Category Archives: Dramatic arts

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.

Comments Off on RILM broadens indexing of Chinese dramatic genres

Filed under Asia, Dramatic arts, RILM, RILM news

Metastasio and the Olympic Games

Pietro Metastasio’s popular libretto L’Olimpiade publicized and transmitted a particular ideological and historicized conception of the ancient Olympic Games that would ultimately contribute to the rationalization and legitimization of Pierre de Coubertin’s idiosyncratic Olympic ideology, a philosophical religious doctrine that embraced a noble and honorable conception of sport at the same time as it served discrete class, race, and gendered ends.

The hegemony of the contemporary Olympic Games movement is grounded in part on the appropriation of the classicism and Romanticism transmitted in Metastasio’s work. In narrative, music, and production, L’Olimpiad sustained a particular image of the games, an image that nourished Coubertin’s formulation as it paved the way for further musical representations of the Games that to this day lend authority to a musically transmitted, mythologized, and Hellenized past.

This according to “Music as sport history: The special case of Pietro Metastasio’s L’Olimpiade and the story of the Olympic Games” by Jeffrey O. Seagrave, an essay included in Sporting sounds: Relationships between sport and music (Abingdon: Routledge, 2009, pp. 113–27).

The 2018 Winter Olympics opens today! Above, a production of Josef Mysliveček’s setting of Metastasio’s L’Olimpiade; below, excerpts from Pergolesi’s setting.

Comments Off on Metastasio and the Olympic Games

Filed under Literature, Opera, Sports and games

Felice Romani’s libretto reforms

Felice Romani revolutionized the Italian opera libretto, creating a clearly contoured melodramma romantico that was suitable for a through-composed setting.

Romani’s libretto for Donizetti’s Anna Bolena produced a virtually through-composed opera, making the meter conform to the dramatic situation and mood. In Act I, all the characters enter immediately after the prima donna, so that in place of the usual introductory aria there is now an ensemble. The entry of the seconda donna now leads as a rule to a concerted piece, the stretta of the pezzo concertato unleashing all the passions of the protagonists.

Act II proceeds similarly, except that its final scene is treated as a composition in its own right: Out of a stretta the concertato emerges, structured as a concert piece.

This according to Felice Romani–Gaetano Donizetti–Anna Bolena. Zur Asthetik politischer Oper in Italien zwischen 1826 und 1831 by Richard Hauser, a dissertation accepted by Albert-Ludwigs-Universität Freiburg in 1980.

Today is Romani’s 230th birthday! Below, Sondra Radvanovsky sings Anna Bolena’s finale.

Comments Off on Felice Romani’s libretto reforms

Filed under Literature, Opera, Romantic era

Di goldene kale

Like most newcomers to America, Jewish immigrants from Eastern Europe in the 1920s faced homesickness, deprivation, and language difficulty. Yiddish musicals helped them to come to terms with their environment by reminding them of home while highlighting the benefits of the New World.

Confronting the past with the present and fusing the folkloric songs, liturgical chants, dances, and theater styles of Jewish tradition with American rhythms and social topics, the genre helped to resolve onstage the conflicts in the lives of the new inhabitants. These comic and dramatic musical works chart the evolution of a community in its acculturation and eventual assimilation.

Di goldene kale (The golden bride) premiered at the 2000-seat Second Avenue Theater in New York on 9 February 1923, one of 14 Yiddish programs in the city that night. It ran for 18 weeks and was then performed throughout the U.S. and in venues in Europe and South America. The music is by Joseph Rumshinsky, the undisputed dean of Yiddish operetta composers in the U.S., who wrote the music for well over 100 such works.

Written and produced at a critical time of transition, between a law passed in May 1921 that greatly limited immigration from eastern Europe and another, in 1924, that reduced such immigration to a trickle, the work illuminates the period in which the arrival of some two million Russians and other east-Europeans in the U.S. had peaked.

A new edition and study of Di goldene kale (A-R Editions, 2017) provides multifaceted insights into the absorption, not only of Jews, but of every immigrant group, into the American mainstream

Below, excerpts from a 2016 production.

2 Comments

Filed under Dramatic arts, Humor, New editions, Popular music

Catalogue arias

The catalogue arias of late eighteenth-century Italian opere buffe focus on lists; subjects may include enjoyable activities, foods, things for sale, or types of people (by nationality, social rank, occupation, personal qualities, and so on).

Their progress often involves shorter and shorter syntactic units: Sentences give way to phrases, then to one- or two-word groups, accelerating the rate of accumulated information—the comic frenzy is actually built into the text itself. This textual compression often involves two rhetorical devices: asyndeton (omitting conjunctions) and anaphora (beginning successive lines or phrases with the same word).

This according to “Catalogue arias and the ‘catalogue aria’” by John Platoff, an essay included in Wolfgang Amadé Mozart: Essays on his life and his music (New York: Oxford University Press, 1996, pp. 296–311).

Above, Lorenzo da Ponte, author of the celebrated catalogue aria Madamina, il catalogo è questo, from Mozart’s Don Giovanni; below, Luca Pisaroni does the honors.

Comments Off on Catalogue arias

Filed under Classic era, Humor, Opera

Jahrbuch für Psychoanalyse und Musik

Psychoanalytic studies of the arts have mainly focused on visual art, literature, and film; launched by Psychosozial-Verlag in 2017, Jahrbuch für Psychoanalyse und Musik (ISSN 2367-2498) aims to fill the gap with psychoanalytic explorations of music.

The journal addresses musicians, musicologists, and cultural scientists as well as psychoanalysts and psychotherapists; its interdisciplinary approach illuminates seldom-noted connections between academic fields. The inaugural volume, edited by Sebastian Leikert and Antje Niebuhr, focuses on the unconscious meanings of interrelationships between music and language.

Below, the finale of Wagner’s Tristan und Isolde, a work discussed in the journal’s first issue.

Comments Off on Jahrbuch für Psychoanalyse und Musik

Filed under New periodicals, Opera, Science

Schriftenreihe des Archivs der Zeitgenossen

In 2016 Studien-Verlag launched the series Schriftenreihe des Archivs der Zeitgenossen with Mechanismen der Macht: Friedrich Cerha und sein musikdramatisches Werk.

Founded in 2009, the Archiv der Zeitgenossen (archive of contemporaries) is a collection of artists’ estates donated both during their lifetimes and posthumously. Established by the state of Lower Austria, it is housed at the Donau-Universität Krems, which curates it.

The inaugural volume of the series draws on the archive’s Friedrich Cerha collection, which documents Cerha’s life, primarily as composer and conductor, but also as musician, musicologist, scholar of German literature, teacher, private person, and public figure. The archival holdings provide scholars with a unique source for studying Cerha’s musical work, and also contain a wealth of materials on questions regarding cultural politics, reception history, media studies, and musicology.

Below, excerpts from Cerha’s Onkel Präsident, one of the works discussed in the book.

Comments Off on Schriftenreihe des Archivs der Zeitgenossen

Filed under 20th- and 21st-century music, New series, Opera

Le Pétomane and physiological symbolism

When he was about ten years old, Joseph Pujol discovered that he had the rare ability to draw air into his anus and expel it at will.

Not content to have a simple party trick, he trained his sonic instrument just as others would train their vocal chords, and by young adulthood he could produce a startling range of sounds, nuanced with tonal, timbral, and dynamic variation, and animated by his natural sense of humor. By the 1890s he was performing as Le Pétomane to packed audiences at the Moulin Rouge.

Pujol’s idiosyncratic career has rarely been considered as an historical object—and when it has, the gaze has been light-hearted and filled with puns, much like those that surrounded him in his lifetime. But if the temptation to giggle is resisted for a moment, Le Pétomane can teach us much about symbolic physiological meanings in late nineteenth-century Paris.

This according to “The spectacular anus of Joseph Pujol: Recovering the Pétomane’s unique historic context” by Alison Moore (French cultural studies XXIV/1 [2013] pp. 27–43).

Today is Pujol’s 160th birthday! Below, Le Pétomane in action (silent).

BONUS: A recording from 1904.

Comments Off on Le Pétomane and physiological symbolism

Filed under Dramatic arts, Humor, Performers

Indian theatre journal

Launched by Intellect in 2017, Indian theatre journal (ISSN 2059-0660) is the first international journal on Indian dramatic arts.

ITJ is committed to publishing a wide range of critical and scholarly approaches to various aspects of Indian theater and performance in their social, political, cultural, economic, and diasporic contexts through academic essays, plays, production reviews, interviews, and performance events.

The journal brings together current intellectual debates and artistic practices in theater, dance, music, arts, aesthetics, and culture, illuminating the wider context of the confluences and correspondences between philosophy, performance, and culture in India.

This double-blind peer-reviewed journal creates an international platform for scholars, critics, playwrights, actors, and directors for presenting their work through cutting-edge research and innovative performance practice. In addition, ITJ explores recent developments in intercultural theater, theater anthropology, performance studies, and the Indian and South Asian diaspora across the globe.

Below, an excerpt including music and dance from Rabindranath Tagore’s Phālgunī, a work discussed in ITJ’s first issue.

Comments Off on Indian theatre journal

Filed under Asia, Dramatic arts, New periodicals

Richard Wagner, animal lover

In 1879 Richard Wagner joined the growing movement in Germany opposing the cruel medical practices of animal experimentation with an open letter published in the Bayreuther Blätter.

His arguments for the pointlessness of these experiments were original; they followed from his experiences with traditional medicine and his well-developed critique of civilization. His contemporary allies, however, ignored these arguments and simply used the Wagner name.

The open letter led directly to Wagner’s much-discussed essay Religion und Kunst, in which, among other things, he paints a horrific scenario of the unimpeded development of science and technology.

This according to “Richard Wagner als Gegner von Tierversuchen: Ein visionärer Zivilisationskritiker” by Ulrich Tröhler and Joachim Thiery (WagnerSpectrum XI/1 [2015] pp. 73–104). This journal, along with many others, is covered in our new RILM Abstracts of Music Literature with Full Text collection.

Above, the composer with his dog Pohl; below, no horses were annoyed during this performance.

Comments Off on Richard Wagner, animal lover

Filed under Animals, Curiosities, Opera