9 research outputs found
Koanga de Frederick Delius : cherche premier opĂ©ra afro-amĂ©ricain dĂ©sespĂ©rĂ©ment Frederick Deliusâs Koanga: desperately seeking first african-american opera
Although Gershwinâs Porgy & Bess (1935) is still regarded by most critics as the first African-American opera, Louis Gruenbergâs The Emperor Jones (1933) and Scott Joplinâs Treemonisha (1910) have recently challenged this sacrosanct position. Today, according to some researchers, Frederick Deliusâs Koanga, based upon the central episode of the story of âBras coupĂ©â in George Cableâs The Grandissimes, composed in 1897 but whose premiĂšre took place in 1904, could claim to be âactually the firstâ. This statement obviously raises the question of the definition of an âAfricanâAmericanâ and the attendant criteria. Through an analysis of the libretto as well as the reviews of the various performances from the late 1890âs to the early 1970âs, this article aims to assess the African-American criteria of Koanga
The Emperor Jones de Louis Gruenberg : le long voyage au cĆur/corps de lâAutre race
On January 7, 1933, two years before Gershwinâs Porgy and Bess, The Emperor Jones, composed by Louis Gruenberg in 1931, had its world premiere at the Metropolitan Opera of New York. Although Gruenbergâs opera looks like a mere musical adaptation of OâNeillâs acclaimed play, first performed in 1920, some alterations made by the composer allow to question its ambivalent reception by the audience and the critics. Apart from the singular choice of OâNeillâs play and Gruenbergâs special interest in African American music and vocal traditions, this paper analyses the influence of the Harlem Renaissance period and the fantasmatics of race, present in both the play and the opera, albeit exacerbated in the latter through the scopic enjoyment of the body of the black Other
The Emperor Jones de Louis Gruenberg : le long voyage au cĆur/corps de lâAutre race
On January 7, 1933, two years before Gershwinâs Porgy and Bess, The Emperor Jones, composed by Louis Gruenberg in 1931, had its world premiere at the Metropolitan Opera of New York. Although Gruenbergâs opera looks like a mere musical adaptation of OâNeillâs acclaimed play, first performed in 1920, some alterations made by the composer allow to question its ambivalent reception by the audience and the critics. Apart from the singular choice of OâNeillâs play and Gruenbergâs special interest in African American music and vocal traditions, this paper analyses the influence of the Harlem Renaissance period and the fantasmatics of race, present in both the play and the opera, albeit exacerbated in the latter through the scopic enjoyment of the body of the black Other
Opera and National Identity in the English-speaking world
Lâouvrage collectif qui suit rassemble une sĂ©lection des communications donnĂ©es lors de la journĂ©e dâĂ©tudes « OpĂ©ra et identitĂ© nationale dans le monde anglophone », tenue en avril 2005 Ă la Maison de la Recherche en Sciences Humaines de lâUniversitĂ© de Caen, organisĂ©e par lâĂ©quipe de recherche « LittĂ©ratures et SociĂ©tĂ©s Anglophones » â EA 2610. Cette manifestation scientifique pluridisciplinaire sâinscrit dans lâune des thĂ©matiques de recherche dĂ©veloppĂ©es par cette Ă©quipe, qui sâintĂ©resse aux enjeux non seulement esthĂ©tiques mais aussi sociaux de lâopĂ©ra, Ă la sociologie de la musique et aux pratiques culturelles impliquant la musique. Elle fait suite au colloque international « OpĂ©ra et SociĂ©tĂ© » qui sâest dĂ©roulĂ© en novembre 2003, oĂč la rĂ©flexion sâorganisait autour de lâĂ©tude de lâopĂ©ra en tant que forme artistique porteuse dâun message social, politique ou idĂ©ologique et en tant quâobjet de production et de consommation
Opera and Society in the English-speaking World
Lâouvrage collectif qui suit rassemble les communications donnĂ©es dans le cadre du colloque international « OpĂ©ra et sociĂ©tĂ© dans le monde anglophone », tenu en octobre 2003 Ă lâUniversitĂ© de Caen et organisĂ© par lâĂquipe de Recherche « LittĂ©rature et civilisation des pays de langue anglaise ». Ce colloque sâinscrivait dans une perspective rĂ©solument interdisciplinaire, puisquâil rassemblait des anglicistes mais Ă©galement des musicologues et spĂ©cialistes du thĂ©Ăątre. Une telle pluridisciplinaritĂ© Ă©tait conditionnĂ©e par le sujet dâĂ©tude lui-mĂȘme, si tant est que lâon considĂšre cette entitĂ© hybride et composite quâest lâopĂ©ra Ă la façon de Wagner, soit comme un Gesamtkunstwerk, une Ćuvre dâart totale au sein de laquelle fusionnent et tentent de sâharmoniser, dans un Ă©quilibre certes prĂ©caire et Ă©minemment volatil, la musique, le drame, la poĂ©sie, la mimesis thĂ©Ăątrale â entre autres Ă©lĂ©ments