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bare life

Italian philosopher Giorgio Agamben's concept for life that has been exposed to what he terms the structure of exception that constitutes contemporary biopower. The term originates in ...

Village Romeo and Juliet, A

Village Romeo and Juliet, A   Quick reference

The Grove Book of Operas (2 ed.)

Reference type:
Subject Reference
Current Version:
2008
Subject:
Music, Opera, Performing arts
Length:
1,564 words
Illustration(s):
1

...resume their play. This is interrupted by Vreli's father Marti, who has been spying on her and angrily confronts the young couple. Sali strikes him to the ground, and the scene ends in despair with Vreli imagining her father dead. S cene 4 Interior of Marti's house; everything is bare: only a bedstead and a bench are left Vreli is alone. Marti has lost his reason, and she has taken her father away; the house is to be sold. Sali comes in, having heard the news. The young lovers agree they must never part; they will wander together like larks in springtime....

Samson et Dalila

Samson et Dalila   Quick reference

The Grove Book of Operas (2 ed.)

Reference type:
Subject Reference
Current Version:
2008
Subject:
Music, Opera, Performing arts
Length:
1,749 words

...secret in advance and had pretended to love him out of hatred and a desire for vengeance. Samson is remorseful. Her betrayal is now plain. The crowd's mockery is enhanced by more and more trivial music, with a tinkling triangle and bells, the Philistines' vacuous frivolity laid bare. Samson prays to recover his strength. The Philistines pour sacrificial libations in honour of Dagon. The High Priest tells the boy to lead Samson to the middle of the temple where all can see him; Samson whispers to the boy to guide him to the two marble pillars that support the...

Capriccio

Capriccio   Quick reference

The Grove Book of Operas (2 ed.)

Reference type:
Subject Reference
Current Version:
2008
Subject:
Music, Opera, Performing arts
Length:
1,877 words

...– like Mozart's Guglielmo in the Così wedding‐quartet – emits cross‐grained complaints (he has been moved, but thinks the composer has wrecked his scansion). Now La Roche comes to demand a cut in Olivier's script, and as they go off to discuss it Flamand seizes the chance to bare his own heart to Madeleine (in E, more shyly and sweetly than the lusty poet, with thematic echoes of Ariadne 's young Composer). Having extracted her promise to make a final choice by 11 o'clock next morning, he flees in rapt confusion. Rehearsal noises are heard again, and the...

Pelléas et Mélisande

Pelléas et Mélisande   Quick reference

The Grove Book of Operas (2 ed.)

Reference type:
Subject Reference
Current Version:
2008
Subject:
Music, Opera, Performing arts
Length:
4,550 words
Illustration(s):
2

...Opera productions. In 1985 John Eliot Gardiner incorporated some of the changes in Debussy's manuscript full score into the Opéra de Lyon performances. A ct 1.i A forest The orchestral prelude outlines three principal themes: the first – modal and ecclesiastical with its bare 5ths and plainsong‐like outline – is allied not to a character but rather to the sense of timelessness, or perhaps the forest itself. Mainly confined to the first act, it contrasts with the following two, which are clear character motifs pervading the whole opera: that of Golaud,...

Iphigénie en Aulide

Iphigénie en Aulide   Quick reference

The Grove Book of Operas (2 ed.)

Reference type:
Subject Reference
Current Version:
2008
Subject:
Music, Opera, Performing arts
Length:
2,681 words

...with a lengthy divertissement including an air for a Greek woman (‘Heureux guerriers’) and a chaconne, interrupted just before the end by Calchas, exhorting the Greeks to great conquests. The opera ended with a sinister war chorus, ‘Partons, volons à la victoire’, with stark, bare octaves and crude thumps on the bass drum, perhaps with a hint of irony; this was omitted from the 1775 version, which had an expanded final divertissement including the magnificent passacaglia from the Act 1 divertissement of 1774 . While Iphigénie en Aulide may lack the...

Tannhäuser

Tannhäuser   Quick reference

The Grove Book of Operas (2 ed.)

Reference type:
Subject Reference
Current Version:
2008
Subject:
Music, Opera, Performing arts
Length:
2,952 words
Illustration(s):
2

...arising from the grafting of new sections in Wagner's mature, post‐ Tristan style on to a work of the 1840s. The characterization of Venus was deepened for Paris in a manner prophetic of Kundry in Parsifal . Where her somewhat plain declamation was punctuated for Dresden by bare chords, her vocal line for Paris is sensually pliable, with richly scored accompaniments. The title role in the Opéra performance in 1861 was taken by Albert Niemann , who went on to sing it at the Metropolitan ( 1886–9 ). Tannhäuser was the role in which Lauritz Melchior ...

Don Carlos

Don Carlos   Quick reference

The Grove Book of Operas (2 ed.)

Reference type:
Subject Reference
Current Version:
2008
Subject:
Music, Opera, Performing arts
Length:
4,399 words

...a duet for Elisabeth and Eboli, but this was cut during rehearsals for the 1867 première, when the cut extended some way into Eboli's confession; however, Verdi recomposed and expanded this for the 1884 version, in which Eboli first admits her love for Carlos and then, to a bare, almost motif‐less rhythmic idea in the strings, reveals that she has been the King's mistress. Elisabeth orders Eboli to quit the court, and then departs. Eboli's ensuing aria, ‘O don fatal’ (‘O don fatale’), in which she laments her fatal beauty, is cast in a conventional...

MEG

MEG   Quick reference

A Dictionary of Opera Characters (2 ed.)

Reference type:
Subject Reference
Current Version:
2008
Subject:
Music, Opera, Performing arts
Length:
905 words

...‘other’ part. Then a funny thing began to happen on our journey towards opening night: this group of young artists who had lived through so much together during the years in the Studio, began to grow closer than ever before. Tears began to flow in rehearsal as emotions were laid bare, hairs began to stand up on end as chords were hit perfectly in tune, and we began to enter into this story with all of our efforts. Additional music would trickle in, and it was trying, to say the least—each of us was stretched to our limits and challenged in ways as never...

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