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Music Battle of Styles The
Words: 2989 Length: 8 Pages Document Type: Term Paper Paper #: 6380375
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She is both subordinate to, and a supporter of Erisbe. The continuous repetition of the same phrases also serves to weave a kind of emotional melody, one that impresses the audience with the meaning and depth of Erisbe's feelings.

Laments fulfill an... integral role in the works of...Cavalli. All Cavalli's operas include at least one lament, and some of them several. Moreover, these threnodies fulfill their task admirably: they 'purge' the passions in the Aristotelian sense...they act as an effective foil for the lieto fine -- and they provide opportunities for good solo singing and for good music to boot. Since twenty-seven operatic scores of Cavalli survive, it is of course much easier to generalize about him [than about other composers of his time].... fairly formulaic: the descending tetrachord in the minor mode; the cadential extension; intensification by the repetition of words.

hile in the above example, Erisbe's and…

Works Cited 

Boehm, Christopher. Hierarchy in the Forest: The Evolution of Egalitarian Behavior. Cambridge, MA: Harvard University Press, 1999. 

Schweitzer, Peter R. "Chapter 1 Russian Anthropology, Western Hunter-Gatherer Debates, and Siberian Peoples." Hunters and Gatherers in the Modern World: Conflict, Resistance, and Self-Determination. Eds. Schweitzer, Peter P., Megan Biesele, and Robert K. Hitchcock. New York: Berghahn Books, 2000. 29-51.

W. Sternfeld, the Birth of Opera (Oxford: Clarendon Press, 1995) 31.

Britten's Midsummer's Night Midsummer Night's
Words: 1095 Length: 3 Pages Document Type: Term Paper Paper #: 57625458
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Those who watch the play make comments about how silly the play is and the play becomes more and more ridiculous, adding the parts of a Lion and Moonshine, played by two more rustics. In the play, the principle actors, Thisby and Pyramus kill themselves, as Romeo and Juliet did, then Pyramus rises to sing about his death, slumps into death, and then rises again to ask the audience if they would like to see an epilogue. Being refused an epilogue, the rustics leave and four fairies come in to dance and Puck chases them away with a broom before Oberon and Tytania appear with the other fairies, who claim they are off to bless lovers, as they themselves are in love.

The ending shows that purity and innocence win out, and that the ideal is the goal for all. Puck has the final say as he declares "all is…

Works Cited

Britten-Pears Foundation. A Midsummer Night's Dream, 2007. .

Karadar Classical Music. "Benjamin Britten's a Midsummer Night's Dream." Composer's BiographyComposer's Biography.

Britten, Benjamin. A Midsummer Night's Dream (the recording). February 6, 1990 .

Utah Symphony Case Study 1 Like Many
Words: 1192 Length: 3 Pages Document Type: Case Study Paper #: 34753344
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Utah Symphony Case Study #1

Like many artistic endeavors, opera and symphonic organizations are facing increased budgetary pressures. Consumer spending on the arts has decreased, some say because of access to the Internet and other media, others a decline in public and foundational support coupled with increased costs. Such has been the case for the Utah Symphony and Opera, both of whom have been hindered drastically since 2001. One solution would be to merge both organizations and reach an economy of scale for musicians, audience, human and other resources, advertising, and thus would result in an economy of scale that might help save both organizations (Delong & Ager, 2005).

Baily and Motivation: Bill Bailey was Chairman of the Operatic Board and had some initial concerns about the merger. The Opera was actually financially stronger than the symphony and had its own identity. Bailey was concerned that this identity might be…

Works Cited

Collier, N. (2008, January 28). Personal Power Vs. Positional Power. Retrieved from NSC Blog: 

Delong, T., & Ager, D. (2005). Utah Symphony and Utah Opera: A Merger Proposal. Harvard Business School Case Study, 9-404-116, 1-16.

Gollwitzer, P. (1999). Implementation Intentions. American Psychologist, 54(7), 493-503.

New Charter University. (2012, August). Commonly Used Influence Tactics. Retrieved from

Transformation of Colonialism in Madama
Words: 2310 Length: 5 Pages Document Type: Research Paper Paper #: 449355
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In the 17th, 18th and 19th centuries most of the major European powers were part of this colonial grab for power and territory; and after the American Civil War, so was the United States. Almost immediately this translated into an East/West schism in which both sides harbored bias about each other, never really understanding the motivations of each other's actions. This is the world in which Pinkerton arrives -- a Nagasaki that has barely opened its doors to the West, but sees Western naivete and cultural values such that it is easy to manipulate them for money. In the case of the French, their long history of conflict in Indochina was seen by the Chinese as a perfect example of the Marxian view of the oppressed. Songs masters thought nothing of using her to glean information as well as disseminate disinformation. After all, Song was two things despised by the…


Groos, a. The Puccini Companion, Lieutenant F.B. Pinkerton, Problems in the Genesis and Performance of Madama Butterfly. New York: Norton, 1994.

Hwang, DH M. Butterfly. New York: Dramatists Play Services, Inc., 1998.

Kebede, a. "David Henry Hwang's M. Butterfly - a Critique of Western Attitudes Towards Asia." 18 October 2009. Suite101.Com.

Levin, C. "Sexuality as Masquerade: Reflections on David Cronenberg's M. Butterfly." The Canadian Journal of Psychoanalysis 12.1 (2004): 115+.

Aria From La Boheme
Words: 1208 Length: 4 Pages Document Type: Term Paper Paper #: 84326769
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La Boheme

Giaccomo Puccini's opera La Boheme is a mature work in the verismo mode in which the early aria "Che gelida manina" creates a dramatic situation that colors all that follows even as fragments from the aria appear again and again, tying together the lives of the common people portrayed in the opera. As E. Thomas Glasow writes, "In verismo scores, such motivic recall is common, putting greater emphasis on the dramatic effect of certain key situations" (Glasow 70). These fragments imitate the idea of the leitmotiv from agner, a theme that carries thematic weight and that reappears in different places in the opera to extend the deeper meaning of the action.

The poem itself has the simplicity of conversation, conveying the situation as Rodolfo holds Mimi's hand and reacts to her plight in a real and direct manner. One critic cites the lyrical elements in the poem and…

Works Cited

Carner, Mosco. Puccini: A Critical Biography. New York: Alfred A. Knopf, 1959.

Glasow, Thomas E. Nineteenth-Century Italian Opera: From Rossini to Puccini. Portland, Oregon, 1995.

"Program Note." Sibelius Music (2005). October 31, 2005. ; storeid=-1.

Mozart in 1786 the Neoclassical
Words: 400 Length: 1 Pages Document Type: Term Paper Paper #: 33982954
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" Mozart used the play, about a maid, Susanna, who is to marry a valet, Figaro, as the story line of his opera. Together Figaro and Susana seek to outwit their master who is trying to seduce Susanna. A master had "first night rights" to the female servants when they married in those days.

Figaro" successfully champions the ingenuity of the lower classes and the wit of the female over the self-serving, arrogant nobility. The debate that followed the success of this opera is representative of the questions in everyone's minds during those years when the rights of the aristocracy were put into conflict with the rights of the common man and woman (Fiero 165).

Although Mozart appeared to be much more concerned with music and all of its forms, and kept his favored place in the eyes of the aristocracy because of his genius, he had his problems with…

Works Cited

Fiero, Gloria K. The Humanist Tradition, Book 4: Faith, Reason and Power in the Early Modern World. New York: McGraw-Hill. 2002.

Liszt Wagner Concert Program
Words: 1824 Length: 5 Pages Document Type: Essay Paper #: 33122081
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Liszt conducted his own work possible, and whenever possible and he made no exception of this concert. The popularity of the two pieces was already well established; the score to Les Preludes had been published earlier in the same year as this, though it is likely that the pieces had not been heard in St. Gallen before as this is the first recorded visit of Liszt to the town since writing the pieces (alker, sec. 6).

The final piece, Beethoven's Third "Heroic" Symphony, had been composed in 1803-4 in honor of Napoleon, which made the choice somewhat ironic given tat the confederacy of cnatons that makes up Switzerland chaffed heavily under the republic enforced by the conquering emperor ("Eroica"). Still, it provided a rousing finale to the program, and no doubt sentiments had cooled somewhat since the re-establishment of the confederacy and wider European neutrality.

No additional advertisements or reviews…

Works Cited

Brown, Bruce Alan and Julian Rushton. "Gluck, Christoph Willibald Ritter von." Grove Music Online. Oxford Music Online. 12 Mar. 2009 .

Eroica' Symphony." The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. 12 Mar. 2009 .

Glasenapp, Carl Friedrich, and William Ashton Ellis. Life of Richard Wagner. London: Kegan Paul, Trench, Trubner & Co, 1908.

Millington, Barry, et al. "Wagner." The New Grove Dictionary of Opera. Ed. Stanley Sadie. Grove Music Online. Oxford Music Online. 11 Mar. 2009 .

Andrea Chenier an Analysis of
Words: 3389 Length: 10 Pages Document Type: Essay Paper #: 61609133
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For example, the scene in which Andrea stands before the statue of Marat and sings "Credi al destino" fails to evoke for me any real sensation. Perhaps it is because, as Grout suggests, the opera is "laden with harmonies that are heavy and oldfashioned [and] has little of special interest" (p. 495). Such could explain why the scenes feel at time clunky and abysmally lacking in flair. Still, at other times, they are vibrant and alive with life -- and those times are when the drama calls for gaity (not for fatalism or idealism).

The opera may, therefore, be interpreted as a political piece -- but I do not wish to convey that interpretation, for I think there is already too much omanticism in contemporary politics today. I think Andrea fits better as a period piece that should be left in the period for which it was written: one that…

Reference List

Andre Chenier. (2011). YouTube. Retrieved from 

Badaire, J. (1926). Review of French Literature. DC: Heath and Co.

Beacham, R. (1996). The Roman Theatre and Its Audience. Cambridge, MA: Harvard

Bregenzer Festspiele. (2011). Retrieved from

Rossini Gioachino Antonio Rossini the
Words: 2072 Length: 6 Pages Document Type: Term Paper Paper #: 27113570
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(Gioachino Rossini Biography 2)

Ewen (1962) also notes the importance and influence of some of his major works. "As regards French opera, Rossini's great influence can scarcely be questioned. illiam Tell has been described as the foundation stone of French grand opera." (Ewen 202) it is also noteworthy that critics consider his influence to extend further than only his freshness and vital style; for example, he "… may have the credit of having grafted onto opera seria many of the more elastic conventions of opera buffa, the employment of an important bass soloist being one notable instance…" (Ewen 202)


In conclusion, there is little doubt that Rossini produced works that are not only part of our culture and operatic repertoire, but that he was a formidable influence on music and opera in his time. As has also been suggested in the above discussion, while he was not an 'artistic…

Works Cited

Britannica Concise Encyclopedia: Gioacchino Antonio Rossini. April 24, 2010.

Ewen, David, ed. The World of Great Composers. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1962. Questia. Web. 26 Apr. 2010.

Gioachino Rossini, a towering Italian composer of the Romantic era. April 23, 2010.

Gioachino Rossini Biography (2). 26 Apr. 2010.

Planning and Design Hospitality the
Words: 2133 Length: 7 Pages Document Type: Term Paper Paper #: 56448856
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Photo from Published with permission.

Photograph by David Messent, courtesy of Jorn Utzon/Utzon Architects and the Pritzker Prize Committee

Nighttime aerial view of the Sydney Opera House

Photograph by David Messent, courtesy of Jorn Utzon/Utzon Architects and the Pritzker Prize Committee

Photograph by David Messent, courtesy of Jorn Utzon/Utzon Architects and the Pritzker Prize Committee

Photograph by David Messent, courtesy of Jorn Utzon/Utzon Architects and the Pritzker Prize Committee

Aerial view of the Sydney Opera House

Photograph by John Garth/Max Dupain

Courtesy of Jorn Utzon/Utzon Architects and the Pritzker Prize Committee

Sydney Opera House Under Construction, 1957-1973

Craven 2008 NP

Craven, 2008, NP

On commission, Dupain took thousands of photographs of the Sydney Opera House, revealing its construction from beginning to end. Later he described the completed building from a photographer's perspective: 'As the light moves across it during the day, it changes…


Baird, George. The Architectural Expression of Environmental Control Systems. London: Spon Press, 2001.

Bereson, Ruth. The Operatic State: Cultural Policy and the Opera House. London: Routledge, 2002.

Craven, J. "Great Buildings: Sydney Opera House" 2008

Dramatic Performance Andrea Chenier
Words: 3388 Length: 10 Pages Document Type: Essay Paper #: 29738655
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Andrea Chenier

Though Umberto Giordano's work has often been overshadowed by that of his rather more famous contemporary Giacomo Puccini, Giordano's Andrea Chenier offers the ideal site for one to engage in a critical examination of nineteenth century opera and the various thematic and stylistic strains popularized at the time, as well as the complications which arise from modern interpretation and performance. In particular, examining the critical history of verismo alongside the historical context of Andrea Chenier serves to demonstrate how fully a modern performance of the opera seemingly subsumes and dissolves any revolutionary character that might have been present in the original text by reproducing the story of doomed love during the French evolution in a gaudy, ahistorical performance.

Before conducting an analysis of a modern performance of Andrea Chenier, there are a few key topics one must investigate further in order to place the subsequent analysis in its…


Giger, A. (2008). Landscape and gender in italian opera: The alpine virgin from bellini to puccini. Journal of the American Musicological Society, 61(2), 431-438, 454.

Giger, A. (2007). Verismo: Origin, corruption, and redemption of an operatic term. Journal of the American Musicological Society, 60(2), 271-315, 472.

Gilman, L. (1915). Drama and music. The North American Review (1821-1940), OL. CCI., 439-

Giordano, U. (1896). Andrea chenier [Theater].

Lilian Baylis Birth of the
Words: 1841 Length: 6 Pages Document Type: Thesis Paper #: 33744264
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Denis and Michael enthall used the space for productions and actor training. From 1963 -- 76 it was the temporary home of the National Theatre of Great ritain (see Royal National Theatre). riefly closed due to funding cuts, it reopened in 1983. Again threatened by lack of funds, it was purchased and preserved by a charitable trust in 1998. In 2003 Sir Elton John became the theater's president, a restoration drive was organized, and the formation a new Old Vic company was announced. Directed by the American actor Kevin Spacey, the group is intended showcase new theatrical talent (Old Vic, 2003).


During the 1920s and '30s Lilian aylis put on all of Shakespeare's plays, opera, and ballet. She and her troop did it all on a shoe string: ginger beer crates made up the scenery, and the casts were so poorly paid that Lilian often made dinner for them…


Coloson, P. (2006). Georgian Portraits. Read Books.

Lilian Baylis. (n.d.). Retrieved April 8, 2009, from absolute astronomy: 

Old Vic. (2003, March 16). Retrieved April 8, 2009, from Everything2: 

Thorndike, S. & . (1990). Lilian Baylis. Taylor & Francis.

Farewell My Concubine
Words: 1838 Length: 6 Pages Document Type: Term Paper Paper #: 74906244
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Farewell My Concubine

Kaige Chen's 1993 film Farewell My Concubine traces the development of several characters and the evolution of China throughout the twentieth century, from the Warlord Era in the 1920s until the end of the Cultural Revolution in the 1970s. The social and political upheavals occurring in the country mirrors the strife in the personal lives of Cheng Dieyi, Duan Xiaolou, and Juxian. War, chaos, and social turbulence are apt backgrounds for the depiction of these three central characters. The events of the film begin in Beijing during the warlord era, in 1924. A prostitute names Yanhong carries her child through a crowded public area, where a performance by the Beijing opera enthralls a rowdy crowd. Yanhong ignores a man who calls her a whore, an act that sets the stage for one of the film's overarching themes: social class conflict and the ill treatment of both actors…

On the eve of the Great Proletarian Cultural Revolution in 1966, which was designed to "reconstruct people's mind," fire becomes a key symbol for transformation, destruction, and change. Dieyi burns the costumes he despises, as Duan and Juxian burn jade relics of the old society. Later he, Duan Xialou, and Juxian are ridiculed in public in front of a great bonfire, their lives at stake. Figures like Na Kun slander and rat out Dieyi, calling the three of them "reactionary" and "anti-party." Like the opera "Farewell My Concubine," the King, played by Duan Xialou, is being defeated by the Han invaders, played by the Communists. In spite of his being "bold and resourceful," he cannot escape his fate.

Farewell my Concubine ends and begins in 1977, ten years after the Cultural Revolution. Dieyi and Duan Xialou are reunited after more than a decade of being apart and are set to perform "Farewell My Concubine" in front of an unseen audience. As his final moment of retribution, Dieyi kills himself on the sword that the pair had been performing with since their early days in the Beijing Opera. Now all of the events of the classical Chinese opera have came to pass, as Duan screams his final farewell to Concubines Yu and Dieyi.

The film captures decades of cultural, political, and social turmoil in China and juxtaposes several layers of characters in play-within-a-play format. The Cultural Revolution eliminated the appearance of the old social stratification, but the lives of actors and prostitutes remain substandard. When Duan, Dieyi, and Juxian stand before their communist accusers, all three of them are ridiculed for being low life actors and prostitutes, a bold assessment of the failure of the proletarian revolution to instill social equity on top of a millenia-old Chinese culture.

Magic Flute the Music in
Words: 2036 Length: 6 Pages Document Type: Term Paper Paper #: 57791291
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As the two men enter the door to the last Trial, the music that is played is incredibly beautiful and celestial, as their ecstasy in coming to this point carries them onward. Much of the music in this act is dramatic and full of many voices and full orchestra. The music depicts glowingly the trials of the two men and their despair and longing as they search for their loves. Mozart is at his finest in these melodic arias, reminiscent of folk songs and very memorable as far as melodies go. The winner is the best and the strongest: es siegte die St. rke, says the line in the song, and this is the theme where two good young men use music (the flute and the bells) to win the hands of their beloveds and conquer the forces of evil.

The musical elements used in the work are full orchestra,…

Works Cited

Peters, C.F. (Ed.) Wolfgang Amadeus Mozart, Emanuel Schikaneder. The Magic Flute. Dover: Courier Dover Publications. 1985. (Score).

Aria Qual Guerriero in Campo
Words: 1967 Length: 5 Pages Document Type: Essay Paper #: 49246089
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The combination of these different elements is what makes this so unique. As they are creating an experience that audience can relate to and will always remember based upon how they are telling the story. This is important, because it is showing how they are entertaining the audience differently in comparison with other genres.

In the opera Qual Guerriero in Campo Armato, it is discussing the conflict that warrior will go through during the course of his life. As, he is seen as someone who is: strong, a hero and can deal with a host of different situations. Yet, beneath the surface he is vulnerable to a variety emotions and feelings that are conflicting him. To illustrate this, the play will use the aria and da capio aria to highlight the overall mood as well as atmosphere. The way that this is accomplished is through having a singer and an…


Aria: Qual guerriero in campo armato. (2011). You Tube. Retrieved from: 

Vivaldi Qual guerriero in campo armato from Bajazer. (n.d.).

Mozart Composer for the Ages Wolfgang Amadeus
Words: 1497 Length: 5 Pages Document Type: Essay Paper #: 46217069
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Mozart: Composer for the Ages

Wolfgang Amadeus Mozart was born in 1756 in Salzburg. His full name as recorded on his Baptismal certificate is (in Latin) Johannes Chrysostomus Wolfgangus Theophilis Amadeus Mozart. Though seven children were born in the family only Wolfgang and his elder sister survived infancy. Both were instructed in the ways of music by their father. Wolfgang showed early signs of being a prodigy.

His father Leopold was a music teacher and composer and passed on his love of music to his son, encouraging both of his children to perform. Mozart surprised his father at an early age by drafting his own composition, without encouragement (Deutsch, 1965).

Leopold took the children on extensive tours of Europe, having them perform in the Bavarian, Vienna, and Prague Courts. The duo was the equivalent of today's child-stars. Their touring led Mozart to meet important musicians like J.C. Bach. In ome,…

Reference List

Cairns, D. (2006). Mozart and His Operas. Los Angeles, CA: University of California

Press, 2006.

Deutsch, O.E. (1965). Mozart: A Documentary Biography. CA: Stanford University


Leporello in Don Giovanni Background-
Words: 2632 Length: 7 Pages Document Type: Term Paper Paper #: 35392410
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The key to his lust is easy -- voi sapete quell chef a (providing she wears a skirt). In other words, any female will do, as long as Giovanni can have the conquest. But this is too much for Leporello, and at the beginning of Act II he tells his master: No, no padrone, non-vo' restar (No master, I want to leave you.) Giovanni hands him a purse with 4 gold coins, which in a moral gaffe', Leporello accepts, but:

Oh, senite; per questa volta la ceremonia

OK, Listen, I'll accept it just this once,

Accetto; ma non-vi ci avvezzate;

but don't make it a habit. Don't think that

Non-credete di sedurre I miei pari, you can seduce me with the power of money

Come le donne, a forza di danari.

The way you do the women. (Act II, 1).

Leporello is not really convinced and tries to convince Giovanni…


Most Performed Operas. (2010, March). Retrieved from OperaBase: 

California Institute of Technology. (2009, May 30). The Legend of Don Juan. Retrieved from Don Juan in Hell:

Stimmel, T. (2010). Opera and the Psychology of Love. Minneapolis: Two Harbors Press.

Tommasini, A. (2011, October 14). Reckless in Seduction, if Not Onstage. Retrieved from The New York Times:

Instrument on the Web What Is a
Words: 737 Length: 3 Pages Document Type: Essay Paper #: 61733655
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Instrument on the Web

What is a mezzo-soprano? (2011). Wise Geek. Retrieved April 1, 2011 at

his website provides a comprehensive definition of an operatic mezzo-soprano in musical and dramatic terms. A mezzo-soprano is a female singer whose vocal range lies between that of a soprano and alto. he ideal mezzo-soprano has a three-octave range, but when singing at the higher notes of her range she has a darker texture to her voice than a pure soprano. hree categories of mezzo voices exist: coloratura mezzos, lyrical mezzos who often sing the roles of young boys as well as soubrettes (second female leads), and dramatic mezzos who often take 'bad girl' roles such as Carmen.

Soprano, mezzo-soprano, and alto. (2011). My Opera. Retrieved April 1, 2011 at, Mezzo-

Memorably, in the words of this website, mezzo-sopranos are often described as singing the roles of witches, britches and bitches. Witches…

The Metropolitan Opera is one of the most famous operas in the world, and its current season includes Wozzeck, which includes one of the roles mezzo-soprano Marilyn Horne made famous (although the character of Marie is also sung by sopranos).

The Chicago Opera Theater. (2011). Official Website. Retrieved April 1, 2011 at 

The Chicago Opera Theater presents radically re-envisioned interpretations of opera classics such as Medea, as well as works by new artists.

Les Troyens by Berlioz Is
Words: 995 Length: 3 Pages Document Type: Essay Paper #: 36555766
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From this point-of-view, Aeneas can be viewed as having failed also from the role of hero because he did not succeed in averting the danger. Even so, it is important to note the fact that Berlioz portrayed him still as a chosen individual. The fact that Aeneas had a premonition in a dream of the falling Troy made him a particular actor in the scene. The symbolism in this sense is related to the dream and the warning. However, the warning came too late and Aeneas failed as the head of his men and as the potential defender of Troy.

There are two feminine characters in Les Troyens. One is Dido, Queen of Carthage, and Cassandra, the Trojan prophetess and Priam's daughter. Cassandra's role however is very important because it draws the attention on the Shakespearian influences of the opera. In most of Shakespeare's works there is such a present.…

Debussy's Music Pelleas and Melisande
Words: 650 Length: 2 Pages Document Type: Essay Paper #: 68523176
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Debussy's Pelleas & Melisande

Debussy's Pelleas & Melisande

I found this opera to be enjoyable from the vey onset. I knew nothing of the opera and knew just a little of the story/myth from antiquity of Pelleas and Melisande. At the time of my viewing, I did have a solid background with the music of Claude Debussy, but I was excited to engage a work of Debussy's with which I was unfamiliar. The music here is idyllic and dystopic. Every act is filled with rich, vibrant, and emotionally charged music, marking this opera as a fine example of impressionist music.

Opposites attract; Prince Golaud and Melisande are very much opposites and the beginning of the story. Prince Golaud is male. He has facial hair. His hair is short, wavy, and brown. He wears a form-fitting suit, black and shiny, resembling metal. Melisande has a lighter…


Antokoletz, E. (2004) Musical Symbolism in Operas of Debussy and Bartok: Trauma, Gender, and the Unfolding of the Unconscious. Oxford University Press, Inc.: Oxford.

Tretize, S. (ed.) (2003) The Cambridge Companion to Debussy. Cambridge University Press: Cambridge.

New York Met Labor Dispute Changing the Use of Email in a Workplace
Words: 1308 Length: 3 Pages Document Type: Research Paper Paper #: 31633783
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Outline of a Group Dispute and the Use of Email

The New York Metropolitan Opera has been facing a serious dispute with its employees over pay agreements as they wanted to cut costs. The company, which is the largest performing arts organization located in the United States, employs a variety of staff across many disciplines, not only the singers and musicians, but also people such as set designers, costume makers, engineers, has staff which are represented by a total of 15 different unions (Farago, 2014). The dispute started when the negations for the renewal of employment contracts started. The employees' contracts all ended on the 31st of July, and although management wanted to renew the contracts, they wanted to reduce costs by a stated 16% (Farago, 2014). Management wanted to make the saving by cutting overtime payments and other benefits. Management stated that these changes were necessary as costs…


Allen, J, (2014, Aug 20), With union deal, curtain falls on Met Opera's labor dispute, Reuters, accessed at  on 27th Sept 2014

Farago, J, (2014, July 30), New York's Metropolitan Opera labour dispute: a symptom of a company in crisis, The Guardian, accessed at  on 27th September 2014

Kiesler, Sara, (2014), Culture of the Internet, Psychology Press

Lunden, J, (2014, Aug 18), Met Opera Tentatively Settles With 2 Major Unions, NPR Music, accessed at  on 27th Sept 2014

Heritage Site Report the Sydney
Words: 427 Length: 1 Pages Document Type: Thesis Paper #: 2256577
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o learn more about the Sydney Opera House, those interested in Australian culture can visit the official Sydney Opera House web site (,which caters primarily to those who want to visit or learn more about the opera house, containing a great quantity of information and photos relating to architecture and events, but few outside links. A similar, but less extensive site catering to tourists and offering information about both tours and events is the 2008 Biennale of Sydney web site (,which also includes a brief history of the attraction and links to other Australian cultural gems. Finally, the Australian Government's Culture and Recreational Portal's information on the Sydney Opera House site (,which caters to educators, students, and those who simply want to learn about Australia is quite impressive and comprehensive, including a long list of links to information and photos. hus, because of both its contribution to architecture and culture,…

The Sydney Opera House: A Monument of Both Architectural and Cultural Grandeur modern architectural wonder, the Sydney Opera House was inaugurated in 1973 and continues to maintain its position as one of Australia's most important cultural and architectural sites. Architectural features of significance include the well-known three shells that interlock on the top of the structure and contain different areas of interest -- including restaurants and a theater -- and the pedestrian platforms that lead to ground level. it's architectural significance results not only from the beauty and uniqueness of its impressive design, but also from the engineering feats that resulted in its construction. Designed by Jorn Utozon, a Danish architect, the opera house is lauded for its glorification of the Sydney harbor as well as its modern technology and feel. Furthermore, the building was constructed with an eye on environmentalism and conservation.

In addition to its innovative structural design, however, the opera house lends additional cultural gems to the city of Sydney. An operational performing arts center, the Sydney Opera House offers a variety of cultural entertainment. In fact, the 2008 season lists performances from modern Rock and Roll wonder Sting to Mozart's classical opera Don Giovanni. Additionally, the area offers a variety of tours, restaurants, and bars that introduce the visitor to the cultural scene of Australia.

To learn more about the Sydney Opera House, those interested in Australian culture can visit the official Sydney Opera House web site ( ),which caters primarily to those who want to visit or learn more about the opera house, containing a great quantity of information and photos relating to architecture and events, but few outside links. A similar, but less extensive site catering to tourists and offering information about both tours and events is the 2008 Biennale of Sydney web site ( ),which also includes a brief history of the attraction and links to other Australian cultural gems. Finally, the Australian Government's Culture and Recreational Portal's information on the Sydney Opera House site (,which caters to educators, students, and those who simply want to learn about Australia is quite impressive and comprehensive, including a long list of links to information and photos. Thus, because of both its contribution to architecture and culture, the Sydney Opera House is an important monument in Australia and all over the world. Those who want to learn more about the opera house can do so by visiting a variety of sites on the Internet.

Concert Unlv Wind Orchestra and
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What I found interesting is that once the overall plot was understood via the program notes, it was not necessary to "see" the opera acted in costume. Instead, the music was quite descriptive in its comic, serious, and even somewhat bawdy (at times) portrayals of greed, young love, etc. Also, it turns out that this opera is often performed with women playing the younger men, or men playing the older women -- a sort of cross-dressing joke from a rather serious composer. The music was light, though, the singers were obviously having fun, and even through the opera was in Italian (again common at the time), most everything was clear and understandable.

The Concert Experience- It was in this realm that the true nature of this work shone through. The overture certainly was rousing and got everyone in a positive and gleeful frame of mind. But it was the…

Giovanni the Aria From Wolfgang
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e all delight in Don Giovanni's 'badness,' Leporello's actions suggest. Don Giovanni does what many of us wish we could do, but dare not. The Don loves women and leaves them, without any care for social conventions. hile Leporello's decision to not engage in transgressions with women may be class-based in some instances, even the Don's higher-born counterparts do not openly defy conventional sexual wisdom to the same degree as he does. The celebratory and openly joyous nature of the "Madamina" aria is a kind of celebration of sexuality members of the audience may wish to engage in, but do not. Despite the literal word-painting of the appearance of the blondes and brunettes, there is a stark contrast between the 'mind in the gutter' literal wordings of Leporello's leering commentary with the agile beauty of Mozart's music.

Elvira is silent throughout the aria, conveying her sense of resistance and disgust.…

Works Cited

Fisher, Burton D., ed. Mozart's Don Giovanni (translated from Italian and including music highlight transcriptions). 2002. Opera Journeys Libretto Series. Coral Gables, Florida.

"Madamina" from Don Giovanni. Sung by Luca Pisaroni. July 2011.

Retrieved from YouTube, November 2011:

Tragedie De Carmen La Tragedie
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Instead of focusing on spectacle, the music is taunt and lean. The "Toreador Song," sung without a chorus, seems more like Escamillio's anthem of defiance than an exotic piece of Spanish culture. The musical staging of the work feels more realistic because it does not deploy a large orchestra. With only fourteen instruments to bring the songs to life, the audience really feels as if it is in a tavern, watching the passions of a real world unfold. The music seems to grow organically from the situations. In many operas, the music seems as if it is being imposed upon the story, or as if the story is highly artificial and only a showcase for the music. This production is about people who sing, for whom music is a part of their lives while they go through a variety of doomed couplings. They sing to unburden their hearts in a…

Role That Patronage Royal Ecclesiastical
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On the other hand, he is also referring to the rigorous formation of a cantata. He saw through the rigorous formation of the cantata an instrument to bring a certain order into individual existence as well, with the Lutheran religion as the middle element (Schrade, 1946).

In reference to the previous subchapter on Lully, we should point out towards the fact that, while for Lully, royal patronage was essential for the characteristics of his creation and, in fact, the direct source of inspiration and ultimate goal, ach used the civic appointment to rise above the actual demands and only use the pretext of needing to compose cantatas for a perspective to go beyond and ensure that his musical vision was reached. In Lully's case, patronage determined musical vision, for we cannot see Lully's music otherwise than in the role of a grandiose propaganda instrument for the French absolute monarchy. In…


1. Schrade, Leo. 1946. Bach: The Conflict between the Sacred and the Secular. Journal of the History of Ideas. University of Pennsylvania Press

2. Isherwood, Robert. 1973. Music in the Service of the King. Ithaca and London: Cornell U.P.

3. Isherwood, Robert. 1969. The Centralization of Music in the Reign of Louis XIV. French Historical Studies. Society for French Historical Studies

4. Bach's Cantatas: a Brief Orientation. On the Internet at .Last retrieved on September 30, 2007

Mozart's Don Giovanni
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Mozart's Don Giovanni a group of villages are busy celebrating the marriage of Zerlina and Masetto. As Don Giovanni and Leporello admire the girls involved, Giovanni begins to grow very interested in Zerlina: "hat have we? ell, now! Some honest rustic folk; and lots are lovely!"

In a ploy to win her favor, Don Giovanni invites the party to his castle to eat and drink. Once there, he detains Zerlina, to jealous Masetto's annoyance, and pledges to marry her. "He is just about to win Zerlina over by flattering her and declaring his love for her, when Elvira steps between them, warns Zerlina and, while Don Giovanni whispers to her that Elvira is a poor demented woman, jealous because of her own love for him, leads her away."

hen Donna Anna and Don Ottavio appear, not yet realizing that Don Giovanni is the man who murdered her father, Anna seeks…

Works Cited:

1. Abert, Hermann. 1976, Mozart's Don Giovanni, Eulernburg Books, London.

2. Lenton Sarah. 2004, Don Giovanni Mozart, London Coliseum, London.

3. Martin, Nicholas Ivor. 1997, The Da Capo Opera Manual, Da Capo Press, New York.

4. Mozart, W.A. 1948, Don Giovanni, G. Schirmer Inc., New York.

Aaron Copland 1900-1990 Was an
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Besides other awards, he was given a special Congressional Gold Medal by the United States Congress in 1986-87. Copland left an endowment from his estate to a Fund for Composers, which gives $600,000/annum to promote new compositions and performances (Congressional Gold Medial eceipients; Trudeau; Pollack, 548; ockwell).

Musical Examples

Copland was an active composer of numerous genres from 1925 to the mid-1960s. His works expressed a new semblance of Americana so easily identifiable that even when performed by foreign orchestras there is a sense of the pioneer days, of American patriotism, and even retelling of American mythology. A few seminal examples of this are:

Fanfare for the Common Man was written in 1942 for the Cincinnati Symphony Orchestra and was inspired by a speech by Vice-President Henry Wallace called the era the "Centruy of the Common Man." The piece was part of a program supoprting the American entry into World…


"Congressional Gold Medial Receipients." 23 September 1986. .

Copland, a. Aaron Copland: Selected Writings: 1923-1972. Ed. R. Kostelanetz. New York: Routledge, 2004.

-- . "Day and Night: Aaron Copland." March 1975. .

-- . "Fanfare for the Common Man." June 2001. YouTube. .

Compare and Contrast Balanchine to Petipa
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Balanchine to Petipa

George Balanchine was born in the year 1904. He was invited to come over the United States of America by Lincoln Kirstein, in the year 1933, and subsequently, Balanchine arrived in America in the month of October 1933. One of the very first things that Balanchine is reputed to have done after his arrival in the United States, was to found the 'School of American Ballet', which opened in the year 1934, with a class of twenty five students. It must be stated here that although Balanchine and Kirstein made several attempts through many years to start a Company, they did not succeed in their endeavor, but the School of American Ballet, however, has endured and remains intact, to this day. This was the Scholl through which Balanchine was able to present his very first ballet to the entire world, in America, which was named the 'Serenade'.…


Ballet Training Techniques. Retrieved From  Accessed 15 October, 2005

Balustrade. Retrieved From

English French Theatre Similarities and
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The machines were used to create vertical and horizontal movements which had not been done before. In other words, a god could be pictured using the machine as floating down onto the stage, or boats moving across it. Night or dawn could appear, or ghosts (Lawrenson 92). Most of these machine-plays were produced at the Theatre du Marais. There is a difference here, too. The French machine plays reached the public, whereas the English masques of the early century were performed mainly for royalty. Certainly the stage sets for court ballets and opera were more elaborate and special than the public designs since they were subsidized by the royal coffers.

Both English and French theatre took over the new Italian techniques for changing scenery. The French theatre abandoned triangular prisms used in conjunction with painted backdrops. At the beginning, these were painted simultaneously and dropped over or pulled back to…

Butterfly David Henry Hwang's Play
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She knew the secret I was trying to hide. but, unlike a estern woman, she didn't confront me, threaten, even pout. (Hwang 519)

Song also expresses how Gallimard has viewed her and her country when the says to the judge,

The est thinks of itself as masculine -- big guns, big industry, big money -- so the East is feminine -- weak, delicate, poor... But good at art, and full of inscrutable wisdom -- the feminine mystique. (Hwang 531)

Hwang uses the excesses of the operatic world as a beginning point for a play about two people who themselves are playing a part in life, a part derived from an opera that embodies a false, but for some comforting, image. Gallimard believes in an image, and Song knows this and so presents that image. Gallimard is a man who has failed with estern women and who sees Asian women as…

Works Cited

Afterword." 2007. April 5, 2007. .

Chang, Anne Anlin. The Melancholy of Race. New York: Oxford University Press, 2000.

Henry David Wang - Profile of a Playwright." Stanford University News Service (19 June 1995). .

Hwang, David Henry. M. Butterfly. In Plays for the Theatre, Oscar G. Brockett (ed.), 492-536. New York: Harcourt Brace College Publishers, 1996.

Mozart and Salieri Throughout the
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In the scene where the Emperor and his aides argue about the language for the new opera, one of the aides notes, "Plain German for plain people," and "German is too brutal" ("Amadeus"). Underlying this conversation is the idea that the north could not possibly be civilized or educated, and only the elite and attuned listened to the classical music emanating from Italy. This also indicates how the culture was changing, and indicates the difference between the two composers. Mozart welcomed writing in German, but was open to any language, while Salieri plodded along in Italian. He was not open to change and innovation, while Mozart championed it in his music and his life.

Throughout the film, it is clear Salieri cannot grow to accept the changes in Classical music. He represents the old morals of the enaissance, while Mozart represents the new morals of the Enlightenment that would forge…


Amadeus. Dir. Milos Forman. Perf. F. Murray Abraham, Tom Hulse. Orion Pictures, 1984.

Coastal Star Sales Corporation Is
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3-Organize the data on current year sales in question 1 into a frequency distribution with the following classes:

Under $500,000


$500,001 to $999,999


$1,000,000 and over


3- Organize the data on years of selling experience in question 1 into a frequency distribution consisting of two classes: less than 5 years and 5 or more years less than 5 years


5 or more years


4- in a survey of 500, 60% responded positively to an attitude question. Calculate a confidence interval at 95% to get an interval estimate for a proposition. 4.29

5-in a nationwide survey, a researcher expects that 30% of the population will agree with an attitude statement. She wishes to have less than 2% error and to be 95% confident. What sample size is needed? 30

6- City Opera, a local opera company wishes to take a sample of its subscribers to learn…

8-an automobile dealership plans to conduct a survey to determine what proportion of a new-car buyers continue to have their cars service at the dealership after the warranty period ends. It estimates that 30% of customers do so. It wants the result of its survey to be accurate within 5% and it wants to be 95% confident of the results. What sample size is necessary? 28


Creative Research Systems. Sample Size Calculator. Retrieved on January 24, 2011 from:

Paul's Case Faust -- in
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Paul is rather lazy. He does not like to flatter other people, since he sees himself as superior to others, thinking he possesses greater refinement and culture. In contrast to another young man in the story, the young man who marries a serious woman to discipline his appetites, Paul has no desire to do so.

"It was at the Theatre and at Carnegie Hall that Paul really lived; the rest was but a sleep and a forgetting." (paragraph 29) --The last part of this quotation (in italics) is a sneaky reference to a poem by William Wordsworth, called "Intimations of Immortality." Look up this poem and determine what Wordsworth says about the various stages of life. How does this relate to Paul's story?

Paul lives in a fantasy world, not in the real world. His fantasy life leads to his death. The reference to sleep and forgetting suggests that he…

Edward Gordon Craig The Master
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"hen (the stage-director) interprets the plays of the dramatist by means of his actors, his scene-painters, and his other craftsmen, then he is a craftsman - a master craftsman; when he will have mastered the use of actions, words, line, color, and rhythm, then he may become an artist," wrote Craig (Pepiton 2008). Because of Craig, set designers are revered as artists and equal partners with directors, actors, and authors. ithout Craig, classes in set design would not have the prestige they do today. No director would dare to embark upon a 'black box' production of Shakespeare or opera. Because of Craig, even those directors and designers who still see the value of realism strive to create impressions in the hearts of the audience, rather than literal representations of a drawing-room reality.

orks Cited

Duncan, Isadora. "On Gordon Craig." 1999. 2 May 2008.

Pepiton, Charles. "Edward Gordon Crag &…

Works Cited

Duncan, Isadora. "On Gordon Craig." 1999. 2 May 2008. 

Pepiton, Charles. "Edward Gordon Crag & the Modern Theater of Devising." Perspicacity. 2 May 2008. 

Jason, Gillian. "Edward Gordon Craig 1872-1966." Modern & Contemporary Art

May 2008.

Musicals Since the Dawn of the Classical
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Since the dawn of the classical Broadway musicals like Oklahoma! And My Fair Lady, musicals have captivated audiences in America and worldwide. The power of the musical cannot be underestimated. As Chapter 13 points out, musicals have their roots far back before New York City or Broadway. China has a long tradition of opera, in which dramas are set alongside poignant musical numbers. European operatic traditions are also the forebears of the modern stage musical. Musicals can be funny, like Guys and Dolls and The Book of Mormon, or straight like West Side Story and Wicked. Rock musicals add to the canon of tradition that graces stages worldwide. Even television shows have embraced the musical fully, capturing the sense that some emotions and ideas cannot be conveyed in any other format. For example, both The Simpsons and South Park have created whole musical episodes out of animated comedy.


Turandot Spectacle Exoticism Intricacy and Comedy Exploring
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Spectacle, Exoticism, Intricacy, and Comedy: Exploring the High Theatre of Carlo Gozzi's Turandot

Theatre has always been something of a bellwether for cultural progress and change, with societal issues dealt with explicitly in the action of stage plays since the time of the ancient Greeks and with trends in performance styles and subject matter providing a clear representation of societal mores and cultural values at any given place and time. During the Dark Ages, for example, there essentially was no theatre aside from Church-inspired and -- approved drama recounting certain Biblical stories, primarily those related to Jesus' passion. This reflected society at large, in which literacy and learning had stagnated and very little cultural or technological progress was made throughout much of Europe. With the enaissance comes the return of drama, and indeed one of the high points in theatrical writing and performance just as the period was one…


Gozzi, C. Turandot. Accessed 4 March 2011. 

Opera America. (2012). Gozzi and his Turandot. Accessed 4 March 2012.

Madame Butterfly by David Henry Hwang
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M Butterfly

Creating Honor in M. Butterfly

Gallimard's statement early on in Hwang's M. Butterfly that he is always seeking a new ending in which "she" comes back to him, and in which he can find honor, does not initially seem to be fulfilled by his actions in the final scene, at least not on the surface. Left alone and disgraced in his cell, having loved a man he thought to be a woman for twenty years and finding a much deeper betrayal, that his lover had been using him to spy on his country's actions, Gallimard kills himself. Suicide is not an end associated with honor in the Western tradition, and thus a surface examination of the final scene in the play seems to suggest that Gallimard has failed on all counts: he has not succeeded in bringing his lover back, he does not really bring about a "new"…