2,529 research outputs found

    National Opera Review discussion paper

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    On 25 September 2015, the National Opera Review Discussion Paper was released by the National Opera Review Panel.  The Discussion Paper considers the financial viability, artistic vibrancy and audience access of Australia’s four major opera companies — Opera Australia, Opera Queensland, State Opera of South Australia and West Australian Opera. Those organisations are funded by the Australian Government and relevant state governments as major performing arts companies.  Submissions are invited on the issues and options raised in the Discussion Paper. The National Opera Review Discussion Paper and a list of the key issues raised in the paper are provided at the listed website. National Opera Review Discussion Paper [PDF 4.9MB] National Opera Review Discussion Paper [DOC 3.4MB] List of Key Issues in the National Opera Review Discussion Paper [PDF 58KB] List of Key Issues in the National Opera Review Discussion Paper [DOC 26KB] Have your say The National Opera Review Panel invites you to make a submission on key issues raised in the Discussion Paper. Submissions must be received by close of business 26 October 2015

    Selected venues for Hotel Pro Formas performances:

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    Re-presenting Italy in Australia through Theatre and Music, 1972-2002

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    This chapter is based on a conversation with Antonio Comin at his home in Norwood, South Australia, on 2 March 2009, edited and annotated by Linda Barwick. Antonio Comin (born Cornuda, Italy, in 1933) migrated with his family to Australia in 1936. A graduate of the University of Sydney and the Università degli Studi di Firenze, he taught at the universities of Sydney, Melbourne and British Columbia (Vancouver, Canada) before joining Flinders University in 1970 as foundation Professor of Italian. Until his retirement in 1996, his main teaching and research areas were Italian language, dialectology and traditional culture. Comin’s mission to establish and promote in South Australia the understanding of Italian language and culture was undertaken in large part through various theatrical productions he devised and mounted from 1976–2007, which increasingly incorporated his own writing as well as musical components including Italian traditional song. The Italian Folk Ensemble, a musical group formed as a result of Comin’s activities, has been active in community music performances as well as theatre productions since 1978, and after a hiatus of some years various members including Comin reformed in 2003 under the name “Gruppo La Questua”. Linda Barwick studied under Comin in the Italian Discipline in the 1970s and 1980s, and participated in the Italian Folk Ensemble and some of the theatrical productions mentioned here. After covering background about Comin’s early life and cultural formation in Australia and Italy, the chapter presents Comin’s commentary on the various theatrical productions he conceived and directed. Unless otherwise indicated, the speaker is Comin. Commentary in footnotes is by Barwick, who also compiled the figures and appendices.Australian Research Counci

    “An ample and very poetical narrative”: the vicissitudes of “La Pia” between the literary and oral traditions.

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    In the nearly seven hundred years since Dante's Purgatorio first appeared, the story of “La Pia” (Purgatorio V, 130-136), a Sienese woman who died under mysterious circumstances in the Maremma region, has generated much speculation as to her identity and the possible reasons for Dante's having situated this courteous but cryptic soul amongst the negligenti of antePurgatorio. These seven scant lines, placed at the very end of Canto V of Purgatorio, continue to give rise not only to a plethora of commentaries (surveyed and analysed in Diana Glenn's recent work)3, but also to a significant body of creative works that have expanded, elaborated and explored the fragmentary history of Pia. This paper concentrates on the circulation and dissemination of theatrical works drawing on the Pia story in the 19th and 20th centuries, with special emphasis on the Tuscan maggio, a form of sung popular theatre still performed in northwestern Tuscany today. There, La Pia is known to Maggio audiences, as indeed she was to Dante scholars until the end of the nineteenth century, by the name of “Pia de' Tolomei,” and her story unfolds over the course of about three hours.Australian Research Counci

    “An ample and very poetical narrative”: the vicissitudes of “La Pia” between the literary and oral traditions.

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    In the nearly seven hundred years since Dante's Purgatorio first appeared, the story of “La Pia” (Purgatorio V, 130-136), a Sienese woman who died under mysterious circumstances in the Maremma region, has generated much speculation as to her identity and the possible reasons for Dante's having situated this courteous but cryptic soul amongst the negligenti of antePurgatorio. These seven scant lines, placed at the very end of Canto V of Purgatorio, continue to give rise not only to a plethora of commentaries (surveyed and analysed in Diana Glenn's recent work)3, but also to a significant body of creative works that have expanded, elaborated and explored the fragmentary history of Pia. This paper concentrates on the circulation and dissemination of theatrical works drawing on the Pia story in the 19th and 20th centuries, with special emphasis on the Tuscan maggio, a form of sung popular theatre still performed in northwestern Tuscany today. There, La Pia is known to Maggio audiences, as indeed she was to Dante scholars until the end of the nineteenth century, by the name of “Pia de' Tolomei,” and her story unfolds over the course of about three hours.Australian Research Counci

    “An ample and very poetical narrative”: the vicissitudes of “La Pia” between the literary and oral traditions

    Get PDF
    In the nearly seven hundred years since Dante's Purgatorio first appeared, the story of “La Pia” (Purgatorio V, 130-136), a Sienese woman who died under mysterious circumstances in the Maremma region, has generated much speculation as to her identity and the possible reasons for Dante's having situated this courteous but cryptic soul amongst the negligenti of antePurgatorio. These seven scant lines, placed at the very end of Canto V of Purgatorio, continue to give rise not only to a plethora of commentaries, but also to a significant body of creative works that have expanded, elaborated and explored the fragmentary history of Pia. This paper concentrates on the circulation and dissemination of theatrical works drawing on the Pia story in the 19th and 20th centuries, with special emphasis on the Tuscan maggio, a form of sung popular theatre still performed in northwestern Tuscany today. There, La Pia is known to Maggio audiences, as indeed she was to Dante scholars until the end of the nineteenth century, by the name of “Pia de' Tolomei,” and her story unfolds over the course of about three hours. How have seven lines from Dante managed to expand to fill three hours of Maggio performance? The story is a long but fascinating one.Australian Research Counci

    Marie Collier: a life

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    The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family

    ALEA III, 1994 International Composiion Competition for Young Composers, September 9, 1994

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    This is the concert program of the ALEA III, 1994 International Composiion Competition for Young Composers performance on Wednesday, September 28, 1994 at 7:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Bali Suite by Thomas Reiner, Canopy by Beth Wiemann, The Blue Melody by Kui Dong, Choreographik by Paolo Minetti, Invocation by Apostolos Paraskevas, Mouvements by Carlos Grätzer, and Le città invisibili III: Zaira by Anthony Cornicello. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund
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