1,721,021 research outputs found
Opera e «queer musicology». Appunti per un approccio metodologico
No full textIl saggio propone possibili approcci interpretativi all'opera otto-novecentesca in prospettiva queer. Particolare attenzione è dedicata alla biografia dell'autore e al contesto storico-sociale in cui operò, alla scelta dei soggetti alla base dei libretti, e all'intertestualità letteraria e musicale. Offre inoltre un utile sguardo sugli sviluppi internazionali e italiani della musicologia queer fino ai giorni d'oggi.The essay proposes possible interpretative approaches to nineteenth- and twentieth-century opera from a queer perspective. Particular attention is paid to the biography of the author and the historical-social context in which he worked, the choice of subjects at the basis of the librettos, and the literary and musical intertextuality. It also offers a useful insight into the international and Italian queer scholarship on opera up to the present day
Universi di genere non canonici da Georges Bizet a Nino Rota
No full textGeorges Bizet’s «Les pêcheurs de perles» (1863) and Nino Rota’s «La visita meravigliosa» (1970) stand out in the operatic output of the last two centuries for the peculiarity with which the female figure is featured within the triangle of relationships with the other two co-protagonists. The latter, unlike the common conventions in Romantic opera, are strongly attached to each other; conversely, the woman to whom one or both are in love remains in the background. This paper aims to correlate the representation of the female universe as a marginal world in the two works with the focus on the implicitly queer relationship of the dramaturgy between the other two characters. The reading of Bizet’s and Rota’s works shows how musical theatre can offer an author an effective space for telling gender differences which are tabooed in the real world
«Io vivrò, se la mia vita è riparo alla tua sorte». «Davide e Gionata» di Marco Emanuele / «I will live, if my life ensures your destiny». «Davide e Gionata» («David and Jonathan») by Marco Emanuele
No full textRaccontare l’alterità. La prospettiva omosociale di Hans Werner Henze
No full textL’articolo esamina due fra i titoli di maggior successo del teatro musicale di Hans Werner Henze (1926-2012), alla luce del concetto di omosocialità teorizzato da Eve Kosovsky Sedgwick. Costituiscono l’oggetto dell’analisi «Boulevard Solitude» (Hannover, Landestheater, 1952) e «Phaedra» (Berlino, Staatsoper Unter den Linden, 2007).
Nelle due opere, i ruoli vocali e la scrittura musicale connotano a più riprese le relazioni di carattere omosociale che vedono coinvolto il protagonista maschile. In entrambe sono riscontrabili episodi in cui la musica, contribuendo a porre in evidenza tali relazioni, rafforza la rappresentazione del personaggio come un individuo che diverge dal binarismo ‘maschile vs femminile’. L’analisi delle modalità attraverso cui ciò avviene ci restituisce, in ciascuno dei due titoli, un livello di significato della drammaturgia che è veicolato specificamente dalla musica.
Gli episodi analizzati rivelano come il teatro musicale costituisca, per Henze, anche lo spazio per raccontare aspetti dell’umanità marginalizzati nel mondo reale, quali sono le identità di genere non normative e le relazioni omosociali.The article analyses two of the most successful titles of Hans Werner Henze’s operatic output (1926-2012) in the light of the concept of homosociality, which was theorized by Eve Kosovsky Sedgwick. The subjects of the analysis are «Boulevard Solitude» (Hannover, Landestheater, 1952) and «Phaedra» (Berlin, Staatsoper Unter den Linden, 2007).
In both works the vocal roles and the musical writing are employed on several occasions with the aim of connoting the homosocial relationships that involve the male protagonist. There are episodes in which music, contributing to highlight these relationships, strengthens the representation of the protagonist as an individual who diverges from the ‘male vs female’ binarism. The analysis of the ways in which this occurs in each of the two titles gives us back a level of meaning of the dramaturgy that is specifically conveyed by music.
The examined episodes show how music theatre represents for Henze also the space to narrate aspects of humanity that are marginalized in the real world, such as non-normative gender identities and homosocial relationships
Sylvano Bussotti per Giacomo Puccini (1974)
No full textEdizione con commento e note di: Sylvano Bussotti, «Giacomo Puccini nelle testimonianze di Berio, Bussotti, Donatoni e Nono», a cura di Leonardo Pinzauti, «Nuova rivista musicale italiana», 8, 1974, pp. 356-365: 357-363
Sulle note di «Aida» nel «Signore delle formiche» di Gianni Amelio / On the notes of «Aida» in «Il signore delle formiche» [«Lord of the ants»] by Gianni Amelio
No full textThe essay analyses director Gianni Amelio's point of view in telling the biographical story of intellectual Aldo Braibanti. It focuses on the music employed, with special attention to excerpts from Giuseppe Verdi's «Aida»
La ricerca attraverso gli OPAC / Research through OPACs
No full textIllustrates how to search the most important OPACs related to musicological heritage
Uno sguardo ai repertori bibliografici. RILM e BMS / A Glance at Bibliographic Repertories. RILM and BMS
No full textL’articolo descrive due importanti repertori bibliografici retrospettivi e correnti che censiscono la letteratura scientifica di argomento musicale: il RILM Abstracts of Music Literature e la BMS Online. Ne vengono tracciate la storia e le principali caratteristiche. Si danno infine suggerimenti di ricerca per quanto pertiene il tema della liuteria
A Queer Approach to the Classical Myth of Phaedra in Music
No full textThree musical adaptations of the myth of Phaedra, in which the wife of King Theseus of Athens desperately falls in love with her stepson Hippolytus, were composed in the second half of the twentieth century by three homosexual composers: the dramatic cantata «Phaedra» for mezzo-soprano and small orchestra (1976) by Benjamin Britten (1913-1976) after a text by the American poet Robert Lowell; the opera «Le Racine:
pianobar pour Phèdre» (1980) by Sylvano Bussotti (1931-) after a libretto drafted by the composer himself and consisting of a prologue, three acts, and an intermezzo; the two-act concert opera «Phaedra» (2007) by Hans Werner Henze (1926-2012) after a libretto by the German poet Christian Lehnert.
The aim of this paper is to prove that the three homosexual composers chose a myth about an incestuous—and thus censored—love in order to represent homoerotic desire, labelled as deviant by the coeval heteronormative society and hence condemned by it.
The study sheds light on the aspects of the most famous literary elaborations that affect gay sensibility, and on how the three composers experienced their homosexuality and gave utterance to it in their other works. The analysis of the three works at issue demonstrates that the discourse about gayness takes shape through the interplay of numerous aspects. The elaboration of the literary sources, the organization of the libretto, the characters’ definition, and the mise-en-scène, together with the music, put the myth into that perspective
MAX BROD, Ricordo di Leoš Janáček
Get PDFItalian translation of the obituary for Leoš Janáček written by his friend Max Brod. The obituary was originally published in the journal «Musikblätter des Anbruch», X/7, 1928, pp. 233-236
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