Between the last decade of the 19th century
and the first ones of the 20th century, a
large number of Italian operetta companies
crossed the Atlantic to explore the South
American theatre market, ...formed largely
by an immigrant audience. On these tours,
many artists ended up settling in the New
World. This was the case of Clara Weiss,
an Italian actress-singer who became capo-
comic in South America, but remained
closely linked to the Italian operettistic
world, establishing a bridge between the
two universes.
Entre a última década do século XIX e
as primeiras do XX, um grande nú-
mero companhias de opereta italianas
cruzaram o Atlântico para explorar o
mercado teatral sul-americano, for-
mado em grande parte por um público
imigrante. Nessas excursões, muitos
artistas acabaram por se fixar no Novo
Mundo. Foi o caso de Clara Weiss,
atriz-cantora italiana que se tornou ca-
pocômica na América do Sul, mas per-
maneceu estreitamente vinculada ao
mundo operetístico italiano, estabele-
cendo uma ponte entre os dois univer-
sos.
Em meio às grandes transformações ocorridas no Rio de Janeiro no fim do século XIX e início do século XX, uma mulher surgiu desafiando os padrões da época. A "pianeira", compositora e maestrina ...Chiquinha Gonzaga conquistou grande sucesso com seus tangos, polcas, maxixes e, principalmente, com o teatro musicado. Colégio de Senhoritas, opereta de Frederico Cardoso de Menezes com música de Chiquinha Gonzaga, estreou em 1912, um pouco antes do maior sucesso da compositora, a burleta Forrobodó. Pretende-se aqui não apenas resgatar esta obra, há muito tempo arquivada e esquecida, mas também realizar uma análise acurada abordando o contexto em que ela foi composta, discutindo aspectos musicais e questões de relações de gênero nela presentes, destacando o importante papel da compositora para o desenvolvimento da música brasileira.
U tekstu se analizira prisutnost glazbe, prvenstveno opereta, dalmatinskog skladatelja Franza von Suppéa (1819-1895) na pozornici zagrebačkog kazališta prije osnutka stalnog opernog ansambla 1870. ...godine. Njegova su djela pripadala – uz Offenbachove i Zajčeve uspješnice – rado prihvaćanim djelima u pripremnoj fazi desetljeća koje je prethodilo osnutku opere, iako su pronađeni podatci i o njihovim ranijim izvedbama u okvirima njemačkih i talijanskih gostujućih kazališnih družina. Operete na hrvatskom jeziku počele su se izvoditi 1863. godine, u čemu su sudjelovali uglavnom glumci koji su znali pjevati te tek pokoji profesionalni pjevač i mali orkestralni sastav koji je imao zadatak izvoditi scensku glazbu uz dramske predstave. Od Suppéovih djela na repertoaru su se tada našle četiri operete: Veseli djaci, Pjesnik i seljak, 10 djevojakah, ni za jednu muža te Liepa Galateja, koje su uglavnom bile dobro prihvaćene i punile su kazalište. Osim opereta, tada su se izvodile i razne druge vesele glazbeno-scenske vrste koje nisu postavljale prevelike glazbene zahtjeve. Ipak, operetu su kritičari često proglašavali »nužnim zlom«, tek pomoćnim sredstvom za punjenje kazališne blagajne. Međutim, dobro izvedena opereta također je zahtijevala dobre i profesionalne izvođače, što je – osobito u početcima djelovanja zagrebačkog kazališta – predstavljalo velik problem. Promatrajući mogućnosti izvedbe Suppéovih opera te njihovu recepciju na primjeru zagrebačkog nacionalnog kazališta, možemo donijeti niz zaključaka vezanih uz sudbinu Suppéovih djela, ali i načelnih problema zagrebačkog glazbenokazališnog života onoga doba.
Operetta Traubner, Richard
2003, 20040601, 2004-06-01
eBook
"Operetta: A Theatrical History" is considered the classic history of this important musical theater form. Traubner's book, first published in 1983, is still recognized as the key history of the ...people and productions that made operetta a worldwide phenomenon. Beginning in mid-19th century Europe, the book covers all of the key developments in the form, including the landmark works by Strauss and his followers, Gilbert & Sullivan, Franz Lehar, Rudolf Friml, Victor Herbert, and many more. The book perfectly captures the champagne-and-ballroom atmosphere of the greatest works in the genre. It will appeal to all fans of musical theatre history.
Richard Traubner is a well-known history of operetta, thanks to this book, and his articles in the New York Times, Opera News, program notes, and notes for recordings. He lives in New York City.
Provider: - Institution: Societatea Română de Televiziune - Data provided by Europeana Collections- Gherase Dendrino – “Lăsați-mă să cânt” în interpretarea lui Ionel Voineag. Filaret Barbu – „Ana ...Lugojana”. Viorel Doboș - “Nausicaa” interpretează Eugenia Ilinca. Gherase Dendrino – “Lăsați-mă să cânt” în interpretarea lui Valentin Teodorian.- 4:3- Operetă românească- color- 720x576- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Šelak gramofonska ploča- Podaci preuzeti iz popisa Veljka Lipovšćaka- All metadata published by Europeana are available free of ...restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Dueto dos beijos da opereta “O Conde de Luxemburgo” - Isabel Costa, Rodrigues Vieira - Franz Lehár, Alfred Willner, Robert Bodanzky, ...Leo Stein - Beka; Beka-Grand-Record, 48224, A; 48224 - access copy of digitized shellac recording (at 78rpm) in mp3 format- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
PDF
