Category Archives: Dramatic arts

Kumi wudui vocal culture

 

Ryūkyūan kumi wudui (組踊, Japanese kumi odori) uses a variety of codified vocal techniques to identify the gender and social class of each character. Degrees of musicality, variation in timbre, and pitch inflection are all understood as emblematic of particular character types.

These vocal techniques are constructed within Ryūkyūan society with reference to the Ryūkyūan language, class system, and gender relationships. Many parallels can be drawn between the ways vocal identities are constructed in kumi wudui vocal culture and in other world theater traditions.

This according to “Listening to the voice in kumiudui: Representations of social class and gender through speech, song, and prosody” by Matt Gillan (Asian music XLIX/1 [winter–spring 2018] pp. 4–33).

Below, some examples of kumi wudui vocal types.

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Filed under Asia, Curiosities, Dramatic arts

An aperitif for Lotte Lenya

 

For the opening of a 1976 exhibit on Kurt Weill and Lotte Lenya at the New York Public Library for the Performing Arts, the curator, Don Vlack, created an aperitif inspired by Lenya and named in her honor.

Vlack described the drink, which is made with Mandarine Napoléon liqueur and Kritter Brut sparkling wine, as “very much like the great singer in that it is slightly bittersweet, gentle but potent (even volatile), and is, in color, a light orange, the tint of her hair.”

This according to “Lenya: A moment in history (and a drink)” (Kurt Weill newsletter XXIX/2 [fall 2011] p. 9).

Today is Lenya’s 130th birthday! Above, enjoying her namesake aperitif at the opening reception; below, singing Seeräuber-Jenny, one of her signature songs.

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Filed under Dramatic arts, Performers

Trude Rittmann, unsung Broadway hero

 

 

Gertrud “Trude” Rittmann was on her way to becoming one of Germany’s most promising young composers when the rise of Nazism forced her to flee to the United States in 1937.

Through her work as accompanist and music director in the New York ballet world, Rittman met Agnes De Mille; the two subsequently collaborated closely on the creation of dance music for several landmark Broadway shows.

Rittmann also created choral arrangements and underscoring for Richard Rodgers, making major contributions to The King and I, The sound of music, and South Pacific, and she worked on every musical composed by Frederick Loewe, including Brigadoon, My fair lady, and Camelot. One of her finest achievements was the original dance music for the Small house of Uncle Thomas ballet in The King and I, created with the choreographer Jerome Robbins.

This according to “A composer in her own right: Arrangers, musical directors and conductors” by Jennifer Jones Cavenaugh, an essay included in Women in American musical theatre: Essays on composers, lyricists, librettists, arrangers, choreographers, designers, directors, producers and performance artists (Jefferson: McFarland, 2008, pp. 77–91).

Today is Rittmann’s 110th birthday! Below, a performance of Small house of Uncle Thomas in 2012.

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Filed under 20th- and 21st-century music, Dramatic arts

The Marx Brothers at the opera

 

The Marx Brothers’ film A night at the opera is best known for its travesty of the high-society manners of the opera house and its sendup of Verdi’s Il trovatore. Underneath this farce, however, the film suggests deep affection for opera—a stance prompted, ironically, by the demands of the studio system.

The Hollywood movie is the heir and rival of opera as an entertainment medium, and both its follies and splendors are rooted in the immigrant experience of early–20th-century America.

This according to “The singing salami: Unsystematic reflections on the Marx Brothers” by Lawrence Kramer, an essay included in A night at the opera (London: Libbey, 1994 pp. 253–65).

Above and below, classic Marxian mayhem.

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Filed under Humor, Opera, Performers

Chu Chin Chow and Orientalism

Oscar Asche’s Chu Chin Chow was the most popular musical in Britain during World War I, playing 2,235 performances over almost five years. Much of its success was due to the era’s fascination with the Orient, and it contained accessible music by Frederic Norton that generally only hinted at exoticism.

Chu Chin Chow continued a tradition of Orientalist musical entertainments, perhaps most notably Gilbert and Sullivan’s The Mikado. The legacy continues in the 21st century, for example in Andrew Lloyd Webber’s production of Bombay dreams.

This according to “Chu Chin Chow and Orientalist musical theatre in Britain during the First World War by William A. Everett, an essay included in Music and Orientalism in the British Empire, 1780s to 1940s: Portrayal of the East (Aldershot: Ashgate, 2007, pp. 277–96).

Above, an autographed postcard depicting Asche in the original production; below, the show’s signature song.

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Filed under Dramatic arts, Performers

Lily Pons arrives

Writing in 1955, a colleague recalled Lily Pons’s 1931 Metropolitan Opera debut:

“If all goes well on the first night of a new career in America, ‘a new Pope has been chosen’, as an old saying goes. Lily was a success and remained one.”

“In Lucia, though her age was something on the order of 30, she looked like a teenager. It was rumored that she was only 18; she was so dainty, petite, and graceful that everyone was willing to believe it.”

“For the first time in history a French coloratura had conquered America, and the novelty of it seemed to please everyone. Lily became their favorite toy, their baby doll, replete with Jaguars, Siamese cats, or Tibetan dogs with jeweled leashes accompanying her everywhere, like the descendant of some Grand Lama.”

This according to “Coloraturas at the Metropolitan” by Giacomo Lauri-Volpi, reprinted in Lily Pons: A centennial portrait (Portland: Amadeus, 1999, pp. 38–45).

Today is Pons’s 120th birthday! Above, costumed for Lakmé, with a friend; below, performing that opera’s Où va la jeune Hindoue? (popularly known as Bell song), one of Pons’s signature arias.

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Filed under Opera, Performers, Romantic era

Händel’s bestiary

Händel filled his operas with arias that make reference to animals; rich in symbolism, the perceived virtues and vices of the lion, bee, nightingale, snake, elephant, and tiger, among others, resonate in his works.

The aria Qual leon, from Arianna in Creta, was written for Händel’s longest-serving singer, Margherita Durastanti, and it gave her a chance to sing full force about revenge and punishment: “Like an enraged lion whose young have been stolen, so will I, armed with anger, strike in battle.” The accompanying horns evoke the lion’s fierce and regal power.

This according to Handel’s bestiary: In search of animals in Handel’s operas by Donna Leon (New York: Atlantic Monthly, 2010).

Below, hear Ann Hallenberg roar.

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Filed under Animals, Baroque era, Opera

Arie a voce sola de diversi auttori (Venice, 1656)

Issued by A-R Editions in 2018, Arie a voce sola de diversi auttori (Venice, 1656), a collection of secular monodies for voice and basso continuo, complements the edition of the contemporaneous sacred collection Sacra Corona (Venice, 1656), which A-R published in 2015. It contains short arias by various composers, some of whom had also contributed to Sacra Corona.

As in Sacra Corona, distinct Venetian and non-Venetian groups of composers can be identified within Arie a voce sola, and the printers, compilers, and dedicatees of both anthologies occupied similar social and economic milieus.

Arie a voce sola can be seen both as a continuation of the early seventeenth-century vogue for strophic arias, which were published in quantity in booklets during the first two decades of the century, and as the forerunner of the trend toward shorter operatic arias, observable in Venetian operas a few decades later.

Below, Maurizio Cazzati’s Mi serpe nel petto, one of the arias in the collection.

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Filed under Baroque era, New editions, Opera

Boito’s disastrous premiere

 

The world premiere of Arrigo Boito’s Mefistofele on 5 March 1868 at Teatro alla Scala was a disaster.

On the aesthetic level, the opera’s unconventional melodies, harmonies, allocation of voices, and voice leading were jarring for the puzzled audience.

Even worse, in this work Boito repudiated the era’s emphasis on Italian nationalism and sought to stimulate philosophical thought and analysis. This cultural treason was viewed as a serious offense during the Italian Risorgimento, and Boito was forced to revise the opera; his reputation as a librettist suffered as well.

This according to La prima de Mefistofele e il Risorgimento: Pubblico e riforma del teatro musicale nella Milano postunitaria by Stefano Lucchi, a dissertation accepted by Universität Wien in 2009.

Today is the 150th anniversary of Boito’s disastrous premiere! Of course, now the opera is his best-loved work. Below, Renata Tebaldi sings the celebrated aria L’altra notte in fondo al mare.

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Filed under Opera, Reception, Romantic era

RILM broadens indexing of Chinese dramatic genres

When RILM started out in the mid-1960s, our indexing naturally mirrored the publications that we were working with.

For example, relatively little was available in the West about non-Western dramatic genres, while far more publications discussed Western dramatic genres like opera. Accordingly, we developed several indexing headings for those Western genres—opera seria, oratorio, zarzuela, and so on—while only one headword, dramatic arts, served for all non-Western genres (as well as for publications about more than one or two Western genres).

In early 2000 RILM started to expand its collection to include a large amount of East Asian-language publications, especially those from China. Since then the need for more refined indexing terms for non-Western dramatic genres has grown.

In spring 2017 RILM editors approved 13 new headwords for theatrical genres. Three of these new headwords, xiqu—general, xiqu—by genre, and xiqu—by place, are for those genres commonly known in the West as Chinese opera. Another three new headwords, quyi—general, quyi—by genre, and quyi—by place, are for traditional Chinese dramatic genres that are less known in the West.

For both xiqu—by genre and quyi—by genre, lists of second-level terms specifying individual xiqu or quyi genres have also been developed, and are continuously growing. Many of the genres covered by these two new headwords are unknown to most Western scholars, but have been extensively discussed in the Chinese publications that we now index. Updated in early February 2018, our list of xiqu genres is here, and our list of quyi genres is here. By the time you read this, more terms will have been added!

Above, an example of ganju (Jiangxi opera); below, another example of ganju from Jiangxi province, followed by an example of sixianxi from Hebei province. These genres are indexed under the headword quyi—by genre.

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Filed under Asia, Dramatic arts, RILM, RILM news