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    Wyświetlanie 1-5 z 5
    Tytuł:
    Historia zaklęta w dźwięki – weryzm historyczny w I Medici Ruggera Leoncavalla
    History Enchanted in Music – Historical Verism in Ruggero Leoncavallo’s I Medici
    Autorzy:
    Czemerys, Agata
    Powiązania:
    https://bibliotekanauki.pl/articles/2171365.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    Ruggero Leoncavallo
    I Medici
    italian opera
    veristic opera
    verismo
    Opis:
    My consideration of the historical opera I Medici is based on the analysis of the piece’s dramaturgy. In my opinion, libretto is a key to understanding any operatic dramas; it constitutes their primary foundation on which subsequent semantic layers of this naturally syncretic musical genre are being formed. Therefore, in my paper I have analysed individual components of the libretto, with a special emphasis placed on the characters, their personality traits as well as their musical representation in Leoncavallo’s work. Analytical operations concerning dramaturgic aspects of the opera are an essential first step in consideration of the musical layer, which lies at the heart of my research. In my paper, I follow the path marked out by a musicologist Luca Zoppelli; however, his work is only a starting point for a more detailed study of the opera’s expression and the procedures used in musical representation of veristic ideas. Verity – not only in historical sense – becomes a leading category which unifies the opera at every level: from its original source recorded in the chronicles to composer’s embodiment of the story.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2020, 4(47); 141-156
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    History Enchanted in Music – Historical Verism in Ruggero Leoncavallo’s I Medici
    Autorzy:
    Czemerys, Agata
    Powiązania:
    https://bibliotekanauki.pl/articles/2176098.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    Ruggero Leoncavallo
    I Medici
    Italian opera
    veristic opera
    verismo
    Opis:
    My study of the historical opera I Medici focuses on an analysis of the work’s dramaturgy. In my opinion, the libretto is the key to understanding operatic dramas; it constitutes their primary foundation, on which the subsequent semantic layers of this naturally syncretic musical genre are constructed. In my paper I have therefore analysed the individual components of the libretto, with special emphasis on the persons of the drama, their personality traits, as well as their musical representations in Leoncavallo’s work. Analysis of the dramaturgical aspects of the opera is an essential first step to a consideration of the musical layer, which lies at the heart of my research. In my paper, I have followed the path mapped out by musicologist Luca Zoppelli; however, his work is only the starting point for a more detailed study of the opera’s expressive qualities and the procedures applied for the musical representation of veristic ideas. Verity – not only in the historical sense – becomes a leading category which unifies the opera at every level, from its original source recorded in the chronicles to the composer’s presentation of the story.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2020, 4(47) ENG; 139-155
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Le influenze italiane in Karol Szymanowski
    Italian Influences in Karol Szymanowski’s Work
    Autorzy:
    Masi, Leonardo
    Powiązania:
    https://bibliotekanauki.pl/articles/1040459.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Szymanowski
    Italy
    Sicily
    Renaissance
    homosexuality
    reception of Italian opera in Poland
    Opis:
    Like many other artists, Szymanowski was hugely attracted to Italy. In this article, I will briefly expose, firstly, the “Italian” tracks that can be found in the Polish composer’s music, and, secondly, the declarations on Italy in Szymanowski’s writings, in particular on his art and music, trying to relate these elements between them to see what image of Italian culture emerges. I will show how Szymanowski’s cultural environment remains German-based nevertheless looking for the lost unity between man, art and nature in the heritage of the Italian Renaissance.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2020, 39; 101-111
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Opera włoska we Wrocławiu (1725–1734) i jej związki z innymi ośrodkami muzycznymi
    Italian opera in Wrocław (1725–1734) and its links with orher music centres
    Autorzy:
    Węgrzyn-Klisowska, Walentyna
    Powiązania:
    https://bibliotekanauki.pl/articles/446350.pdf
    Data publikacji:
    2014-12-31
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    Italian theatre
    Wrocław
    baroque
    opera
    Daniel Gottlieb Treu
    Opis:
    In the years 1725–1734, there was an Italian opera troupe performing in Wrocław, which was composed almost entirely of well-known Italian artists. At the beginning, its repertoire mimicked those of Italian theatres operating in Venice, Vienna, Florence, Genoa and Prague. Later on, however, the operas staged by Treu and Bioni, the music directors of the Wrocław opera, were also performed by other European theatres. The owner of the theatre in Prague and the originator of the idea to set up a theatre in Wrocław was Count Anton von Sporck, an imperial governor and a friend of Silesian aristocracy. It was on his initiative that a meeting with Antonio Vivaldi was arranged and the performers he recommended were invited to Wrocław. Thanks to the extensive contacts of Wrocław’s impresarios and bandmasters, the city’s virtuoso singers travelled throughout Europe, and outstanding musicians, stage designers and ballet masters were hired. The fame and high standards of Wrocław’s theatre caused its chief conductor, Daniel Gottlieb Treu (Daniele Teofilo Fedele), a pupil of Vivaldi, to write the history of the theatre, which was published in Hamburg (1740) by Johann Mattheson in Grundlage einer Ehren-Phorte. During the nine-year long operation of the theatre, a total of 45 operas were premiered, and their librettos are partly extant in the collection of Wrocław’s University Library (the Silesian-Lusatian Section) and at the Biblioteca Nazionale Braidense in Milan. Recently, a previously unknown copy of the opera Il Daphni by Spanish composer Emanuele d’Astorga, currently in the collection of the Sapieha Library, part of the collection of the Wawel Royal Castle Museum, has been discovered. The staging by the theatre in Wrocław of eminent baroque operas, performed by outstanding artists, puts them among the most interesting events in the European opera in the 18th century.
    Źródło:
    Italica Wratislaviensia; 2014, 5; 123-146
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Mozart i śpiewacy: ograniczenie czy inspiracja?
    Mozart and singers: limitation or inspiration?
    Autorzy:
    Brandenburg, Daniel
    Powiązania:
    https://bibliotekanauki.pl/articles/920344.pdf
    Data publikacji:
    2009-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Mozart
    opera
    Italian singing conventions
    composing for singers
    XVIII century music
    muzyka XVIII w.
    Opis:
    Mozart and singers: limitation or inspiration?Stefan Kunze called the time before Mozart settled in Vienna the years of migration and study. Daniel Brandenburg in his article shows that in reference to the operas composed by young Mozart for Milan (Mitridate re di Ponto, 1770, Lucio Silla, 1772) and Munich (Idomeneo re di Creta, 1781), the process of education meant also mastering the Italian singing conventions. Composing for singers appears to be an inspirational task, although it was limited in various ways. That double effect is recorded in Mozart’s scores.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 87-96
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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