Provider: - Institution: - Data provided by Europeana Collections- Hochkultur trifft Streetart: Für das Bühnenbild von Giacomo Puccinis "La Bohème" an der Oper Stuttgart hat die Regisseurin Andrea ...Moses den früheren Graffiti-Sprayer und erfolgreichen Pop-Art-Künstler Stefan Strumbel engagiert. Das Stück aus dem 19. Jahrhundert spielt nun zwischen einem mit Graffiti besprühten Container und einem riesigen Weihnachtsbaum.- Streetart meets Hochkultur: For the stage design of Giacomo Puccini's\ "La Bohème\" at the opera Stuttgart, director Andrea Moses hired former graffiti sprayer and successful pop art artist Stefan Strumbel. The 19th century piece now plays between a container sprayed with graffiti and a huge Christmas tree.- 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
오페라 라보엠의 여주인공 무대 의상 연구 최유진; Yoo Jin Choi; 김희은 ...
한국의류산업학회지,
06/2011, Letnik:
13, Številka:
3
Journal Article
Odprti dostop
The purpose of this study was to research the heroines` fashion styles in the opera, "La Boheme." This article studied the representations of the grisettes in 1830`s France and the characteristics of ...the grisettes appeared in the original novel, "Scenes de la Vie de Boheme" and contemporary literatures and paintings. The one of the heroines, Mimi was figured a virtuous female despite poor environments, by contrast Musetta was described as cruel, greedy and vicious female in the opera. But, by analyzing the original novel and the representations of the grisettes in contemporary literatures, this study figured out clearly Mimi and Musetta have same origin and similar aspects, not contrast. Up to the present mimi`s costumes were not sophisticated but too simple compared to Musetta`s. Also Musetta`s costume were too much luxury considering her status. This study proposed a new fashion style considering not only analysis result of the heroins` characteristics but contemporary costume design of the 1830`s France.
... just before the giant soundproofed wall -- perhaps 50 feet high, that separated the stage from backstage -- ascended and we were rolled into place, he answered a question that's been nagging me ...ever since I started attending the opera as a teenager: whether the extras are actually speaking amongst themselves in the crowd scenes, or just moving their lips.\n
If so, they should know that there are better versions in opera houses, where Mr. Baz Luhrmann's core concepts for this production -- updating and singers who look the age of their characters -- are ...now regular features. (Mr. Luhrmann first mounted this "Boheme" for the Australian Opera in 1990.) What is more, the opera house still puts the music first. By failing to do that, Mr. Luhrmann has created a pale facsimile of what the best American opera houses can offer. Mr. Luhrmann, his wife Catherine Martin (set and co-costume design), Angus Strathie (co-costume design) and Nigel Levings (lighting design) have set the famous romance of poverty-stricken young artists in Paris in 1957. Mimi, who looks like a period film star with her waved hair, red lipstick, bandbox-perfect clothing, and tougher demeanor than usual, is still dying of TB, but her lover Rodolfo uses a typewriter for his articles and poetry, Schaunard plays jazz trumpet, Marcello paints with a spray gun, there's a poster of Marlon Brando on the garret door, and the supertitles are full of period slang ("Listen up, cats"). Indeed, Mr. Luhrmann's directorial focus is display and comedy. In opera houses, the Bohemians' horseplay in Acts I and IV is endured while you wait for the good stuff; here it has choreographic precision and verve. Everyone seems young and happy. But "Boheme" is really about love and tragedy, and Mr. Luhrmann's sense of that is superficial and hackneyed, not really connecting viscerally with the heartbreak of the piece. Even more to the point, Puccini's music carries the true emotional story of "La Boheme," and despite its nominal adherence to the opera's form, this production has put the music squarely in last place.
Australian director Baz Luhrmann is putting a cast of trim, talented 20-something singers on stage in a century-old opera sung in Italian, convinced that audiences more attuned to the pop sound of ..."The Lion King" and "Cabaret" will want to hear what he's calling "the greatest love story ever sung." Mr. Luhrmann says his mission is to "bring this work back to the audience it was meant for - and that's everybody. And where are you going to find everybody as an audience in the theater today? Broadway." Luhrmann gave the singers a huge stack of background material to read on the opera, says David Miller, who'll play Rodolfo on opening night Sunday. The atmosphere at rehearsals, says Eugene Brancoveanu, one of two singers who play Marcello, was "very supportive. Luhrmann was able to trigger something ... that makes you go deep, deep into the character." Luhrmann has also stripped away operatic conventions in the staging. The set, designed by his wife, Catherine Martin (who won best Oscars art direction and best costume design for "Moulin Rouge"), lets the audience see the artificiality of the production. They watch stagehands moving sets and so on. "You show the trick," Luhrmann says, as an act of honesty, inviting the audience to join the actors in believing in the story of a tragic love. "It's unavoidably hyperromantic," he admits. "Of course, the piece works you over. Of course, you're being emotionally manipulated. But you choose to be."
In case you haven't heard, "La Boheme" starts previews today with one of the bigger marketing blitzes in recent Broadway memory. Much of the buzz is thanks to the director, Baz Lurhmann (better known ...for his Oscar-winning film "Moulin Rouge"), but it's being helped along with everything from a 12-minute video short to a movie-style media day at a Times Square hotel. It seems to be working: So far it's gotten plenty of notice, including splashy mentions in Vogue and Vanity Fair magazines. Still, the producers of "La Boheme" aren't daunted. "We can cover our investment in six months -- if tickets sell," co-producer Jeffrey Seller says. Indeed, he and his fellow lead producer, Kevin McCollum, have pulled it off before. They were the producers of "Rent," the late-20th-century adaptation of "La Boheme" that's been running on Broadway since 1996 and has earned nearly $100 million. Most advance Broadway marketing is done by direct mail. But for "La Boheme," Mr. Lurhmann has directed a glitzy TV commercial to the tune of $350,000. The spots started airing in September, months before the show's official Dec. 5 opening, and open on shots of billboards for "Moulin Rouge" and Mr. Lurhmann's other film hits, "Romeo + Juliet" and "Strictly Ballroom." Later there's a shot of a Brando-esque hunk in a T-shirt in a dimly lighted flat. It all looks very cinematic and that's clearly the idea.
For the producers of "La Boheme," the ad deal is part of a behind-the-scenes scramble for dollars. "The economics of live theater are always challenging," says Mr. Jeffrey Seller, "especially because ...we have to persuade people to buy $95 and $100 tickets." Both Montblanc, a unit of the Swiss luxury-goods maker Cie. Financiere Richemont AG, and Piper-Heidsieck champagne, part of France's Remy Cointreau SA, will provide marketing help for the show. "La Boheme" faces other problems besides charges of tackiness. Philip Birsh, an ad salesman who is president and publisher of Playbill Inc., says the opera's producers may be setting themselves up for a fight. His closely held company, which makes the programs handed out to Broadway theatergoers, has contracts giving it the rights to all advertising at a theater. In the early 1980s, he says, Playbill demanded that "Cats" alter its scenery to cover part of a poster for a brand-name product that had been incorporated into the set. "Product placements and advertisements in live theater are something we frown upon," he warns, though he hasn't yet seen "La Boheme" and wouldn't comment on the ads in that show. To help sell opera tickets, the pen company will poster the windows of its 49 U.S. boutiques with photos of the young opera stars in "La Boheme" during the prime year-end shopping season. It's also paying for a magazine advertising spread and a mass mailing. "In looking at this opportunity, what we realized is we each have the stage to help one another," Ms. Marion Davidson says. "They have the Broadway theater and we have our windows in boutiques nationwide." It can't hurt, either, that Montblanc has a pen model named "Boheme."
Gradually building in intensity, the music leads us to the arching central melody of the aria at the words "Talor dal mio forziere . . .": "Yet sometimes, all the jewels in my safe are stolen by two ...thieves -- a pair of lovely eyes!" In setting this line of poetic imagery, Puccini enriches the orchestral background with the melting sound of rising harp chords, and when the full orchestra repeats the melody leading Rodolfo to his climactic high-C, the harp breaks out with a series of broken chords -- a spinning figure known as an arpeggio.
