Holy and Noble Beasts

Orpheus ± related in the accounts of Virgil and Ovid ± after he fails to recover his wife from the underworld.7 But, beyond the fact of this literary parallel, Orfeo's actual motives for relinquishing his temporal power and abandoning ...

Author: David Salter

Publisher: Boydell & Brewer

ISBN: 9780859916240

Category: Literary Collections

Page: 168

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Through an analysis of literary sources, the book explores the broad range of attitudes towards animals and the natural world current in Western Europe during the later middle ages.

Straight Through the Heart

The mystery of Orfeo's true identity remains purposefully unsolved for the spectator . Together with Fanny , we are left wondering : Is he merely a poor earthly creature who exploits people's loneliness and need for something beyond ...

Author: Franz Birgel

Publisher: Scarecrow Press

ISBN: 081084978X

Category: Performing Arts

Page: 324

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In addition to the articles, this volume includes an interview with Doris Dorrie and the filmmaker's own English translation of her original script for Nobody Loves Me."--Jacket.

Claudio Monteverdi Orfeo

This is because Ovid's main concern is to recreate Orpheus's prayer to the gods of the Underworld , to which he devotes no fewer than twentythree lines . The actual words that Ovid puts into Orpheus's mouth bear little relation to ...

Author: Claudio Zuan Antonio Monteverdi

Publisher: Cambridge University Press

ISBN: 0521284775

Category: Biography & Autobiography

Page: 216

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A detailed study of the earliest opera to have gained a foothold in the modern repertoire, the book begins with a historical section in which all the known evidence about the creation and early performances of Orfeo is drawn together and evaluated. The second section of the book includes a detailed history of the rediscovery of the opera; an influential essay by Joseph Kerman is reprinted here, together with a review by Romain Rolland of the first modern performance of Orfeo. The final section includes essays by a conductor and a producer who have staged notable performances of the opera in recent years. They explain their approaches to the work, and offer solutions to some of the problems it poses in performance.

Cultural Difference and Material Culture in Middle English Romance

Boethius, some of whi Severs argues influenced the Middle English retelling of the Orpheus legend, ... ere is of course no actual combat in Orfeo since the Fairy King magically steals Heurodis before fighting can break out.

Author: Dominique Battles

Publisher: Routledge

ISBN: 9781136156625

Category: Literary Criticism

Page: 234

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This book explores how the cultural distinctions and conflicts between Anglo-Saxons and Normans originating with the Norman Conquest of 1066 prevailed well into the fourteenth century and are manifest in a significant number of Middle English romances including King Horn, Havelok the Dane, Sir Orfeo, Sir Gawain and the Green Knight, and others. Specifically, the study looks at how the material culture of these poems (architecture, battle tactic, landscapes) systematically and persistently distinguishes between Norman and Anglo-Saxon cultural identity. Additionally, it examines the influence of the English Outlaw Tradition, itself grounded in Anglo-Saxon resistance to the Norman Conquest, as expressed in specific recurring scenes (disguise and infiltration, forest exile) found in many Middle English romances. In the broadest sense, a significant number of Middle English romances, including some of the most well-read and often-taught, set up a dichotomy of two ruling houses headed by a powerful lord, who compete for power and influence. This book examines the cultural heritage behind each of these pairings to show how poets repeatedly contrast essentially Norman and Anglo-Saxon values and ruling styles.

Monteverdi

such a fascination as Monteverdi's Orfeo. The actual 're-discovery of the piece came, strictly speaking, much earlier: it is mentioned for example by both Burney and Hawkins and the music itself was published for the first time in a ...

Author: Richard Wistreich

Publisher: Routledge

ISBN: 9781351557979

Category: Music

Page: 570

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Claudio Monteverdi is now recognized as the towering figure of a critical transitional moment of Western music history: relentless innovator in every genre within chamber, church and theatre music; self-proclaimed leader of a 'new dispensation' between words and their musical expression; perhaps even 'Creator of Modern Music'. During recent years, as his arrestingly attractive music has been brought back to life in performance, so too have some of the most outstanding musicologists focussed intensely on Monteverdi as they worked through the 'big' questions in the historiography and hermeneutics of early Baroque music, including musical representation of language; compositional theory; social, institutional, cultural and gender history; performance practices and more. The 17 articles in this volume have been selected by Richard Wistreich to exemplify the best scholarship in English and because each, in retrospect, turns out to have been a ground-breaking contribution to one or more significant strands in Monteverdi studies.

The Twin Flames the Master and the Game

Had the voice commanding him to wake up signified that he should wake up from his actual sleep? This seemed an oversimplification, and Orfeo knew that there was a deeper meaning. His thoughts, now in the rhythm of the pulsating pain in ...

Author: Richard Lanoix

Publisher: Balboa Press

ISBN: 9781504384360

Category: Fiction

Page: 348

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This is an epic love story and thriller that takes place over many lifetimes and depicts the heros journey to enlightenment. Orfeo and Carina are Twin Flames, souls that have been together since the beginning of time, and they are merged in Consciousness. At one point, Orfeo cant find Carina, so he returns to the earth-realm to find her. After many lifetimes, they are reunited, and Orfeo learns that it was him that was lost, not her. She makes him aware of the battle of consciousness that is taking place between the forces of Light (the Resistance) and the Dark forces, led by the Master, whom they believe is attempting to obstruct humankinds path to Consciousness and imprison them in the earth-realm. After many plot twists, Orfeo learns about the true nature of reality. He then tries to share this truth with Carina, who cant accept it because she believes that hes been brainwashed by the Master. This impasse jeopardizes their eternal love and return to Consciousness.

The Powers of Music

The Orfeo, however, was more than a Renaissance representation of the Orpheus myth incorporating elements of the ... though the actual music employed in the Orfeo was not yet especially fashioned for the unique role to which it was ...

Author: Ruth Katz

Publisher: Transaction Publishers

ISBN: 1412838495

Category: Music

Page: 224

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In this cultural history, Ruth Katz conceives of opera as a laboratory dedicated to exploration of the powers hidden in the interaction between words and music. Opera combines not only music and libretto, but the sensuality, acting out, and lyricism that characterize the popular culture of the Italians. The Powers of Music is thus a contribution to cultural studies, providing unique insight into the social meaning of opera in Italy. According to Katz, opera's origins in Renaissance Italy can be traced to numerous characteristics of life at that time. Among them are: the belief of the Humanists that the magical properties of music could be harnessed; the transition from polyphony to monody that gave musical expression to individualism; the melodramatic propensity of Italian culture reflected in its literary and theatrical arts; and the salons of Florentine aristocrats, scientists, and artists whose agenda included the challenge to rediscover how the ancient Greeks succeeded in heightening the rhetorical power of words by allying them with music. Katz discusses each of these factors in detail. In her new introduction, Katz reconsiders her original work by discussing three topics. The first has to do with the perception that there has been a major change in the academic climate for this kind of analysis. The second relates to her concern with the eighteenth-century expansion of the Florentine comparison of the attributes of the arts, from which music emerges as the purest of all, for being freest of external reference. Third, she reconsiders her initial impression that opera was on the wane. The Powers of Music is an intriguing study that will be of interest to sociologists, cultural historians, and scholars of communication and popular culture.

Medieval Romance

When Orfeo journeys to the realm of fairy, however, he enters a world that is metaphysically other, a time/space counterfactual to the poem's only actual world. Momentarily enabled to look back at the actual world from this ...

Author: James F. Knapp

Publisher: University of Toronto Press

ISBN: 9781487501914

Category: English literature

Page: 251

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Medieval Romance is the first study to focus on the deep philosophical underpinnings of the genre's fictional worlds

Operas of Monteverdi

Actual performances of Orfeo and the other two operas (at first in concert versions) date from the early years of this ... His arrangement of Orfeo was first performed in Paris in 1904; versions of Poppea and Ulysses were given in 1908 ...

Author: Claudio Monteverdi

Publisher: Alma Books

ISBN: 9780714545196

Category: Music

Page: 211

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Monteverdi's 1607 version of the legend of Orpheus is arguably the first masterpiece of opera. Composed for the court of Mantua, where Monteverdi was employed, it is very different from his two other surviving operas, which he wrote more than thirty years later to entertain Venetian audiences in the first public opera houses. Orfeo was long considered untranslatable, because the text is so closely tied to the music, and the Venetian librettos owe some of their brilliance to Spanish Golden Age theatre. This opera guide is an opportunity to read all three of Monteverdi's stage works together, in Anne Ridler's graceful translations.Contents: Operas contained in this volume: Orfeo, Il ritorno di Ulisse in patria, L'incoronazione di Poppea; Monteverdi, Opera and History, lain Fenlon; On Translating Opera, Anne Ridler; PART ONE: Mantua; A masterpiece for a Court, John Whenham; Music Examples; 'Orfeo': Favola in musica by Alessandro Striggio the Younger; Orfeo: English singing version by Anne Ridler; PART TWO: Venice; Musical Theatre in Venice, Paolo Fabbri; The Spanish Contribution to the Birth of Opera, Jack Sage; Monteverdi Returns to his Homeland, Tim Carter; Musical Examples; ll ritorno d'Ulisse in patria: Dramma in musica by Giacomo Badoaro; The Return of Ulysses: English singing version by Anne Ridler; Public Vice, Private Virtue, lain Fenlon and Peter Miller; Musical Examples; L'incoronazione di Poppea: Opera musicale by Giovanni Francesco Busenello; The Coronation of Poppea: English singing version by Anne Ridler

Codex Orf o

Would some consider the beauty of a forest to have embodied the best of humanity, obliterating the bad dreams that happened to be the actual bottom rung of humanity's evolutionary ascent from the mud? Would such forests counter, ...

Author: Michael Charles Tobias

Publisher: Springer

ISBN: 9783319306223

Category: Nature

Page: 282

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Explore shattering ethical, political and practical quagmires in this gripping ecological thriller. A tense plot deals with devastating scientific, secret intelligence and geopolitical issues. “You alright, Professor?” Mal asked in a whisper. “Yeah, I’ll be alright.” World renowned ecologist, UCLA Professor David Lev, aged 84, has just begun a contemporary odyssey. From delivering a plenary address on climate change at the Rio+20 UN Summit, he must prevail on a journey through sub-zero hurricane-force gales, impenetrable bogs and twelve foot drifts of ice in the forests of Belarus. Along the way, Lev’s journey directs us to consider such profound questions as: Are we our Brother’s Keeper? What are the ethical limits of science? And, finally, at what price, glory? It is not only Lev’s story that is the key to this page-turner but also an account from the days of World War II and the Holocaust, which hinges on survival. A constellation of richly nuanced, deeply drawn characters whose enmeshed lives and unique circumstances speak with resonance, melancholy, inspiration and unrelenting drama are all part of this complex and thought-provoking novel - including cutting-edge biochemist Dr Taman Chernichevsky. What has he discovered?

Celebrating Confusion

It is important to note that later medieval authors and illustrators further adapted the Orpheus myth, ... differs from classical versions of the Orpheus myth in that the hero does not enter the actual underworld to reclaim his wife.

Author: Kenneth Nally

Publisher: Cambridge Scholars Publishing

ISBN: 9781443803656

Category: Performing Arts

Page: 350

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Though widely lauded as one of the most creative and challenging forces in Irish theatre Frank McGuinness’s plays have often met with a tempestuous reception. This new work details the significance of key productions of his plays in the context of Ireland’s culture and society. Charting McGuinness’s development as a dramatist from The Factory Girls through to Gates of Gold it combines cultural, political and theatrical analysis to position McGuinness as the most significant Irish playwright of his generation. Textual analysis supports considerations of theatrical performance to show how visual art, stagecraft, sculpture and song are central to our understanding of McGuinness’s theatre. Drawing forth the range of sexual, familial and national identities found in McGuinness’s work this book shows the significance of symbols in theatre that often seeks to confuse the simplicities of absolutes in order to show the complexities of difference. Wide-ranging, theoretically astute and written in a lucid and engaging style, Celebrating Confusion will appeal to all readers who are interested in Irish Theatre and its intersection with the politics and culture of contemporary Ireland.

Opera and Its Symbols

At all events , there can be no real future for Orfeo or for anyone else in Arcadia . The Arcadian fantasy resembles , and may in fact be derived from , that perennial but debilitating nostalgia for the actual or imagined bliss of ...

Author: Robert Donington

Publisher: Yale University Press

ISBN: 0300056613

Category: Music

Page: 248

View: 585

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Explains the use of symbolism in opera, interprets scenes from Monteverdi, Mozart, Verdi, Wagner, Stravinsky, and Britten, and stresses the importance of staging an opera in accord with the composer's intended use of symbols

C W Von Gluck Orfeo

The passage of time has left the world with an enchanted view of the legendary Orpheus in the shape of a romantic ... The substitution of a female contralto for the original artificial alto is not really a recreation of the actual sound ...

Author: Christoph Willibald Gluck

Publisher: Cambridge University Press

ISBN: 0521296641

Category: Music

Page: 143

View: 417

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This book explores all aspects of Gluck's historically important opera Orfeo.

Early Music History

The return to joy , if there is such a process in Act 5 , is then expressed in a manner , rather than in the actual words , related to the earlier change . The chorus encourages Orfeo : ' Vanne , Orfeo , felice a pieno / a goder celeste ...

Author: Iain Fenlon

Publisher: Cambridge University Press

ISBN: 0521104351

Category: Music

Page: 324

View: 813

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Early Music History is devoted to the study of music from the early Middle Ages to the end of the seventeenth century. It demands the highest standards of scholarship from its contributors, all of whom are leading academics in their fields. It gives preference to studies pursuing interdisciplinary approaches and to those developing novel methodological ideas. The scope is exceptionally broad and includes manuscript studies, textual criticism, iconography, studies of the relationship between words and music and the relationship between music and society. Articles in volume ten include: Machaut's motet 15 and the Roman de la Rose: the literary context of Amours qui a le pouoir/Faus Samblant m' a deceii/Vidi Dominum; Giulo de' Medici's music books; Parisian nobles, a Scottish princess and the woman's voice in late medieval song.

Middle English Romance and the Craft of Memory

(Orfeo 91–2), and looks for guidance from Herodis who describes her impending abduction. However, within this present distress and ... the Christian allusions, there is little doubt that his wife's rescue remains Orfeo's true purpose.

Author: Jamie McKinstry

Publisher: Boydell & Brewer

ISBN: 9781843844174

Category: Literary Criticism

Page: 276

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An examination of the depiction and function of memory in a variety of romances, including Troilus and Criseyde and Sir Gawain and the Green Knight.

Beethoven Freedom

No wonder Orpheus complains that the echo fails to 'return ... all his laments'. ... exists only as 'absent music' since it is sung before Orpheus reaches the inner realms of the dead: we never hear the actual song that moves Pluto, ...

Author: Daniel K L Chua

Publisher: Oxford University Press

ISBN: 9780190657246

Category: Music

Page: 336

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Over the last two centuries, Beethoven's music has been synonymous with the idea of freedom, in particular a freedom embodied in the heroic figure of Prometheus. This image arises from a relatively small circle of heroic works from the composer's middle period, most notably the Eroica Symphony. However, the freedom associated with the Promethean hero has also come under considerably critique by philosophers, theologians and political theorists; its promise of autonomy easily inverts into various forms of authoritarianism, and the sovereign will it champions is not merely a liberating force but a discriminatory one. Beethoven's freedom, then, appears to be increasingly problematic; yet his music is still employed today to mark political events from the fall of the Berlin Wall to the attacks of 9/11. Even more problematic, perhaps, is the fact that this freedom has shaped the reception of Beethoven music to such an extent that we forget that there is another kind of music in his oeuvre that is not heroic, a music that opens the possibility of a freedom yet to be articulated or defined. By exploring the musical philosophy of Theodor W. Adorno through a wide range of the composer's music, Beethoven and Freedom arrives at a markedly different vision of freedom. Author Daniel KL Chua suggests that a more human and fragile concept of freedom can be found in the music that has less to do with the autonomy of the will and its stoical corollary than with questions of human relation, donation, and a yielding to radical alterity. Chua's work makes a major and controversial statement by challenging the current image of Beethoven, and by suggesting an alterior freedom that can speak ethically to the twenty-first century.

The Liminality of Fairies

during the daytime rather than at night, the Orfeo poet chooses a temporal setting of ambivalent, ... All in all, Orfeo seems both mad and involved with an actual fairy hunt, and the hunt comes across as both real and illusory, ...

Author: Piotr Spyra

Publisher: Routledge

ISBN: 9781000092813

Category: Literary Criticism

Page: 220

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Examining the fairies of medieval romance as liminal beings, this book draws on anthropological and philosophical studies of liminality to combine folkloristic insights into the nature of fairies with close readings of selected romance texts. Tracing different meanings and manifestations of liminality in Sir Gawain and the Green Knight, Sir Orfeo, Sir Launfal, Thomas of Erceldoune and Robert Henryson’s Orpheus and Eurydice, the volume offers a comprehensive theory of liminality rooted in structuralist anthropology and poststructuralist theory. Arguing that romance fairies both embody and represent the liminal, The Liminality of Fairies posits and answers fundamental theoretical questions about the limits of representation and the relationship between romance hermeneutics and criticism. The interdisciplinary nature of the argument will appeal not just to medievalists and literary critics but also to anthropologists, folklorists as well as scholars working within the fields of cultural history and contemporary literary theory.

Goldberg

At the other end of the spectrum are Orfeo's actual songs . At the beginning of Act II , for example , the shepherds and nymphs ask Orfeo to sing and play in honour of his love ; he responds with a boisMonteverdi clearly does not share ...

Author:

Publisher:

ISBN: UOM:39015057463773

Category: Compact discs

Page:

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The Devil in Music

Though it's true that the extent of the wound and the blackening around it show he was shot at very close range. This young man you call Orfeo must have come into the belvedere with him—he didn't, for example, shoot him through a window ...

Author: Kate Ross

Publisher: Felony & Mayhem Press

ISBN: 9781937384722

Category: Fiction

Page: 408

View: 276

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Julian Kestrel, gentleman sleuth and dandy, becomes fascinated with the unsolved case of the murder of a Milanese aristocrat and the disappearance of his protégé, a brilliant young English opera singer. What has become of the singer’s fiancée and the aristocrat’s notoriously surly manservant? Could the murder be tied to Italy’s tumultuous politics? Furthermore, the murdered marquis left a widow whose beauty makes Kestrel’s heart skip faster.

Music in the Baroque World

We know very little about the actual stage layout for Orfeo beyond the fact that it was at the ducal palace and that the space was crowded. But we do know a great deal about Italian stage practice of the early Baroque period in general, ...

Author: Susan Lewis Hammond

Publisher: Routledge

ISBN: 9781135017255

Category: Music

Page: 376

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Music in the Baroque World: History, Culture, Performance offers an interdisciplinary study of the music of Europe and the Americas in the seventeenth and first half of the eighteenth centuries. It answers calls for an approach that balances culture, history, and musical analysis, with an emphasis on performance considerations such as notation, instruments, and performance techniques. It situates musical events in their intellectual, social, religious, and political contexts and enables in-depth discussion and critical analysis. The companion web site provide links to scores and audio/visual performances, making this a complete course for the study of Baroque music. Features An interdisciplinary approach that balances detailed analysis of specific pieces of music and broader historical overview and relevance A selection of historical documents at the end of each chapter that position musical works and events in their cultural context Extensive musical examples that show the melodic, textural, harmonic, or structural features of baroque music and enhance the utility of the textbook for undergraduate and graduate music majors A global perspective with a chapter on Music in the Americas A companion score anthology and website with links to audio/video content of key performances and research and writing guides Music in the Baroque World: History, Culture, Performance tells stories of local traditions, cultural exchange, performance trends, and artistic mixing. It illuminates representative works through the lens of politics, visual arts, theology, print culture, gender, domesticity, commerce, and cultural influence and exchange.