Koloratúra-történetek: „Lucia”. A kadencia egy pillanata
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operaRezumat
Coloratura-stories: “Lucia”. A Moment of a Cadenza
My research focuses on a useful dramatic approach to opera coloratura. The details, which require braveness as well as extraordinary technical knowledge and skills, do not necessarily become the culmination of performance, only from formal implementation. Starting from the initial phenomena of sheet music writing, examining the phenomena of different eras of opera literature, by parallel and simultaneous analysis of harmonic and psychological processes, my aim is to shed light on the possibilities of content and dramaturgy. A language, a way of thinking, which seems to be able to shed light on the character’s position by focusing on the ‘fate’ of the melody, seems feasible. In stage work, I try to find a useful practical tool to approach nonverbal vocal possibilities in comparison with the tools of verbality. Further on, I share my experiences of the cadenza from the ‘madness scene’ of “Lucia of Lammermoor” by Donizetti.
Referințe
BADURA-SKODA, Eva, V. Jones, Andrew és Drabkin, William, é.n., Cadenza [online], Grove Music Online, [Letöltés időpontja: 2021. január 12.]. Elérhető: https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000043023
BALI János, é.n., A fehér menzurális notáció [online], Furulya.hu, [Letöltés időpontja: 2021.01.11.]. Elérhető: http://furulya.hu/reneszansz/kottak/notacio.pdf
DONIZETTI, Gaetano, 1986. Lucia di Lammermoor: Vocal Score (G. Schirmer Opera Score Editions), ISBN 10:0793528623.
DONIZETTI, Gaetano, 1992, Lucia di Lammermoor in Full Score, Mineola, Dover Publications.
GERBER, Melissa, 2015, Donizettis’s Lucia di Lammermoor. In: Power in Madness A critical investigation into the musical representation of female madness in the mad scenes of Donizetti’s ‘Lucia’ from Lucia di Lammermoor (1835) and Thomas’s ‘Ophélie’ from Hamlet (1868), Pretoria, University of Pretoria, 41–89.
JÁSZAY Tamás, 2019, Edita Gruberová: „Bocsánat, én 51 éve állok a színpadon” [online], Fidelio, [Letöltés időpontja: 2021. január 12.]. Elérhető: https://fidelio.hu/zenes-szinhaz/edita-gruberova-bocsanat-en-51-eve-allok-a-szinpadon-143965.html.
KÁRPÁTI János, 2010, Hemiola jelenség a Földközi-tenger térségében. Magyar Zene, Vol. XLVIII, no. 1, 20–30.
LARSEN, Robert és GERHART, Martha (szerk.), 2002, “Il dolce suono.” In: Coloratura Arias for Soprano: G. Schirmer Opera Anthology, New York, G. Schirmer, Inc, 122–144.
MARCHESI, Mathilde [ed.], 1900. Variantes et points d’orgue, composes pour les principaux airs du répertoire par Mathilde Marchesi pour les élèves de ses Classes de Chant, Paris: Heugel et Cie.
RICCI, Luigi, 1937a, Variazioni-Cadenze-Tradizioni Per Canto: Vol. 1 (Voci femminili), Milan, Universal Music Publishing Ricordi S.r.l, 42–57.
RICCI, Luigi, 1937b, Variazioni-Cadenze-Tradizioni Per Canto: Vol. 2 (Voci mashili), Milan, Universal Music Publishing Ricordi S.r.l, 25–27.
RICCI, Luigi, 1939, Variazioni-Cadenze-Tradizioni Per Canto: Appendice (Voci miste), Milan, Universal Music Publishing Ricordi S.r.l, 32–38.
SUTHERLAND, Joan és BONYNGE, Richard (szerk.), 1985. The Art of Joan Sutherland: Volume 1: Famous Mad Scenes, London, Joseph Weinberger.
TÓTFALUSI István, (é.n.), Koloratura [online], Magyar etimológiai nagyszótár, [Letöltés időpontja: 2021. január 12.]. Elérhető: http://www.szokincshalo.hu /szotar/?qbetu=k&qsearch=&qdetail=5779.
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