Metropolitan Opera

The Sister Act, a musical theatre show, written by Cheri Steinkellner and Bill Steinkellner, was a hit musical during the late two thousand, making all the way to Broadway. It has its roots in the era of disco, with all types of different distinctions from modern types of music, and with its plot, it also delves into the realm of hymns and old gospel music, which all culminates into a musical theatre extravaganza. It being a musical, makes it hard to distinguish one genre in particular, but

Pina Bausch’s classic Café Müller and The Rite of Spring seem to come from completely different worlds. The movement style, narratives, and musical scores are completely contrasting in the pieces. However, there is one similarity between the two — the way Pina intelligently uses the music to inform her movement. In both works she utilizes both stillness/silence and repetition to create power and drama to match the music. As I watched a tall woman, stumble blindly across a crowded stage in silence

Does anyone really have control over their life or is everything decided for them? Both Macbeth by William Shakespeare and Oedipus Rex by Sophocles prove that what happens in our lives is controlled by destiny not by actions we take. Everyone is given a destiny or a purpose in their life, and everything that happens throughout their life is just a way for their destiny to happen. Even though it may feel as if you have control, you really don’t. Everything happens for a reason, and that reason is

Shostakovich Cello Concerto No. 2 Dmitri Shostakovich is known as one of the most major composers within the 20th century. This composer, born in 1906 in Saint Petersburg, Russia discovered his musical talent at age 9 after beginning piano lessons with his mother. Throughout the years, he learned full piano and composition which lead to his graduation from the Saint Petersburg Conservatory at age 19 with his first symphony. Shostakovich often times found difficulty in balancing his artistic inspiration

During my first semester of sophomore year in high school, I faced the well known dilemma of actually working for my grades and becoming pressured to the stress of high school. I was just learning how to juggle the tasks of being concertmaster (the top musician/violinist in an orchestra) of two different orchestras and the team of captain of a tennis team I joined by mistake. In that sense, I was a legitimate musician/athlete and I didn’t realize the responsibility hung on my shoulders. Later into

Though the delight of listening to a brand new track on a compact disc with a big name artist has a similar emotional feel for modern day people, as it would have felt for people listening to a live symphony during the Classical era, the ability the artists, and those involved with them, have with the increase of new technology and business schemes has allowed their base of listeners to be on a global scale for millions, if not yet billions. During the late 17th century to early 19th century, the

D. Jones performed the Requiem. The main similarity between Requiem, Opera and Oratorio is that they are all complex works of music. An Opera is generally a kind of music that borrows a lot from the art scenes. Opera involves a lot of acting, scenery and also a lot of costumes are used during its performance. An opera piece can also involve dancing and it is often done in a theatre setting. During the Baroque Era, opera performances gained a lot of publicity especially in Italy. It involved

The Baroque period is an era of artistic style utilizing embellished motion, pure and effortlessly interpreted detail to yield drama, tension, exuberance, and opulence in representation. The opera “The Fairy Queen” by Henry Purcell is an excellent representation of the Baroque era in its inordinate application of all theatrical foundations, embroidered indications, and the selected focused elucidation to return melodrama, emotional tension, enthusiasm, and sumptuousness for the audience watching

Purcell made to the operatic genre through his opera and dramatic works. Henry Purcell (1659-1695) composed music for many different genres. Among these he wrote one true opera, Dido and Aeneas (1689). He also wrote a number of dramatic works. Purcell spent the majority of his last five years composing music for the stage. The majority of Purcell’s dramatic instrumental music or songs were used in spoken plays. Purcell went on to write four semi-operas; Dioclesian (June 1690), King Arthur (May 1691)

Haydn. Both men worked together and were very close friends while living in Vienna. Between the two, Joseph Hayden and Amadeus Mozart devoted much of their music for composing symphonies, minuets, librettos, sonatas, concertos, masses, oratorios and operas. While both men achieved popularity and status during their time, they also discovered that success must be earned rather than freely given. While both men enjoyed similar success during their lives, their character and personal lives contrast one