La ricezione dell’opera russa tra Ottocento e Novecento in Francia e Italia

The thesis examines the impact of the early dissemination of Russian operas in the cultural life and the musical thought of Italy and France between the second half of the 19th century and the beginning of the 20th century. During this period, both in Italy and France, debates about musical theatre were deeply shaped by the influence of Russian music, especially its opera. After the first performance of A Life for the Tsar in Prague (1866), which is the first opera by a Russian composer to have been performed abroad, Italy and France were the first countries to show a lively interest for Russian music. The decision to limit the field of research to Italy and France is due to the special connections, both from the political and cultural point of view, between the two. Considered, in the second half of the 19th century, as the leading lights of opera culture, Italy and France were the first countries to stage works such as A Life for the Tsar, Boris Godunov and Yevgeny Onegin. Moreover, from a theoretical point of view, many Italian and French critics saw Russia and the Russian opera as a source of renewal for Western musical theatre, as well as an “alternative” canon to that of Wagner’s Musikdrama. Musical debates on the future of the opera in this period are indeed more orientated towards a revaluation of the Russian opera, which was no longer considered “barbarian”, “wild” or “exotic” but rather the starting point for new cultural attitudes. One of the key points of the thesis is also the very close relationship between musical thought and political interest in the relationships of Italy and France with Russia. After the Alliance franco-russe in 1893 and the Racconigi Agreement between Italy and Russia in 1909, Russian opera’s dissemination becomes the cultural path “par excellence” by which to cement political alliances and strategies before World War I. This thesis will be the first detailed treatment of the reception of the Russian Opera in Italy and France, and will offer some vital new information about the impact of Russian music on Western culture

Musik in Krisenzeiten: Pandemien

The concept of crisis presupposed here is a broad one including global and societal problems in various life-situations ranging from war, religious, economic or ecological crises, to pandemics and processes of social upheaval. Such global, national or local crises may be examined on a macro or a micro level. Furthermore, the concept can include personal crises that do not necessarily stem from overriding socio-political events but centre on creative, psychological or health crises within or between individuals. We ask how music and crisis relate to each other, how acoustic phenomena can be an expression of crises, and how these can be perceived, composed, expressed or faced in music. And of course, the consequences of economic, social and health crises directly affect musicians, as well as entire music scenes and industries, and have an impact on musical creation

verdiperspektiven

The main objective of VerdiPerspektiven is to provide an intellectual platform for international scholars. VerdiPerspektiven aims to publish high-quality essays on Giuseppe Verdi’s life and work (music, dramaturgy, biography, philological and analytical issues), on the social, political and cultural context of 19th-century European Opera as well as studies on musical dissemination. VerdiPerspektiven is a peer-reviewed, annual publication, edited by Anselm Gerhard and Vincenzina C. Ottomano. The journal is published in the first months of each year both in print version by Königshausen & Neumann (Würzburg, Germany) and online. The languages of publication are Italian, English, German and French

Estudio de las pinturas murales del Salón de Plenos del Palacio de Santa Bárbara de Valencia: propuesta de intervención y actuaciones

This work is the result of the study of mural paintings sitting at the Salón de Plenos of the palacio de Santa Bárbara, including his historic and his construction process as well as the reality of the environment where are for assess options for his punctual intervention but, above all, for establish appropriate parameters for his conservation in a large period of time.El siguiente trabajo es el resultado del estudio de las pinturas murales situadas en el Salón de Plenos del palacio de Santa Bárbara, comprendiendo su historicidad y su proceso constructivo así como la realidad de su entorno para justificar el estado de conservación en el que se encuentran, valorar opciones para su puntual intervención pero, sobre todo, para establecer unos parámetros adecuados para su conservación a largo plazo.Carrión Ottomano, I. (2014). Estudio de las pinturas murales del Salón de Plenos del Palacio de Santa Bárbara de Valencia: propuesta de intervención y actuaciones. http://hdl.handle.net/10251/48863.Archivo delegad

Migrazione e identità musicale »Le Flibustier« di Cezar’ Kjui a Parigi

Il saggio si occupa di aspetti della ricezione dell'opera russa in Francia. In particolare affronta l'analisi del contesto storico-politico in cui fu rappresentata l'opera Le Flibustier di César Cui su testo di Jean Richepin. Non solo si trattò di un evento capitale per la disseminazione del repertorio russo in Europa occidentale, ma questa opera rappresenta il primo esempio di Literaturoper andato in scena sul finire dell'Ottocento. Vengono analizzati, inoltre, aspetti che riguardnao la messa in musica della pièce francese e le reazioni della critica

“Una storia che non è mai accaduta ed è certissima”: raccontando Pantelleria dei Masbedo

In an interview with Nicolò Massazza and Iacopo Bedogni (Masbedo) “Una storia che non è mai accaduta ed è certissima”, Vincenzina C. Ottomano focuses on the role of sound in the video installation “Pantelleria” and how the two artists managed to recreate the memory of the bombing of the Sicilian island during the Second World War.In an interview with Nicolò Massazza and Iacopo Bedogni (Masbedo) “Una storia che non è mai accaduta ed è certissima”, Vincenzina Ottomano focuses on the role of sound in the video installation “Pantelleria” and how the two artists managed to recreate the memory of the bombing of the Sicilian island during the Second World War.In an interview with Nicolò Massazza and Iacopo Bedogni (Masbedo) “Una storia che non è mai accaduta ed è certissima”, Vincenzina C. Ottomano focuses on the role of sound in the video installation “Pantelleria” and how the two artists managed to recreate the memory of the bombing of the Sicilian island during the Second World War.In an interview with Nicolò Massazza and Iacopo Bedogni (Masbedo) “Una storia che non è mai accaduta ed è certissima”, Vincenzina C. Ottomano focuses on the role of sound in the video installation “Pantelleria” and how the two artists managed to recreate the memory of the bombing of the Sicilian island during the Second World War

Raum, Sprache und das Unaussprechliche in «Luisa Miller»

This essay examines not only the transformative process from the literary source (Kabale und Liebe) to the operatic realization (Luisa Miller), but also the compositional and dramaturgical strategies that reveal a new aesthetic perspective in Verdi's opera. ln the first part, the role and function of offstage music  is analysed with particular attention to its "spatial" implications. ln the second part, it is argued that Luisa's prayers in the most crucial moments of the opera as well as her gestural and mimetic reactions can be interpreted as a kind of inability or difficulty of verbal expression: this is a sign of the social straiification of the characters of the drama, but also reflects Luisa's attitude towards life and thus, in essence, the inevitability of the tragedy. Finally, this essay aims to demonstrate that the musical and aesthetic solutions developed by Verdi and Cammarano were used to define an intense and claustrophobic dramaturgy that explores Luisa's psychology, blurring the boundaries between onstage, visual, verbal, and musical aspects