The Musical Works Of Giacomo Puccini

The performance hall was designed in a thrust manner, which from a frontal view of the stage, I sat on the left hand side. This designed allowed for an unorthodox relationship between the actor and the audience. The actors would commonly come off the stage and run around the hall, lacing the rows. While running around, they would sometimes sing to one individual or extend their hand for

The audience then became lost and frightened as there were no signs leading them to their next destination, once again forcing them to partake in the performance. This physicalisation not only successfully involved the contemporary audience, but demonstrated the necessity of physical composition to give audiences that real experience. This use of physical composition provided immediate reaction and emotional expression through action and contrast. These elements ultimately enhanced the mood and symbolism of the performance, allowing audiences to not only partake in the production on an intimate level but also on an emotional level. Another way in which mood and symbol can be created is through the use of complicité.

As we dressed for the show, my thoughts were flooded with images and ideas. We descended the hotel stairs, hailed a taxi, and arrived at the theatre; while I remained in a pleasant daze. My first impression of the Nederlander met and exceeded all my expectations. I had envisioned an old theater, forgotten by the Broadway elite. As we walked to the door, we were able to see the wall signed by the cast and photos of the premier. The theater itself had a rundown feel to it and left you with the distinct impression that the magic was within the walls and on stage. As we entered the doors, I soaked in every thing. Our seats were located in the center, orchestra section, which gave us a perfect view of all the action.

My mom and I were seated on red felt wooden chairs in the opera box above downstage right; basking in the anticipation of the start of the musical. The smell of the theater was musty, almost like a library. It even had those rays of dust and light that you see in old libraries. Looking onward, I saw the monitor in which Alex Lacamoire, the conductor, directs the actors and musicians. Closer to the balcony, huge metal spotlights hung, all containing the magical power to change a minimalist wooden stage into a bar, then a field, then a closed room in a restaurant, and finally the Weehawken dueling grounds. The feeling of excitement and glee was palpable. I looked at my mother, whose eyes were glued to the stage. In that dim lit arena of instruments,

The point of this paper is to show how the chorus in Greek Theater tragedy performances affect the way the play Antigone is performed. Through the use of mask, staging, and speech, Sophocles best distinguishes the chorus.

In the years 1842 and 1843 Verdi composed two new four-part operas called Nabucco and I Lombaradi. These two operas gave him a great amount of success and fortune in his musical career. Throughout the rest of the 1840, ’50, ’60 and even the 1870’s Verdi continued to be a very successful composer. He produced a great amount of work in these years.

I was able to feel more a part of the “company” and my participation create an atmosphere that got me into the world of the play. The spectacle was effective from an outsider’s perspective, but even more so when the audience member gets to be a part of what’s going on. However, because I was being pulled in so many different directions I felt like I personally missed a lot of the plot. While I was being escorted to “The Renaissance,” an important plot point was happening during “The Gilded Age.” I went through many small areas that didn’t tell me anything about the plot in general. In fact, it didn’t dawn on me until after I was done with the play that the performance spanned over the course of a long period of time. It’s an ambitious project, to be sure. However, if this production was to be done again they would have to be careful and ensure that most, if not all, parts of the play can give some insight as to what’s happening to the

The following program was chosen to provide a wide variety of trumpet literature ranging from major masterworks as well as transcriptions that translate well to the trumpet. A historical timeline was also considered when selecting the following pieces. One of the objectives of this program was to display a linear progression starting with the Baroque era that show how art music evolve up until the 21th century. It also displays how the physical and musical demand change for the trumpet over a long period of time.

My first impression of the play “The Dispute” performed at Commerce was shocking. With it being a play from the 18th century, my mood was not allowing my spirit to be flexible with wanting to pay attention. The very first symbol that told me my first impression was wrong, was the set up. Upon arrival, I noticed how neatly, as well as, brightly colored the stage was set up. The flourishing green on the stage looked as though the real

As soon as I was settled, I observed that the concert had given off it a thoroughly different atmosphere from any other concert that I encounter before. The crowd was dressed extremely casual but the musician was dressed formally in ebony tuxedos. The environment absolutely relaxed me and I additionally noticed the arrangement of the instruments. These included nine Violins, four Viola, three Violoncello, three Bass, one Harp, two Flutes, two Oboes, two Clarinets, two Bassoons, two Horns, two Trumpets and three Percussion. The string/woodwind instrument was arranged in the center, the membranophones were arranged in the rear and the chordophone were arranged in juxtaposition of the aerophone. Performers were rehearsing before each section.

Traditional purposes of various events and situations, including an orchestra concert, become overshadowed by what society deems as eye-catching. As a composer, Igor Stravinsky takes it upon himself to discuss the issue at hand. Igor Stravinsky expresses his contempt toward the source that receives the public’s attention and respect, the orchestra conductors, through his abundant use of similes that create a despicable image of the conductors, his sarcastic diction which displays Stravinsky’s bitterness, and his metaphors that symbolize a greater meaning behind them. The mention of politics initiates a negative or rather, a tense mood, which works to Stravinsky’s advantage in portraying his disdain as he criticizes that “conducting, like politics, rarely attracts original minds, and the field is more for the making of careers and the exploitation of personalities - another resemblance to politics -

Before the opera started, I can hear the tuning sound of the orchestra, especially the sounds of the string instruments. After tuning, there was a short silent drama on the stage.

If analyzed from the perspective of Donna Anna, Don Ottavio and the Commendatore, the story and accompanying music paint a serious and grave plot: it starts with a high ranked cavalier that cannot contain his urges and sexually assaults Donna Anna, incident that results in the death of her father that attempted to protect her pride and purity. From that point on, Donna Anna and Don Ottavio seek revenge for her father’s death, which is ultimately attained by the Commendatore himself (in statue form) after Don Giovanni commits hubris by taunting the supernatural appearance before him with his typical arrogance. Through these lenses, this opera appears to be akin to classical tragedies: Don Giovanni as a protagonist whose flawed character (arrogant and incapable to contain his urges) eventually brings his demise. The Commendatore, on the other side, could be read as the hero with a goal in life (that of protecting his daughter), a goal he achieves but at not only the price of his life but that of an eternity in hell together with Don

This study will use Literary analysis of the text as well as the show-as a whole, and its choreography.

The Theatre, like all other amusements, has its fashions and its prejudices, and when satiated with its excellence, mankind begin to mistake change for improvement. For some years tragedy was the reigning entertainment, but of late it has entirely given way to comedy, and our best efforts are now exerted in these lighter kinds of composition. The pompous train, the swelling phrase, and the unnatural rant, are displaced for that natural portrait of human folly and frailty, of which all are judges, because all have sat for the picture.