History of Opera
Code: 100655 ECTS Credits: 6| Degree | Type | Year |
|---|---|---|
| 2500240 Musicology | OB | 3 |
Contact
- Name:
- Francesc d'Assis Cortes Mir
- Email:
- francesc.cortes@uab.cat
Teaching groups languages
You can view this information at the end of this document.
Prerequisites
Musical knowledge, equivalent to having completed A-level/High level of of Conservatoire studies, is required and can be achieved in the 1st year courses "Musical Language I and "Musical Language II".
Objectives and Contextualisation
The objective of the lessons is to study the opera as complex phenomena, with different kinds of languages: music, literature, theatrical sources and visual art. These are connected with social functions, which change according to the historical context, and that generate different uses and consumption according to their development. It is necessary to correctly place aspects such as social representativity, systems of performance production, or conceptual changes in the theater and regarding the treatment of the human voice, as well as dominant literary models.
Competences
- Know and understand the historical evolution of music, its technical, stylistic, aesthetic and interpretative characteristics from a diachronic perspective.
- Recognise the role of music in current society, its function in performances, its relationship with audio-visual culture, technology and informatics, and with leisure and cultural enterprises.
- Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
- Students must have and understand knowledge of an area of study built on the basis of general secondary education, and while it relies on some advanced textbooks it also includes some aspects coming from the forefront of its field of study.
Learning Outcomes
- Analysing ideas about an artistic phenomenon in a given cultural context.
- Analysing the creators of an artistic phenomenon in a specific cultural context.
- Analysing the recipients of an artistic phenomenon in a specific cultural context.
- Correctly interpret the existing links between text and music, from a literary, structural and semantic viewpoint.
- Define the processes of periodisation and stylistic classification and usual typology in the historical conceptualisation of the musical fact.
- Distinguish between the main models of opera composition, in its double literary and musical facets, in each period of history.
- Distinguish between the main principles of scene direction for different periods of history.
- Historically define the different periods of opera as a musical genre.
- Identify and classify the different types of voice and voice therapy/use of the voice.
- Identify the existing links between differen lyrical genres in each of the periods of history and understand the mechanisms of musical transit and and influences between said genres and subgenres.
- Indicate the elements that make up the operatic performance from a double perspective: synchronic and diachronic.
- Integrate knowledge acquired in the production of clear and concise appropriate to the academic and specialist communication.
- Present knowledge about the history, art or other cultural movements.
- Produce correct, precise and clear argumental and terminological writing of knowledge acquired, both in the area of musical specialisation and dissemination.
- Recognise the differen scenographic models of the lyrical genre throughout history.
- Relate the process of creation of repertoire to the different agents participating in opera consumption, both today and in different periods of history.
- Relate the production of opera librettos with the main literary trends of their time in history.
- Relating elements and factors involved in the development of historical processes.
- Solve problems of a methodological nature in the area of musicology.
- Summarising acquired knowledge about the origin and transformations experienced in its several fields of study.
- Use specific vocabulary related to lyrical repertoire.
- Use the vocabulary of musicology related to each period of history.
- Value and understand the influence of technical innovations in the conception of opera as a theatrical performance, beyond the musical fact.
- Value lyrical creation as a result of the social manifestations of each period and distinguish between the differents types of social function that they fulfil.
Content
1. Constitutional elements of the Dramatic genre:
The voice and vocality;
Changes regarding the concept of "opera", social and cultures spaces, Theatrical action vs. performing and musical action; Musical form and conventionalisms
A language for the lyrical world
Musical consumption. From judiciousness to operatic outburst
Between divisiveness and the hooligans
2. Precedents: from the Florentine intermezzi and humanistic court celebrations, to the first operatic performances by Claudio Monteverdi, dramaturgy, "precepts" and theater.
3. Baroque opera in Italy: stylistic diversifications and social use; dissemination of the opera in Europe: from adaptions to the negation of the model. Women in baroque opera.
4. The opera during the French Illustration: Quarrels and aesthetical and ideological spaces of power.
5. Opera buffa versus Opera seria: Vocal and thematic loans, reforms against conventionalisms; The good, the bad and the ugly of Italian opera in the United Kingdom: Händel and Beggar's opera; Metastasio and libretto conventions, beyond the topics.
6. Classicism, Illustration and Opera: Mozart and others: Piccini, Paisiello, Galuppi and Cimarosa; The French Revolution: new public, political propaganda.
7. The muse named G. Rossini.
8. Theatre and the bourgeois city during the XIX century: The romantic melodrama, new audiences, new sonorities and new thematics beyond bel canto. Divisiveness and the treatment of genre.
9. Risorgimento and Verdi. Interpreted from Italy and from abroad.
10. In search of identity: The persecution of the national operas in romanticist Europe; the idea of German music from the opera: Carl Ma. von Weber and German theatres; Bohemian opera; Una inutile precauzione, national opera in Spain
11. The French romantic prototype: Grande Opéra, operette, opéra lyrique. Musical models and spaces of social influence.
12. The Art work for the Future: Wagner. Performance space, allegoric space, sound space. The symbol.
13. Italy during fin de siècle: from crisis to the success of verismo.
14. Discovering Russian and Slavic opera.
15. Operatic Simbolism: itineraries from Strauss to Korngold, through Debussy; The libretto, the voices, the orchestra and scenography of postwagnerism.
16. New forms of operatic expression: Berg, Schönberg,Schrecker, Stravinsky. The crisis of the opera?
17. A Cry for freedom in the post-war period: dodecaphonism, experimental opera.
18. Languages for an "informed" contemporary audience: Britten, Henze, Menotti, Poulenc.
19. Reflexions regarding the crisis of the seventies. New spaces, new companies, new concepts.
20. The New century and contemporary opera: Messiaen i Zimmermann.
21. The phenomenon of the Régisseur de scène and regietheater. Currents paradigms: visuality, performance action, actualization, the media and new voices.
Activities and Methodology
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Lesson | 15 | 0.6 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24 |
| Practical sessions | 5 | 0.2 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24 |
| Seminaries | 19 | 0.76 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24 |
| Type: Supervised | |||
| Tutorial | 11 | 0.44 | 1, 2, 3, 4, 5, 7, 8, 9, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 24 |
| Type: Autonomous | |||
| Check and analysis scores | 20 | 0.8 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24 |
| Opera visualize | 26 | 1.04 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24 |
| Study | 30 | 1.2 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24 |
The course will be articulated through lectures with text commentaries and previous readings, problem-solving seminars (ABP) around different operatic titles,
and comments around viewings/listenings of operas.
The syllabus will be presented following, as a guiding thread, plot themes related to operas from different periods, which will be analyzed and viewed in class.
The arguments and thematic axes will be updated on the Virtual Campus, and proposals such as the following will follow:
-"Superb": L'incoronazzione di Poppea
-"Magic": Rinaldo
-"Lust": Ladu Macbeth of Mtsensk
-"Empowered women": L'italiana in Algeri
-"Folly": Lucia di Lammermoor
-"Anger": Rigoletto
-"Envy": Die Meistersinger von Nüremberg - Lohengrin
-"Jealousy": Othello
-"Greed": Gianni Schichi
-"Against adversity": Ariadne auf Naxos
-"Overcoming": Die tote Stadt
-"Victim": Wozzeck - Madama Butterfly
-"Abandoned": La voix humaine
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Assessment
Continous Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Evaluation of hearings | 20 % | 2 | 0.08 | 1, 2, 3, 5, 9, 10, 18, 24 |
| Evaluation of the activities of the Seminars, realización de una Historry sobre un título | 20 % | 18 | 0.72 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24 |
| First exam | 30 % | 2 | 0.08 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24 |
| Second exam | 30 % | 2 | 0.08 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24 |
A continuous evaluation system is proposed based on the assessable activities carried out in the Seminars.
The activities of the Seminars will consist of practical analyses, based on scores, librettos and stagings.
The assessable activity of the seminars will consist of the realization of a History,
designed in a video format, lasting 5 minutes, on a title of an opera that is not necessarily in the repertoire.
The work will be done in groups, and a list will be proposed on the Virtual Campus.
There will be two partial exams, each of which will include half of the course syllabus.
Its content and type will be indicated on the Virtual Campus.
An assessment will be made using music examples, based on a list that will be available on the Virtual Campus.
Students who participate in the preparation of an opera commentary,
for the 2024-25 G. T. del Liceu handbook (Rusalka), will not have to take the music examples exam or the History.
In order to be evaluated, all evaluation evidence must be completed.
The student who has not completed all the assessment evidence will be considered "Not assessed".
At the time of carrying out each assessment activity, the teacher will inform the students (via Moodle) of the procedure and date of revision of the qualifications.
In order to be able to access the re-evaluation, the students must have participated in all the assessment activities, except for a justified reason, which must be certified.
Seminars cannot be re-evaluated. In order to pass the course in case of failure, it will be necessary to resit the assessment tests that have been suspended.
It is understood that the course is approved when the average of all the evidence gives at least a 5.
In the event that the student commits any irregularity that could lead to a significant variation in the grade of an assessment act,
this assessment act willbe graded with 0, regardless of the disciplinary process that may be instituted.
Single Assessment
Those students who decide to take the single assessment must do the following on the day indicated on the Virtual Campus:
1. Written exam (test type) on subject content (45%)
2. Examination on music examples from the list published on the Virtual Campus (25%)
3.Commentary and analysis of a short fragment of an opera that will be viewed on the day of the assessment (30%). The opera can be seen with subtitles, and belong to any of the periods included in the syllabus.
In the event that several irregularities occur in the evaluation acts of the same subject, the final grade for this subject will be 0.Bibliography
General Bibliography
Abbate, Carolyn; Parker, Roger. A History of Opera. The last 400 years. Allen Lane, 2012.
Alier, Roger. Guía universal de la ópera. Teià-Barcelona, Ma non Troppo, 2007, 1040 p.
Annunziata, Filipo; Colombo, Giorgio Fabio. Law and Opera. Springer, 2018 (consultable on-line: http://link.springer.com/openurl?genre=book&isbn=978-3-319-68649-3)
Baker, Evan. From the score to the stage: an illustrated history of continental opera production and staging. Chicago, Chicago University Press, 2013.
Basso, Alberto. Musica in scena. 6 vols Torí, UTET, 1995-97.
Bianconi, Lorenzo; Pestelli, Giorgio. Opera on Stage (The History of Italian Opera. Part II). University of Chicago Press, 2002.
Bianconi, Lorenzo; Pestelli, Giorgio. Opera Production and Its Resources. University of Chicago Press, 1998 (ed original en italià: Sotria dell’opera italiana, vol 4, 5, 6. Torino, EDT, 1987-1988).
Casares Rodicio, Emilio. La ópera en España. Procesos de recepción y modelos de creación, vols I-II. Madrid, ICCMU, 2018.
Cortès, Francesc. Història de la música a Catalunya. Barcelona, ed Base- col·lecció Base Històrica n. 73, 2011.
Davidson Reid, Jane (ed.). The Oxford Guide to Classical Mithology in the Arts (1300-1990). Oxford, Oxford University Press,1993.
Gänzl, Kurt. (ed) The Encyclopedia of the Musical Theatre. New York, Schirmer Books, 2001.
Grout, Donald Jay. A Short History of Opera. 3ª ed. New York, Columbia University Press, 1988.
Kerman, Joseph. Opera and the morbidity of Music. New York Review Books, 2008.
Kimbell, David. Italian Opera. Cambridge, Cambridge University Press, 1991.
Lacombe, Hervé (ed). Histoire de l'opéra français. Du Consulat aux débuts de la IIIème République. Paris, Fayard, 2000.
Leibowitz, René. Historia de la ópera. Madrid, Taurus Humanidades, 1990.
Loewnberg, A. Annals of Opéra 1597-1950. Génova, 1955 (2ª edición).
Pahlen, Kurth. Diccionario de la ópera. Barcelona, Emecé, 1995.
Parker, Roger. Historia ilustrada de la ópera. Barcelona Paidós, 1998.
Pedrell, Felip. Por Nuestra Música. Barcelona, ed Henrich, 1891 (reed. Bellaterra, Servei de Publicacions de la UAB, 1991).
Radigales, Jaume. L’Òpera: música, teatre i espectacle. Barcelona, Pòrtic, 1999.
Sadie, S.; Jacobs, A. El libro de la ópera. Madrid, Rialp, 1998.
Smith, Patrick. The Tenth Muse: A historical Study of the opera libretto. New York. Knopf, 1970.
Snowman, Daniel. La ópera. Una historia social. Madrid, Siruela, 2016 (2ª ed)
Suárez García, José Ignacio; Sobrino, Ramón; Cortizo, María Encina (eds). Música lírica y prensa en España (1868-1936): ópera, drama lírico y zarzuela. Oviedo, Ediciones de la Universidad de Oviedo, Hispanic Music Series, 2018.
Warrack, John; West, E. The Oxford dictionary of Opera. Oxford, Oxford University Press, 1992.
1st Theme
Barthes, Roland. Image, musique, texte. London, Fontana Press, 1977.
Beauvert, Thierry. Opera Houses of the World. London, Thames and Hudson, 1996.
Bianconi, Lorenzo (ed). La drammaturgia musicale. Bologna, Il Mulino, 1994.
Donington. Robert. Opera and Its Symbols: The Unity of Words, Music and Staging. Yale University Press, 1990.
Duncan, David Allen. Birth of Opera.Salem Press Encyclopedia, 2013.
Miscevic, Pierre. Divas: la force d’un destin. Paris, Hachette, 2006.
Rosselli, John. Singers of Italian Opera. Cambridge University Press, 1995.
Theme 2: The precedents
Cotticelli, Francesco; Maione, Paologiovanni. Storia della musica e dello spettacolo a Napoli: Il Settecento. Napoli, Centro di Musica Antica Pietà dei Turchini, 2020.
Palisca, Claude Victor. The Florentine Camerata. Documentary Studies and Translations. Yale University Press, 1989.
Theme 3: Italian opera
Baldacci, Luigi. La Musica in italiano: libretti d’opera dell’Ottocento. Rizzoli, 1997.
Bruni, Francesco. La maschera e il volto: il teatro in Italia. Venezia, Fondazione Giorgio Cini, 2002.
Cotticelli, Francesco; Maione, Paologiovanni. Storia della musica e dello spettacolo a Napoli: Il Settecento. Napoli, Centro diMusica Antic Pietà dei Turchini, 2009.
Fabris, Dinko. La circolazione dell’opera veneziana del seicento nel IV centenario della nascita di Francesco Cavalli. Napoli, Turchini Edizioni, 2055.
Glixon, Beth Lise. Studies in Seventeenth-Century Opera. Oxon, Routledge, 2016.
Rosand, Ellen. Opera in Sevententh-Century. Venice. The Creaion of a Genre. Berkelye, University of California Press, 1991.
Wilbourne, Emily. Seventeenth-Century Opera and the Sound of the Commedia dell’Arte. Chicago, Chicago University Press, 2016.
Theme 4: Opera in the French Illustration
Bauman,Thomas; Petzolt McClymonds, Marita (eds). Opera and the Enlightenment. Cambridge University Press, 2006.
Fabiano, Andrea. Histoire de l'opéra italien en France (1725-1815) : Héros et Héroïnes d'un roman théâtral. « Sciences de la musique - Séries Études », CNRS Éditions, Paris 2006.
Wood, Caroline; Sadler, Graham. French Baroque Opera: A reader. eBook, 2017.
Theme 5: Opera seria, opera bufa. England
Farrell, Joseph (ed). Carlo Goldoni and Eighteenth-century theatre. Lewiston, Mellen, 1998.
Kimbell, David. Handel onthe Stage. Cambridge University Press, 2016.
Laterza, Guido. Metastasio e il teatro del primo settecento. Laterza, 1974.
Theme 6: Opera and Classicism
Del Donna, Anthony R. Opera, Theatrical Culture and Society in Late Eighteenth-Century Naples. Oxon, Ashgate, 2012.
di Profio, Alessandro. La Révolution des bouffons. Paris, Fayard, 2003.
Emery, Ted. Goldoni as librettist: theatrical reform and the drammi giocosi per musica. Peter Lang, 1991.
Landon, H. C. Robbins. Mozart, the golden years, 1781-1791. Nueva York, Schirmer Books, 1989. [Traducción castellana: Barcelona, Destino, 1990].
Landon, H. C. Robbins; Mitchell, Donald (eds).The Mozart Companion. Nueva York, Norton, 1969.
Paumgartner, Bernhard. Mozart. Madrid, Alianza Música, 1990.
Rice, John A. Essays on Opera, 1750-1800. London, Routledge, 2016.
Stricker, Rémy. Mozart et ses opéras. Fiction et verité. París, Gallimard, 1980. [Traducció castellana. Madrid, Aguilar, 1991].
Waldoff, Jessica. Recognition in Mozart’s Operas. Oxford University Press, 2006.
Woodfield, Ian. Performing opera for Mozart: impresarios, singers and troupes. Cambridge, Cambridge University Press, 2012.
Theme 7: Rossini
Osborne, Richard. Rossini: hislife and works. Oxford, Oxford university Press, 2007.
Vitoux, Frédéric. Rossini. París, Ed. du Seuil, 1986[Trad. castellana: Madrid,Alianza Música, 1989].
Theme 8: The theater and city in the 19th century
Abbate, Carolyn. Unsung voices: opera and musical narrative in the nineteenth century. Princeton, Princeton University Press, 1991.
Arblaster, Anthony. Viva la liberta! Politics on Opera. London, Verso, 1997.
Ashbrook, William/Budden, J./Gossett, Ph.Maestros de la ópera italiana. Rossini, Donizetti. Tomo 1. Barcelona, Muchnik, 1988.
Castelvecchi, Stefano. Sentimental Opera. Questions of Genre in the Age of Bourgeois Drama. Cambridge University Press, 2013.
Celleti, Rodolfo. A History of Bel Canto. Clarendon press, 1991 (reed 1996).
Dahlhaus, Carl. Drammaturgia dell’opera italiana. Torino, EDT, 2005.
Dent, Edward, Joseph. The rise of romantic opera. Cambridge, Cambridge University Press, 1979.
Gosset, Philippe. The Operas of Romanticism: Problems of Textual Criticism in 19th Century Opera. Princeton, 1979.
Kimbell, David R. B. Italian opera. Cambridge, Cambridge University Press, 1991.
Lippmann, Friedrich. Versificazione italiana e ritmo musicale: i rapporti tra verso e musica nell’opera italiana dell’Ottocento. Liguori, 1986.
Mioli, Piero. Manuale del Melodramma. Milano, Biblioteca Universale Rizzoli, 1993.
Sánchez Sánchez, Vïctor (ed). Intercambios musicales entre España e Italia en los siglos XVIII y XIX. Bologna, Ut Orpheus, 2019.
Theme 9: El Risorgimento and Verdi
Budden, Julian. Verdi. Londres, Dent & Sons, 1985 (reed 2008).
Conati, Marcello. Piegare la nota. Contrappunto e dramma in Verdi. Historiae Musicae Cultores, vol. 127. Firenze, Olschki, 2014.
Günther,Ursula.“La genèse de Don Carlos, opère en cinq actes de Giuseppe Verdi, representé pour le première fois à Paris leII mars 1867 ”. Revue de Musicologie, nº 1, 1972, pp. 16-64; nº 1-2, 1974, pp. 87-158.
Parakilas, James. “Political representation and the Chorus in Nineteenth-Century Opera”. 19th Century Music, vol. XVI, nº 2, 1992, pp. 181-202.
Willis, Garry. Verdi’s Shakespeare: men of the theater. New York, Viking, 2011.
Theme 10: In search for identity
Alier i Aixalà, Roger. L’òpera a Barcelona. Orígens, desenvolupament i consolidació de l’òpera com a espectacle teatral a la Barcelona del segle XVIII. Barcelona, Institut d’Estudis Catalans-Societat Catalana de Musicologia, 1990.
Banoun, Bernard; Candoni, Jean-François. Le Monde germanique et l’opéra: le livret en question. Paris, Klincksieck, 2005.
Bauman, Thomas. North German Opera in the Age of Goethe. Cambridge, Cambridge University Press, 1985.
Casares, Emilio (ed), La Ópera en España e Hispanoamérica. Madrid, ICCMU, 2001.
Casares, Emilio (ed). Diccionario de la Zarzuela. Madrid, ICCMU, 2005.
Cortès i Mir, Francesc.“Ópera española: las obras de Pedrell”, Cuadernos de Música Iberonamericana. I, 1996, pp. 187-216.
Cortès i Mir, Francesc. “La zarzuelaen Cataluña y la zarzuela en catalán ”, Cuadernos de Música Iberonamericana. II-III, 1996-97, pp. 289-318.
Cortizo, Mª Encina. Emilio Arrieta. De la ópera a la zarzuela. ICCMU, 1998.
Espín Templado, Ma. Pilar; de Vega Martínez, Pilar; Lagos, Manuel. Teatro lírico español. Ópera, drama lírico y zarzuela grande entre 1868 y 1925. Madid, UNED, 2016.
Iberni, Luis. Ruperto Chapí. Madrid, ICCMU, 1995.
Sánchez, Víctor. Tomás Bretón, música de la Restauración. Madrid, ICCMU.
Torres Clemente, Helena. Las ópera de Manuel de Falla. Madrid, SedeM, 2007.
Theme 11: French romantic models
Anger, Violaine. Giacomo Meyerbeer. Paris, Bleu nui éditeur, 2017, p. 176.
Branger, Jean-Christophe; Giroud (dir). Massenet aujourd'hui. Héritage et postérité. Saint-Étienne, Publications de l'Université, 2014.
Lacombe, Hervé. (ed) L’opéra en France et en Italie (1791-1925). Paris, Actes du colloque franco-italien tenu à l’Academie musicale de Villecroze
Legrand, Raphaëlle; Wild, Nicole. Regards sur l'opéra-comique. Paris, CNRS, 2002.
Loisel, Gaëlle. La Musique au défi du drame. Berlioz et Shakespeare. Paris, Classiques Garnier, 2016, p. 457.
Pitou, S. The Paris Opera: an encyclopedia of operas, ballets, composers and performer: growth and gradeur, 1815-1914 .NewYork, Greenwood Press, 1990.
Pourvoyeur, Robert. Offenbach. Paris, ed du Seuil, 1994.
Prévost, Paul (ed.). Le Theatre Lyrique en France au XIXe siècle. Metz, Ed. Serpenoise, 1995.
Walsh, T. J. Second Empire Opera. The Théâtre Lyrique Paris (1851-1870). Londres, John Calder, 1981.
Theme 12: Wagner
Adorno, Theodor W. Essai sur Wagner. Paris, Gallimard, 1966 (trad. original del 1962).
Bauer, Hans-Joachim. Guía de Wagner (vols. I y II). Madrid, Alianza Música, 1996.
Donington, Robert. Wagner’s Ring, and its Symbols. London, Faber & Faber, 1979 (reed)
Gray, Howard. Wagner (trad. de Imma Guàrdia). Barcelona, Ma Non Proppo, 2002.
Gregor Dellin, Martin. Richard Wagner. Sa vie, son ouvre, son siècle. París, Fayard, 1981. [Traducción: Madrid,Alianza Música, 1983].
Grey, Thomas S. The Cambridge Companio to Wagner. Cambridge, Cambridge University Press, 2008.
Jameux,Dominique. “Analyser Tristan”. L'Avant-Scène Opéra, 34/35, 1981, reed. 1990.
Jeongwon, Joe; Gilman, Sander L. Wagner & cinema. Bloomington, Indiana University Press, 2010.
Lewin, David. “Some notes on Analyzing Wagner: The Ring and Parsifal”. 19th Century Music, vol. XVI, nº 1, 1992, pp. 49-58.
Lussato, Bruno (ed). Voyage au coeur du Ring: Richard Wagner, L’anneau du Nibelung, poème comenté. Paris, Fayard, 2005.
Matabosch, Joan; Janés, Alfonsina; Pujol, X. Wagner al Liceu. Barcelona, L’Avenç, 2004.
Spotts, Frederic. Bayreuth: a history of the Wagner festival. Yale, yale University Press, 1994.
Theme 13: Italy during fin de siècle
Baldacci, Luigi. “Ilibretti di Mascagni”. NRMI, nº 3, 1985.
Budden, Julian. Puccini. His Life and Works. OUP, 2002.
Campana, Alessandra. Opera and Modern Spectatorship in Late Nineteenth-Century Italy. Cambridge University Press, 2015.
Clausse, Eleonore. Giacomo Puccini. Madrid, Espasa Calpe, 1980.
Krause, Ernst. Puccini: la historia de un éxito mundial. Madrid, Alianza, 1991.
Mallach, Alan. The Autumn of Italian opera: from verismo to modernism, 1890-1915. Northeastern University Press, 2007.
Wilson, Alexandra. The Puccini problem: opera, nationalism and modernity. Cambridge, Cambridge University Press, 2007.
Theme 14. Discovering Russian and Slavic opera
Campbell, Stuart. Russians on Russian Music (1830-1880). An Anthology. Cambridge, Cambridge University Press, 1994.
Clapham, John. Dvorak. London, Newton Abbot, 1979.
Clapham, John. Smetana. Londres, Faber & Faber, 1972.
Chisolm, E. The Operas of Leos Janácek. Londres, Faber, 1971.
Frolova-Walker, Marina. Russia: Music anNation: From Glinka to Stalin. Yale University Press, 2007.
Maximovith, Michel. L'opéra russe, 1731-1935. Lausanne, Age d'homme, 1987.
Taruskin, Richard. Defining Russia Musically: Historical and Hermeneutical Essays. Princenton University Press, 1997.
Tyrrell, J. Czech Opera. Cambridge, Cambridge University Press, 1988.
Theme 15: Operatic Simbolism
Kelkel, Manfred. Naturalisme, vérisme et réalisme dans l'opera de 1890 a 1930. París, Librairie philosophique J. Vrin, 1984.
Lecler, Éric. L’opéra symboliste. Paris, L’Harmattan, 2006.
Panofsky, Walter. Richard Strauss. Madrid, Alianza Editorial, 1988.
Segal, Naomi; Lee, Hyunseon. Opera, Exotism and Visual Culture. Oxford, Peter Lang, 2015, eBook.
Theme 16: New forms of expression in the 20th century
Babcock, Renée Elizabeth. The operas of Hindemith, Krenek, and Weill: Cultural trends in the WeimarRepublic, 1918-1933. University of Texas, Austin, PhD dissertation, 1996.
Chew, Geoffrey. “Pastoral and Neoclassicism: A Reinterpretation of Auden’s and Stravinsky’s Rake’s Progress “, Cambridge Opera Journal, 5, 1993.
Ivashkin, Alexander; Kirkman, Andrew. Contemplating Shostakovich: Life, Music and Film. Oxon. Ashgate, 2012.
Klipatrick, Emily. The Operas of Maurice Ravel. Cambridge, Cambridge University Press, eBook, 2015.
Lacombe, Hervé. Les voix de l’Opéra française au XIXème siècle. Paris, Librairie Arthème Fayard, 1997.
Lacombe, Hervé. Géographie de l’opéra au XXe siècle. Paris, Fayard, 2007.
Maehder, Jürgen. “Drammaturgia musicale e strutture narrative nel teatro musicale italiano della generazione dell’Ottanta”, Alfredo Casella e l’Europa. Atti del Convegno internazionale di sutudi, 2001. (ed. Mila de Santis). Firenze, Leo S. Olschki editore, 2003.
Morris, Christopher. Reading Opera between the Lines. Orchestral Interludes and cultural Meaning from Wagner to Berg. CUP, 2002.
Nice, David. Prokofiev. A Biography. From Russia to the West. 1891-1935. Yale University Press, 2003.
Perle,George.The Operas of Alban Berg. 2 vols. Berkeley, Univ. of California Press, 1980-1985.
Theme 17: Opera in the post-war period
Ameille, Aude. Aventures et nouvelles aventures de l'opéra. Pour une poétique du livret depuis 1945. Paris, Classiques Garnier,2016, p. 679.
Fearn, R. Italian opera since 1945. Routledge, 1995.
Griffiths, Paul. “Opera, Music Theater”. Modern Music: The Avant Garde Since 1945. Londres, Dent, 1981.
Theme 18:. Languages for an "informed" audience
Lacombe, Hervé; Southon, Nicolas. Fortune de Francis Poulenc. Diffusion, Interprétation, Réception. Rennes, Presses UniversitairesdeRennes, 2016.
White, Eric Walter. Benjamin Britten, his life and operas. London: Faber & Faber, 1983.
Theme 19: Opera in crsis
Pleasants, Henry. Opera in Crisis: Tradition, Present, Future. London, Thames and Hudson, 1989.
Popper, Frank. Art-Action et participation, l’artiste et la créativité aujourd’hui. Paris, Klinsieck, 1980.
Ross, Alex. The Rest is Noise: Listening to the Twentieth Century. Fourth Estate, 2008.
Theme 20: A new century and contemporary opera
Barbulescu, Cristina. Les opéras européens aujourd’hui: comment promouvoir un spectacle?. Paris, L’Harmattan, 2012.
Belina-Johnson, Anastasia; Scott, Derek B. The Business of Opera. Surrey, Routledge, 2015.
Citron, Marcia J. Opera on Screen. Yale University Press, 2000.
Cohen-Lévinas, Danielle. Le Present de l’Opéra au siècle XX: chemin versl es nouvels utopies. Paris, Editions Kimé, 2001.
Levin, David J. Unsettling opera: staging Mozart, Verdi, Wagner and Zemlinsky. Chicago, University of Chicago Press, 2007.
Moodley, Roy;So, Joseph K.; Ingraham, Mary I. Opera in a Multicultural World. New York, routledge, 2016.
Picard, Timothée. Opéra et mise en scène. 2 vols. Paris, ASO Opéra, Premières Loges, 107-2015.
Ribera, Jordi. "L'escenografia de l'òpera: tradició i traïció",a Revista de Catalunya, nº 163, 2001, p. 63-80.
Sutcliffe, Tom. Believing in opera. Princeton, Princeton University Press, 1996.
Recommended reading
Berg, Alban. “The problem of opera”, Classic essays on twentieth-century music: A continuing symposium. New York, Schirmer, 1996.
Brecht, Bertold. El compromiso en literatura y arte. Edicióacura de Werner Hecht. Barcelona, editorial Panínsula, 1984. (títol original Schriften zur Literatur und Kunst. Frankfurt auf Main, Suhrkamp Verlag, 1967)
Burney, Charles. The Present State of Music in Germany, the Netherlands and the United Provinces, 2 vols. Londons, 1773 (trad. a l’italià de E. Fubini, Torí, 1986).
Da Ponte, Lorenzo. Mémoires de Lonrezo Da Ponte. Libretiste de Mozart. Paris, Mercure de France, 1988.
Galilei, Vicenzo. Dialogue on Ancient and Modern Music (trad. De Victo Palisca). Yale Univeristy Press, 2003.
[també a: http://imslp.org/wiki/Dialogo_della_musica_(Galilei,_Vincenzo)]
Goldoni, Carlo. Memòries. (trad en català de JoanCasas). Barcelona, Institut del Teatre, 1993.
Henze, Hans Werner. Canti di viaggio. Una vita (ed italiana de lidia Bramani). Milano, il Saggiatore, 2005.
Mann, Thomas. Richard Wagner y la música. Barcelona, Plaza 6 Janés, 1986.
Marcello, Benedetto. Teatro a la moda. Madrid, Aliana,2001(trad. i reed)
Nietzsche, Friedrich W. El Caso Wagner. Madrid, Siruela, 2005 (reed).
Shaw, George Bernard. El perfecte wagnerista. Un comentari sobre L’Anell del Nibelung. (ed en català. Barcelona, Amics del Liceu, 2004).
Wagner, Richard. Mi vida. Madrid, Turner Publicaciones, 2000 (reed).
Wagner, Richard. Òpera i drama. Barcelona, 1995 (reed).
Web resources and electronic books
-“Opera glass”, pàgina amb llibrets i resums d’algunes òperes de repertori. http://opera.stanford.edu/
- “Drammaturgia”. http://www.drammaturgia.it/index.php
- International Musical ScoreLibrary Project. http://ww.imslp.org
- Llibrets d’òpera italians a partir d’edicions d’època. http://www.librettidopera.it/
- Arxiu de la Societat del G. T. del Liceu: http://www.bib.uab.cat/human/arxiusocietatliceu/publiques/indexcat.php
- Monteverdi: 400 aniversari del naixement de l'òpera: https://ddd.uab.cat/record/24772
- Facos, Michele. A Companion toNineteenth-Century Art. John Wiley, 2019. Accés: https://onlinelibrary-wiley-com.are.uab.cat/doi/book/10.1002/9781118856321
- Davies, David. A Philosophy of the Performing Arts. John Wiley, 2011. Accés: https://onlinelibrary-wiley-com.are.uab.cat/doi/book/10.1002/9781444343458
Software
No specific software requiered.
Language list
| Name | Group | Language | Semester | Turn |
|---|---|---|---|---|
| (PAUL) Classroom practices | 1 | Catalan | first semester | morning-mixed |
| (TE) Theory | 1 | Catalan | first semester | morning-mixed |