Cherubini's Medee, his most famous work, came to be an opera appreciated by such composers as Beethoven and Brahms, and was particularly popular in Germany in the 19th century. It has been revived in the 20th century for especially great singers like Maria Callas. The opera is u…
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At the end of the World War II George Enescu dominated the international scene as a violin virtuoso. The lyrical tragedy Oedipus in four acts and six scenes, on a libretto by Edmond Fleg and finalized in 1932, is the only Romanian opera to achieve international recognition. Oedi…
The nature and scope of this dissertation focuses on one particular work by the composer Enrique Granados—his opera Goyescas. Because the music of the opera was derived from the piano suite of the same name, this discussion necessarily includes an examination of that piano suite…
The human voice has undergone a seismic reappraisal in recent years, within musicology, and across disciplinary boundaries in the humanities, arts and sciences; 'voice studies' offers a vast and proliferating array of seemingly divergent accounts of the voice and its capacities,…
This interdisciplinary practice-based thesis interrogates the term ‘operatic’ with particular reference to movement. It thereby aims to extract operatic movement from the practice of opera singers and investigate ways to transfer ‘operaticness’ into the bodies of non-singing per…
This document traces the history of Chicago Opera Theater's productions, particularly those of American operas, and the critical response they received. The study also examines the impact that the company's programming philosophy had on its artistic success and economic well bei…
The political uses of Italian opera during the turbulent decade that culminated in the revolutions of 1848-49 is a familiar topic, but one that in recent years has come under more rigorous and critical scrutiny. This dissertation enters the scholarly conversation by examining th…
The Canticle of the Black Madonna is an original opera-oratorio in two acts, comprising 27 pieces for six operatic soloists, mixed chorus, and chamber orchestra. It is based on an original libretto by Tiziana DellaRovere and is approximately two hours in duration. The Canticle o…
This document is intended to be a practical tool for anyone interested in performing or developing a deeper appreciation for the opera The Gambler’s Son by Tyler Goodrich White. Premiered and produced by UNL Opera in October, 2019, The Gambler's Son is based on Mari Sandoz’s Son…
This research paper provides an analysis of Variations on Balkan Themes, Op . 60, one of Amy Beach’s most significant solo piano works. Variations on Balkan Themes exists in four different versions: the 1906 original solo piano version, a 1936 revised solo piano version, a 1942 …
The pianist has been an especially intimate and integral musical partners of singers in the performance of song literature from the eighteenth century to the present. Therefore, the most careful and well-informed preparation of the piano accompaniment is crucial to the successfu…
This document consists of a complete musical score of a one-act chamber opera based on an original libretto entitled An Arabian Night. The light story is loosely derived from a supplementary tale to 1001 Arabian Nights. The performance length of this tonal opera is sixty minutes…
The Biblical story of Jonathan and David as told in 1 and 2 Samuel provides the source material of an original composition for voices and symphony orchestra. Staged simply and sung from beginning to end, “Jonathan and David” is a hybrid between opera and oratorio and serves as a…
“Se cerca, se dice,” the climactic aria from Metastasio’s heroic opera L’Olimpiade (1733), was a centerpiece of galant musical culture. Adored by critics for its affective immediacy and treasured by star castrati for its union of tender lyricism with virtuosic flair, “Se cerca” …
Epic Explorations in Opera-The Hero’s Overture, is an original inquiry into the mythic patterns found in stories as they relate to six operas in this analysis. Mozart’s The Magic Flute and Don Giovanni, Rossini’s The Barber of Seville, Offenbach’s The Tales of Hoffman, Gounod’s …
When Czech composer Bedřich Smetana’s opera The Bartered Bride received its American premiere at the Metropolitan Opera in February 1909, New York music critics published positive reviews which displayed a great fascination with the many “Bohemian” aspects of the production. How…
As Nico Muhly’s 2017 opera, <i>Marnie</i>, comes to a close, the eponymous character stands center stage, handcuffed and surrounded by police. She sings, paradoxically, “I’m free.” The plot arrives at this juxtaposition following a twisted and mysterious series of ev…
The present project pursues how the nineteenth-century practice of adapting well known stage plays, often constituted a willful misreading of an original text. A surprising yet paradigmatic case in point is Heinrich von Kleist’s (1777-1811) “great historical chivalric drama,” Da…
Jovita Fuentes (1895-1978) is considered to have been the first notable Filipina operatic soprano. Hailed as “The Maestra” among Filipinos, she was respected as a world-renowned singer, teacher, song arranger, and a dedicated arts advocate. Despite her successful career in the P…