1,721,021 research outputs found
CARLO CANOBBIO (1741–1822), VASILIJ PASHKEVICH (1742–1797) AND GIUSEPPE SARTI (1729–1802), ED. BELLA BROVER-LUBOVSKY NACHAL'NOE UPRAVLENIE OLEGA (THE EARLY REIGN OF OLEG) Recent Researches in Music of the Classical Era, volume 109 Middleton, WI: A-R Editions, 2018 pp. xxviii 453, isbn978 0 895 79864
No full textUna recensione dell'edizione critica dell'opera Načal'noe upravlenie Olega su libretto di Caterina I
Cercando l'opera russa, La formazione di una coscienza nazionale nel teatro musicale del Settecento
No full textQuesto studio prende in considerazione la vita istituzionale scenico-musicale del Settecento russo (nei regni di Anna Ioannovna fino a quello di Paolo I) e in particolare i tentativi di creare un repertorio operistico russo prima dell'inizio formale dell'Opera russa così come riconosciuto dalla storiografia tradizionale, anzi suggerendo una nuova periodizzazione
Ivan Susanin by Catterino Cavos and A Life for the Tsar by Mikhail Glinka: Comparing the Incomparable
No full textThe myth of Mikhail Glinka still divides the history of Russian musica, to the point that any infliuence on the creation of Russian opera before him is considered part of 'pre-history' in artistic terms. This is certainly true for the works of Catterino Cavos, a Venetian composer who made his career as a music director at the St. Petersburg Imperial Theatres. The main purpose of this article is to compare Cavos's opera Ivan Susanin (1815) with Glinka's A Life for the Tsar (1826), in order to highlight aspects of continuity in the process of creating the Russian operatic tradition. In this analysis, both Western and Russian traditions will be taken into consideration, which will enable a better assessment of Cavos's contribution to the evolution of Russian music within a European frame
Zamečanija o recepcii ital’janskoj opery-seria v period ot carstvovanija Anny Ioannovny do carstvovanija Ekateriny II
No full textAfter decades of absolute supremacy of Italians on Russian stages, the possibility of singing in Russian was successfully tested in the theatres of Moscow and St Petersburg from the 1770s onwards. However, in the last quarter of the century, translations made for stage production drew attention to the inadequacy of foreign productions to satisfy the needs of the Russian audience, which by that time had matured enough knowledge in theatrical matters and developed specific wishes in terms of verisimilitude and pertinence to the local cultural environment. This debate also concerned the field of music theatre, the traditional prestige of Italian opera notwithstanding. This inevitably entailed the discussion of Italian performances at a time when the emerging need for a repertoire responding to national requirements was leading to the earliest attempts at creating a Russian brand-genre in the field of comedy – the opera komicheskaya. The effort to create an adequate Russian repertoire was coeval to the European discussion on opera-seria as a genre that was in need of innovation, notably in reference to the model established by Pietro Metastasio, which was being overtaken by Gluck/Calzabigi’s ‘opera riformata.’ In the Russian context similar issues were commented on in the journal Utra, edited by the actor and playwright Petr Alekseevich Plavil’shchikov (1760 – 1812) in 1782. This paper aims at discussing Plavil’shchikov’s criticism of Italian opera-seria and other theatrical experiences in terms of dramatic coherence and verisimilitude and of its capability of satisfying contemporary Russian audiences
Džuzeppe Verdi i ital’janskaja muzykal’naja tradicija v opere L.A. Desjatnikova Deti Rozentalja
No full textВ статье рассматривается проблема итальянской традиции в постмодернистской опере Леонида Десятникова «Дети Розенталя», основанной на сюжете романа Владимира Сорокина «Голубое сало» и поставленной в 2005 г. на сцене Большого театра. Автор анализирует музыкальное изображение композитора Джузеппе Верди с целью освещения ракурса рецепции итальянской оперы в России. В статье также рассматриваются цитаты в опере из вагнеровских драм «Парсифаль» и «Лоэнгрин», из оперы Мусоргского «Борис Годунов», а также из шедевра Чайковского «Евгений Онегин».The article examines the problem of the Italian tradition in the postmodern opera “Children of Rosenthal” by Leonid Desyatnikov based on the plot of the novel “Blue Lard” by Vladimir Sorokin and staged in 2005 at the Bolshoi theatre. The author analyzes the musical image of the composer Giuseppe Verdi in order to highlight the angle of the reception of Italian opera in Russia. Quotations in the opera from Wagner’s dramas “Parsifal” and “Lohengrin”, from Mussorgsky’s opera “Boris Godunov”, as well as from Tchaikovsky’s masterpiece “Eugene Onegin” are considered in the article
22. R. Helmers, Not Russian Enough? Nationalism and Cosmopolitanism in Nineteenth-Century Russian Opera, pp. xvi-233, Rochester, Rochester University Press 2014
No full textPassažirka di Mieczysław Weinberg (1968): opera russa e tematica ebraica nella ‘scuola šostakoviciana’
No full textMieczysław Weinberg (1919-1996), a Jewish composer born in Poland from a Russian family, took refuge in the Soviet Union during the World War II. He experienced repression due to his origins and family relationships and made the Shoah a pillar of his own poetics, raising the lament for the victims to a universal dimension. This article is dedicated to his main opera, The Passenger (1967-68), based on a subject by the Polish writer Zofia Posmysz, an opera, which brings the composer close to the artistic interests of his older colleague Dmitry Shostakovich, as well as to other Soviet composers of his generation, such as Revol Bunin and Veniamin Fleyshman. Its subject matter turns out to be particularly delicate in coeval Russia, while the fortune of the opera reveals the difficulty of post-Soviet authorities in dealing with the historical moment treated by Weinberg’s masterpiece
24. E. Restagno, Schönberg e Stravinsky, Storia di un’impossibile amicizia, Il Saggiatore, Milano 2014, pp. 451
No full textB. Brover-Lubovsky, Nachal’noye upravlenie Olega, Critical Edition
No full textReview of the critical edition by Bella Brover-Lubovsk
Paisiello e la Russia, Lettere al Conte Voroncov, Valore Italiano Editore, Roma 2024 (=Correnti d’incontro tra Russia ed Europa), pp. 251
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