Browsing by Subject "Opera"
Now showing 1 - 16 of 16
- Results Per Page
- Sort Options
Item Così fan tutte (2011-11-10 through 2011-11-12)(2011) University of Minnesota Duluth. Department of MusicItem Dido and Aeneas (1999-05-14 through 1999-05-16)(1999) University of Minnesota Duluth. Department of Music. Opera TheatreItem Evelyn: Opera in Six Scenes & Gianni Schicchi (2007-04-13 through 2007-04-15)(2007) University of Minnesota Duluth. Department of MusicItem An Evening of Extraordinary Opera Scenes (2011-05-05 and 2011-05-06)(2011) University of Minnesota Duluth. Department of MusicItem An Evening of Extraordinary Opera Scenes (2012-04-26 and 2012-04-27)(2012) University of Minnesota Duluth. Department of MusicItem Falstaff (2009-02-27 and 2009-02-28)(2009) University of Minnesota Duluth. Department of MusicItem Gertrude Bonnin -- Zitkala-Ša(Voices from the Gaps, 1997) Henderson, Melessa Renee; Curtright, LaurenItem Hansel and Gretel (2011-01-28 through 2011-01-30)(2011) University of Minnesota Duluth. Department of MusicItem I AM Meditation: An Opera in Seven Tableaus(2013-09) Yarison, Ishaya JatauI AM Meditation is a musical drama in seven tableaus, which, to borrow John Milton's language, represents the loss of paradise and its reattainment. The meditation revolves around a central fulcrum (Tableau IV), where the story of origin, rebellion, the fall, and the plan for restoration is stated. While Tableaus I, II & III are about loss and misery, Tableau V, VI & VII are about restoration and glorification. The three fundamental ideas of metaphysics (God, in terms of whether or not he was responsible for the singularity that gave birth to being; the Soul, in regard to its resurrection and immortality; and the Cosmos vis-à-vis teleology) are examined in Tableaus IV & V. Here still, theodicy, soteriology, and eschatology are examined through accompanied monologues, interspersed with choral interjections. Misery is represented through the loss of the mythic paradise, the first murder and the misery of the multitudes while hope and restoration are articulated in the I AM sayings from the Gospel of John, the resurrection of the I AM, the proclamation of the good news of this resurrection, and the recovery of paradise. In sum, this is a meditation on hope. But in one sense, I AM Meditation is a communal ritual of reenactment: the reenactment of a loss and a signification of how this loss is mitigated and restoration achieved.Item La Bohéme (2006-04-18 through 2006-04-20)(2006) University of Minnesota Duluth. Department of Music; University of Minnesota. Opera TheatreItem Marcie Rendon(Voices from the Gaps, 2002) Steeves, CarolynItem The Merry Widow (2008-04-25 and 2008-04-26)(2008) University of Minnesota Duluth. Department of MusicItem Music and Performance Space Design(2015-12-14) Gjesdahl, KristenItem The Old Maid and the Thief [and] The Telephone (2002-05-11 and 2002-05-12)(2002) University of Minnesota Duluth. Department of Music. Opera StudioItem Singing Arminius, imagining a German Nation:narratives of the liberator Germaniae in Early Modern Europe(2012-05) Skarsten, Roger ChristianThis dissertation investigates early modern European musical/dramatic narratives of the ancient Germanic chieftain Arminius, a figure onto which cultural discourses and images of Germanness continue to imprint themselves today. Just as modern historians characterize the post-Westphalian Holy Roman Empire of the German Nation as an active (if not always amicable) interdependence between the states and the imperial institutions, so do the Arminius narratives of this era demand re-evaluation apart from the nineteenth-century nationalistic ideologies that have colored the figure's reception. This investigation accordingly contextualizes the Arminius figure in the company of the Holy Roman Emperor as well as the German princes whose sovereignty had received official confirmation after 1648. The first part explores the notion of a Roman-German identity as it relates to the Habsburg dynasty's self-representations, and the ways in which an understanding of this duality affects interpretations of operatic/dramatic works on the subject of Arminius that were dedicated to representatives of the Habsburg family or performed in territories where Habsburg influence was immediate. The second part turns to the princes of the Empire and considers how narratives of Arminius and the ancient Germanic tribes function within contexts of political particularism. Through concepts linked with geographical space, the continuity of ancestral ties, and the essential nature of the German character, these works construct and advocate cohesive notions of an imagined German social identity among their audiences while also upholding the affirmed freedom of the princes. A series of case studies (focused on the performance of Arminius narratives at various courts) builds on a referential network between the cultural reception of the figure (including the legacies of the ancient Germanic peoples in general) and other literary, pedagogical, and pictorial sources that were produced for the benefit of German princes. The case studies reveal the complex and sometimes contradictory ways in which these narratives interacted with contemporary political and cultural worldviews concerning the manifestation of the German nation within the Holy Roman Empire. The dissertation contains a substantial annotated catalog of musical/dramatic works on the subject of Arminius.Item Verismo: The Truth about Opera (2010-02-25 through 2010-02-27)(2010) University of Minnesota Duluth. Department of Music