An Analysis Of An Opera By Georges Bizet

In any musical drama, be it opera, oratorio, or even musical theatre, it is possible for a composer to convey the personality of their characters through compositional and musical techniques. Doing so heightens the audience’s understanding of the characters, their motivations, and the relationships between them. Monteverdi, as a pioneer of opera, was one of the first to capitalize on this opportunity to heighten the audience’s understanding of the characters. This is highly apparent in his last opera, L’Incoronazione di Poppea. The music for two of the characters, Poppea and Nerone, is especially well composed to demonstrate personality, and this is no more apparent than in the dialogue which introduces the audience to them, Signor, deh

Ralph P. Locke’s theory of musical exoticism takes form through a spectrum that ranges from pure musical exoticism to transcultural composing. However the main requirement of exoticism is the notion of conjuring up a specific place or group of people as being perceived as different from the audience culture. In terms of pure exoticism, the composer willingly incorporates exotic sounding elements in order to mark a specific group or place as foreign. Transcultural composing is the other facet of exoticism. It is different in that it is not intended to marginalize any exotic group, rather it is a mix of Western and non-western styles. While both George Bizet’s Carmen and Benjamin Britten’s Death In Venice incorporate exoticism, they each take on an opposite form of exoticism. Bizet’s use of stereotypical gypsy music, as well as the portrayal of Carmen, explicitly marginalize and construct Carmen as different. Carmen’s lack of Spanish descent and her Gypsy ethnicity are constructed as different via musical and performative aspects of the opera. Within the exoticism framework, Bizet’s carmen is an example of pure exoticism. In contrast, Britten's Death In Venice is an example of transcultural composing because the “other” being marginalized is homosexuality, which is an identity that Britten is apart of and is not exclusive to any one group.

The choice of the “Three women of Don Giovanni” can give a good understanding of the type of music which was used to create an opera in the 18th century Italy. The opera buffa was a comic opera with a funny story line and light music. Mozart wrote at different levels.

The girl works as secondary representations of theatre opera soprano, and Erik sees the best way of approaching her posing as the "angel of music" that will take her to be one of the most acclaimed sopranos of the Parisian opera of the time. But it is then when in the representation of the opera Faust crosses on its way the Viscount Raoul, the young man who had served as a small Palace. The story of love that is born of them is passionate, but is conditioned by Erik, who would never know it.

Along the crowded streets of Philadelphia the cars rush by and people are always in a hurry, but the poverty of the people that live in the neighborhoods can never be hidden. The name, the City of Brotherly Love, is almost ironic as crime and hate fill the streets of the city. There is a division between the people that can not be hidden, but only exaggerated by people’s interactions. This is the setting in which the Shakespearian play “Othello” will be interpreted. This modernization of this classic tragedy will be more appealing to the youth of today, who will be able to relate more to the characters and the setting of the play. The changes to the plot and the language of the play are minimal, but the changes to the setting

Andrea Garritano and the songs she sung included Ouvre ton Coeur, La Coccinelle, and Adieux de l’hotesse Arabe by Georges Bizet (1838-1875). When listen to these songs it was very difficult to understand what the song was about; however, her facial expression and body language was able to tell me enough about the songs to grasp the main idea. As she continued to sing the songs I was able to interpret that the songs were in French. The songs sung by Dr. Garritano had a moderato tempo, which allows one to assume that the tempo has a moderate pace to. Just like the songs sung by Dr. Radford these songs also had a melody by skip, which is why there was much larger leaps between each interval. When listen to all three of the songs by Dr. Garritano, made me realize that the harmony was very apealling to listen to which allowed to come to the conclusion that the songs had a consonant harmony. The musical texture for the songs sung by Dr. Garritano are monophonic because she was singing solos. The pianist; however, she was able to use many chords throughout each performance, making in a polyphonic texture. Each song that Dr. Garritano sung allowed me to come to the conclusion that the songs were only a small piece from an opera during the Romantic

Antonio Vivaldi was an Italian Baroque composer and virtuosic violinist known more for his instrumental works. Antonio Vivaldi composed Bajazet (1735), a pasticcio, also called Il Tamerlano. The libretto was written by Agostino Piovene, premiered in Verona for the Carnival season of 1735. It is presented in 3 acts, with a three movement sinfonia as an overture to the opera. The opera is about the fate of Bajazet (based on Beyazid I-Sultan of Ottoman Empire) after being captured by Tamerlane (based on Timur Lenk-Persian). During this time period it was common practice to composite a work from multiple arias from other composers. These works were called a pasticcio, coined from the term pasticium (pie or pastry), pasting the arias together like

She appears in every ensemble in this opera and she solves all the conflicts with her action; therefore audiences can easily forget that Susanna belongs to the lowest class of the family. Unlike other maids, lady’s maids had a freedom. Susanna has a special access to the lady’s room and Susanna uses this specialty to solve the conflicts and she enjoys the specialty. Furthermore, in this era, noble and bourgeois women still somewhat belong to their family and they have to be obedient to their husband. In contrast, peasant position is equal with their husband and it allowed having their opinion.

The musicality and appealing melodies in La Boheme by Puccini are ugmented and boasted by the literary elements of the work. This story spins around the circumstances of the love of a pair of youthful and emotinal drenched lovers, Rodolfo and Mimi. A heart breaking tale, where the element of the opera to describe their feelings in a way that both delights and also informs us. While in the play Die Walkure by

La Cenerentola (Cinderella) captures the audience through set, lighting, costumes, and most of all sound. To experience an Opera in its entirety, it cannot be played on a speaker or radio. To be in the theatre meant being engulfed in the pure waves of human voice, almost as if the sound moved through you. The most influential way that sound took the reigns of the beautiful story is through dynamics.

Based on my concert experience, the first piece that I am going to discuss are the compositions that they played in the first part before intermission. In this part, the opera consisted

Georges Bizet was a french music composer of the romantic era. Georges Bizet was originally named Alexandre Cesar Leopold Bizet, but his baptism name is Georges Bizet which he used for the rest of his life. He was born in Paris, and started his skill with music at age 10.He loved music, but also loved reading. As a kid his parents would hide his books so he would spend more time on music.

In his opera buffa, Don Giovanni, Mozart depicts Don Giovanni as a libertine and philanderer. At the start of Act I, Scene III of the opera, there is a festive peasant wedding, an ensemble between the bride, Zerlina, the groom, Masetto, and the chorus, which consists of the other peasants, all singing about the joys of marriage. Don Giovanni, a nobleman, and his manservant, Leporello, interrupts the wedding, and invites everyone to his villa. He even forces Masetto to go the villa too, leaving Zerlina alone with Don Giovanni. Before leaving, Masetto protests, but understands that he has no control over the situation. Then, Masetto sings an aria, “Ho Capito,” which means “I understand,” before leaving. Alone with Zerlina, in recitative, Don Giovanni tries to seduce her and promises to marry her. Shortly after he sings that they will be married, an ensemble between Don Giovanni and Zerlina starts, in which Zerlina reveals that she would be happy to marry him but fears that Don Giovanni is deceiving her. The duet ends with Don Giovanni appearing to succeed with his scheme. Three versions of the opera, the first conducted by Craig Smith and directed by Peter Sellars in Vienna in 1990, the second conducted by Colin Davis and directed by John Vernon in the Royal Opera House in London in 1998, and the third conducted by Nicholas Harnencourt and directed by Brian Large in the Zurich Opera House in 2001 mostly have the same libretto for this scene and depict a similar disparity in

In anticipation of attending the performance, I read up on the opera’s plot and watched videos of key moments. I became familiar with the characters and formed expectations of each. For instance, I expected Count Almaviva to be foolishly arrogant, with an I-expect-to-be-obeyed attitude. However, I was surprised and shocked to discover how very “human” each personage really was. A typical novel is told in the point of view of one individual with whom we, the audience, tend to sympathize with. We know their thoughts and feelings and we “cheer them on”, while despising the antagonists. In Guth’s The Marriage of Figaro, I found myself wishing for good closure for each and every one of the characters despite the fact that they are the source of each other’s misery.

The adeptness and dexterity of an individual have always been fundamental talents to look for when viewing a performance. These individuals are the one that help the event advance to success. When it comes to the qualities mentioned above, the cast of Cosi Fan Tutte definitely possess most. Because Cosi Fan Tutte is a performance written by Mozart, it comes as no surprise that the level of singing and acting required is highly demanding even for veterans in the industry. Yet, despite all these hurdles, the cast of the performance is able to captivate and delight the audience through its outstanding vocal finesse and entertaining characterization. Ferrando, played by Carlos Feliciano and Guglielmo, played by Eli Glick are the stars of the show, displaying their level of musical acumen through songs such as “Una bella serenata” and “E voi ridete” which require a vocal