Romantic Opera

This essay offers a detailed account of Bellini’s Norma, focusing specifically on the title character. It describes the different facets of Norma: a priestess leader, a daughter, a mother, a friend and a woman scorned by her lover. It discusses the irony in Norma's status, showing that in each of the five facets that constitute her personality there are two opposing states: the noble- authoritative state versus the fragile-wounded state. All Norma's arias are analyzed with a special emphasis on how Bellini fit the different arias and ensembles to match Norma’s complex character and how Bellini’s music constructs Norma’s dramatic persona.

This essay offers a detailed account of Bellini’s Norma, focusing specifically on the title character. It describes the different facets of Norma: a priestess leader, a daughter, a mother, a friend and a woman scorned by her lover. It discusses the irony in Norma's status, showing that in each of the five facets that constitute her personality there are two opposing states: the noble- authoritative state versus the fragile-wounded state. All Norma's arias are analyzed with a special emphasis on how Bellini fit the different arias and ensembles to match Norma’s complex character and how Bellini’s music constructs Norma’s dramatic persona.

This essay offers a detailed account of Bellini’s Norma, focusing specifically on the title
character. It describes the different facets of Norma: a priestess leader, a daughter, a
mother, a friend and a woman scorned by her lover. It discusses the irony in Norma's status,
showing that in each of the five facets that constitute her personality there are two opposing
states: the noble- authoritative state versus the fragile-wounded state. All Norma's arias are
analyzed with a special emphasis on how Bellini fit the different arias and ensembles to
match Norma’s complex character and how Bellini’s music constructs Norma’s dramatic
persona.

The young Wagner’s encounter with Italian opera, especially the works of Vincenzo Bellini, played a decisive part in his compositional development. Starting from reflections on Wagner’s and Bellini’s musical training, the text discusses what influence Bellini’s Norma still may have had on Wagner’s mature works. Here the aria »Meco all’altar di Venere« proves to have been a model for numbers in Wagner’s operas that take a catastrophic turn. In Tannhäuser he deals with the bel canto aria, which in turn relates to the topic of the singing contest, as this would automatically have been associated with the bel canto tradition in the 1840s. Finally, the author compares the melodic shaping in the finales in Norma and Tristan and Isolde in order to discuss the question raised in secondary literature as to whether they are similar, and whether the Bellini may even have acted as a model.

Proposition d’une lecture possible de Lucia à la lueur des concepts de la psychanalyse et examen de l’autre nature possible de sa folie. Parce qu’il signe la singularité du sujet nous nous emploierons à «laisser parler le symptôme et non le faire parler»  . J.F. ALLILAIRE précise que «l’hystérie a été victime de la psychiatrie moderne via le système multiaxial du DSM (1980), de même la folie hystérique avait été victime d’un escamotage analogue dans les années 20 et 30 en particulier sous l’influence conjuguée de Babinski (le pithiatisme) et de Bleuler (avec l’extension incontrôlée du concept se schizophrénie) ». Analyse des moments clé du discours de Lucia à l’aide du quadripode du discours de l’hystérique. Etude des signes de la folie hystérique et recherche de leur présence dans la folie de Lucia. Proposition d’une lecture psychanalytique de la folie de Lucia en examinant tout particulièrement la question qui sous tend le discours de  l’hystérique en lien à la femme.

The composer and violinist Nikola Strmić studied at the Milan Conservatory; after his return to Zadar he was the first director of the town Casino and later director of the Zadar Theater and of the Zadarsko Filharmonijsko Društvo. His extant works consist of the operas <Desiderio, duca d'Istria> (1861, libretto by Gianbattista Canovai), <La madre Slava> (1865, libretto by Luigi Fichert); several pieces of chamber music, among them the sonata for violin and piano in F major, op. 24, four <Novelette> for piano, opp. 55-58, <Simfonia fantastica in sol> for piano, and some other chamber compositions.

Статья посвящена комической опере «Золушка» (пьеса Шарля Этьенна по мотивам сказки Шарля Перро, музыка Николо Изуара), поставленной в Королевской опере в Стокгольме в 1811 г. В статье прослеживается непростая политическая и театральная ситуация, на фоне которой родился этот спектакль. «Золушка», мелодрама в своей основе, отвечала репертуарной политике Королевской оперы и вкусам зрителей начала XIX столетия, которые шли в театр за ярким зрелищем и эмоциональным потрясением. «Золушка» стала самым успешным и репертуарным спектаклем своей эпохи. Продолжая театральные традиции XVIII века, спектакль тем не менее явился предвестием шведского романтизма, сформировавшегося в Швеции к 30-м гг. XIX века. Анализируя спектакль и игру в нем Кристины Элисабет (Элис) Фрёсслинд, воплотившую роль Золушки, автор статьи прослеживает переход от классицистской театральной эстетики к романтическому спектаклю и новому методу существования актера на сцене. Несмотря на то, что «Золушку» характеризовала эклектика стилей, в этом спектакле наметилась смена парадигм, и он оказал значительное влияние на дальнейшее развитие шведского театра XIX столетия, в частности рождение режиссерского театра. The article focuses on the comic opera Cinderella (a play by Charles Etienne based on the tale of Charles Perrault, music by Nicolas Isouard). The performance was staged at the Royal Opera in Stockholm in 1811. The article unfolds the complicated political and theatrical situation, in which this performance appeared. Being a melodrama, Cinderella satisfied the needs of the repertoire politics of the Royal Opera and the need of the contemporary audience, who went to theater to see a visually astonishing, as well as highly sentimental productions. Cinderella became its era’s the most successful and most often performed spectacle. Continuing the traditions of the 18th-century theater, Cinderella, nevertheless, became a harbinger of Swedish Romanticism, a style which had developed in Sweden by the 1830s. By analyzing this performance and the acting of Krestina Elisabet (Elise) Frösslind, who played the role of Cinderella, the author traces the transition from the classical theatrical aesthetics to the romantic spectacle, and the acting style of a romantic actor. Despite the fact that Cinderella was characterized by an eclectic blending of styles, it nevertheless led to a paradigm shift. This performance had significant impact on the development of the 19th-century Swedish theater, the emergence of the director’s theater in particular.

The article is an analysis of The Demon (1875) – the opera by Anton Rubinstein – in two contexts. Firstly, as a universal tale on the fairy-tale ground, represented by a Byronic hero, related to the romantic tradition of the West; and, secondly, as a manifestation of the influence of the Russian national school (The Mighty Handful). For this purpose, the topics of the sacred opera (the influence of French tradition), the function and structure of selected leitmotifs in the constructing of characters (the influence of German tradition) and the later impact of the opera on Eugene Onegin (1879) by Pyotr Tchaikovsky will be elaborated in detail in this text.