera roles for Castrati written for the First Royal Academy of Music (1720-1728)(2002-12) Vanherle, Francisca Paula; Dell'Antonio, Andrew; Storozhev, Nikita, 1950-Castrati were without doubt, an extraordinary phenomenon in the vocal world. Four centuries of history exist from the first evidence of their presence in music, dating from the 1550s, and the death of the last castrato Allessandro Moreschi, in 1922. A tradition almost solely practiced in Italy, the castrati experienced their halcyon days in the seventeenth and eighteenth century. At first, they were recruited and castrated as young boys to sing in the soprano sections of the church choirs. They enjoyed an extensive training in specialized conservatorios and grew to be the most accomplished vocalists the world had known thus far. Inevitably, their art was noticed by opera composers of the time. They flourished and were celebrated in Italy and abroad. Their vocal technique and artistic skills dictated the bel canto style for nearly two hundred years. At the end of the eighteenth century, the growing awareness in moral philosophy, and a series of political shifts in Europe put an end to the overwhelming success of the eunuchs. Yet their influence on opera composition of the time and of the subsequent decades was of immense consequence. An important question should be raised when performing the opera roles written for castrati nowadays. Who will sing the castrato roles? As a logical solution, women or countertenors should adopt these roles into their repertoire. A study of opera roles written for castrati by a baroque master in the genre, Georg Friedrich Handel, sheds some light on the music for these rare birds. The castrato role-study encompasses Handel’s operas written for the First Royal Academy of Music (1720-1728). By disclosing some particular aspects in the music and the drama, it becomes clear what voice type should be singing these roles in present day Handel opera production.Item Cry wolf : an opera for young audiences(2017-08) Heppelmann, Alex James; Sharlat, Yevgeniy, 1977-; Welcher, Dan; Pinkston, Russell; Alrutz, Megan; Kuo, KellyCry Wolf is a seventy-minute chamber opera for young audiences based on characters from Aesop’s fables, with a libretto by William Glick. A semi-staged production was premiered in April 2017 at the Cohen New Works Festival at the University of Texas at Austin. The opera tells the story of the ‘Boy Who Cried Wolf’, and what happened after the Boy left the village and entered the forest to avenge his sheep. The original narrative was developed by William and myself, with characters and morals borrowed from the ancient Greek fabulist, Aesop. While the work was created for young audiences, it is my hope that the music and story will resonate with audiences of all ages. The first chapter of this document examines the genesis of the story as well as my approach to writing a work for young audiences. The second chapter explores the nearly year-long process for developing the libretto through numerous rewrites and edits. And finally, the third chapter explores my musical decisions on the work, from the vocal writing to the character leitmotifs that ultimately defined the opera.Item Directing The difficulty of crossing a field : a symbolic and corporeal approach(2010-05) Leonard, Luke Landric; Douglas, Lucien; Dietz, Steven; Kanoff, Scott; Sawyer, Margo; Smith, MichaelThis thesis examines an approach to directing Mac Wellman and David Lang’s opera, The Difficulty of Crossing a Field; in addition, the paper reflects on my artistic development as a Master of Fine Arts in Directing student in the Department of Theatre and Dance at the University of Texas at Austin. As a director I seek a balance between form and content. Similar to Installation Art, I consider the relationship between space/architecture (the stage/theatre) and sculpture, i.e., anything that can be used to create shape: performers, props, scenery, wardrobe, makeup, light, sound, music, language, etc. As a deviser, not a dictator, the success of my work depends greatly on interdisciplinary collaboration and strategies that promote understanding and appreciation among both artists and audiences. My aim is to create structures for formal elements that when arranged uniquely and sophisticatedly have the ability to provoke emotion, thought, and memory in vivid and compelling ways. This paper explores selected stages of directing The Difficulty of Crossing a Field, the strategies that I employed, and concludes with an artistic statement.Item Doctoral thesis recital (conducting)(2011-04-21) Gutierrez, Alejandro; Not availableCosi fan tutte / W. A. Mozart.Item Doctoral thesis recital (directing)(2016-02-26) Burton, Jessica; not availableAt the statue of Venus / Jake Heggie.Item Doctoral thesis recital (directing)(2010-02-26) Reynolds, Marc; Not availableAlbert Herring / Benjamin BrittenItem Doctoral thesis recital (lecture) opera directing(2012-11-29) Reynolds, Marc; Unable to DetermineLecture: "Cognitive overlap, predetermined temporal expansion, and realistic acting: making the unnatural appear natural" -- Cosi fan tutte / W. A. Mozart -- Le Villi / Puccini -- Manon / Massenet -- 36 arie di stile antico, no.6 / Donaudy -- Rigoletto / Verdi.Item Doctoral thesis recital (opera coaching)(2011-02-25) Castro-Ramirez, Luis Gustavo; Not availableLa hija de Rappaccini / Daniel Catan.Item Doctoral thesis recital (opera coaching)(2012-10-26) Castro-Ramirez, Luis Gustavo; Unable to DetermineMadama Butterfly / Giacomo Puccini.Item Doctoral thesis recital (voice (lecture))(2018-03-20) Yoon, Bo Kyung; N/A[Lecture]: The importance of drama in the performance of Robert Hatten's one-act opera, Compassion -- [Performance]. Excerpts from Compassion / Robert S. Hatten (Kihwa Nam, stage director ; Bo Kyung Yoon, soprano ; Jawan Jenkins, bass ; Kihwa Kim, piano).Item Doctoral thesis recital (voice (lecture))(2013-11-14) Ramo, Suzanne; N/ALecture: Emotional extortion and sacrifice : the father-daughter relationship in Verdi operas. Performance: Luisa Miller. Act II, N. 13, Scena e duetto : "Pallida! ... mesta sei!" ; Rigoletto. Act I, N. 4, Duetto : "Figlia! ... Mio padre!" ; La traviata. Act II, N. 5. Scena e duetto : "Madamigella Valery?"Item Doctoral thesis recital (voice (soprano))(2018-03-28) Taylor, Julia (Soprano); N/A[Lecture]. From her perspective : an analysis of Curley's wife in Carlisle Floyd's Of mice and men -- [Performance]. Of mice and men. Duet: Curley and Curley's wife (Act I, Scene 2) ; Curley's wife's lament (Act I, Scene 2) ; Duet: Curley's wife and Lennie (Act III, Scene I).Item Doctoral thesis recital (voice)(2015-10-25) Han, Jihee; not availableHansel und Gretel / Engelbert Humperdinck.Item Doctoral thesis recital (voice)(2016-03-04) Lim, Chan-Yang; not availableAt the statue of Venus / Jake Heggie.Item Doctoral thesis recital (voice)(2015-10-23) Shattles, Ellie Jarrett; not availableHansel und Gretel / Engelbert Humperdinck.Item Doctoral thesis recital (voice)(2015-10-23) Yoon, Bo Kyung; not availableHansel und Gretel / Engelbert Humperdinck.Item Doctoral thesis recital (voice) baritone(2014-10-31) Cho, Eun Deuk; Unable to DetermineAriadne auf Naxos / Richard Strauss -- Das Lied von der Erde / Gustav Mahler.Item Doctoral thesis recital (voice) tenor(2014-10-31) Kwon, Soonchan; Unable to DetermineAriadne auf Naxos / Richard Strauss -- Das Lied von der Erde / Gustav Mahler.
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