This allows them to follow these events and connect with the different characters. At the same time, this kind of production is using a chorus and other elements to help the audience associate it with modern works. (Walsh, 1993) (Osborne, 2004) ("Stravinsky Oedipus ex," 2012)
These different formats are showing how the production can be adapted to different theaters and stages. This helps to make Oedipus ex more understood and to connect everyone with the primary themes. Furthermore, these elements are used to add a sense of excitement and allow the audience to understand what is happening. (Walsh, 1993) (Osborne, 2004) ("Stravinsky Oedipus ex," 2012)

Clearly, Stravinsky is using Oedipus ex to create a unique work through the traditional elements of classic Greek tragedies with current plays. This helps the audience to understand more effectively about what is occurring and to relate to the main characters / themes. These fundamentals were…...

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References

Stravinsky Oedipus Rex. (2012). You Tube. Retrieved from:  https://www.youtube.com/watch?v=locLCN33zkg 

The Libretto. (n.d.).

Osborne, C. (2004). The Opera Lovers Companion. New Haven, CT: Yale University.

Walsh, S. (1993). Stravinsky: Oedipus Rex. New York, NY: Cambridge University Press.

36).
Although many people consider the role of a librettist to be less important than that of a composer, matters were different in France during the seventeenth century. hen normally in production, operas credited the librettist at first and the composer consequent to that. Louis XIV in particular believed that poetry had been much more important than music, with opera being a combination of the two in which music was simply meant to make poetry accessible to a larger crowd. Another reason for which people today are inclined to consider Lully less important than he actually was might be that French opera is at the moment shadowed by operas produced by Italians, Austrians, and Germans (Howard, 1989).

One of the elements that are expected to bring French operas back among the most notable artworks related to opera music is the fact that they contain a lot of bass, which is by…...

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Works cited:

1. Crory, Neil, "Lully: Armide," Opera Canada May-June 2006: 36

2. Howard, Patricia Lully and the Ironic Convention Cambridge Opera Journal Vol. 1, No. 2 (Jul., 1989), pp. 139-153.

3. Pitou, Spire the Paris Opera: An Encyclopedia of Operas, Ballets, Composers, and Performers, vol. 1 (Westport, CT: Greenwood Press, 1983)

4. Norman, Buford, (2001), Touched by the graces: the libretti of Philippe Quinault in the context of French Classicism Summa Publications, Inc.

Piave's life was more unruly than the way that Verdi was used to living, but he still knew how to defer to Verdi's wishes. It is believed that Piave had a way of allowing Verdi to "let his hair down" (Berger 2000) as he was often much more uptight around others. They did develop a solid working relationship and they were even known for carousing around Venice (2000) (a city that is known for carousing). Their relationship would span two decades, however, this working relationship, which sometimes involved carousing, was not necessarily equal when the two were in the theatre.
The relationship between composer and librettist in the theatre was, in general, known as one that was not one of equals and this is especially true in the relationship between Verdi and Piave. In the story of Giuseppe Verdi: oberto to un ballo in maschera by Baldini, d'Amico, and Parker…...

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References

Baldini, Gabriele., d'Amico, Fedele., & Parker, Robert. (1980). The story of Giuseppe Verdi:

oberto to un ballo in maschera. Cambridge University Press.

Berger, William. (2000). Verdi with a vengeance: an energetic guide to the life and complete works of the king of opera. Vintage; 1st edition.

Kimbell, David R.B. (1985). Verdi in the age of Italian romanticism. Cambridge University

There was an intensity in their focus, and the whole thing made more since as an exciting piece of drama than I had though it would. This production was set in the 1930s, and had a kind of gangster motif going on that really brought the music to life. I had made sure to read the story before hand so I wouldn't be distracted by the projected translation of the libretto, and I found that I didn't really need to know what the individual words meant -- the music and the acting carried the story just fine.
The conductor for the evening was Garret Keast, and the director was Matthew Lata. Both of these men did a superb job in crafting this new take on the opera. Though all of the singers/actors did a great job, my favorites were Julianna Di Giacomo as Donna Anna and Daniel Mobbs as Leporello;…...

Because the Mayer production was live, and the Ponnelle version on tape, there were elements of the former that clearly transcended the latter. There is no substitute for an orchestra, which is why the live performance also imparted more emotional intensity in the music than the recordings that I listened to separately. The stage performers, even though they were not acting out traditional Verdi versions of their respective characters, were nonetheless masterful. Their facial expressions captured the essence of the moment, for the most part. There were times I did not know where Mayer was going with his narrative structure. Yet most of the time, the trajectory of the plot of Rigoletto was preserved.

Perhaps the primary difference in the Mayer Broadway version is the way the audience is meant to feel at the end. After watching the Ponnelle film, I was quite distraught; and the musical score I listened to…...

OPEA is but one type of a PMS, or property management system, available to hospitality management. Businesses and managers use property management systems to improve efficiency and facilitate improved record keeping and tracking. OPEA is a property management system commonly utilized in the hospitality industry hotels, including hotel chains, to handles reservations, customer information, accounts receivable and other accounting issues, housekeeping, guest interface systems, and maintenance records, among other issues and concerns.
Despite these capabilities, and the benefits that may be immediately visible to the casual observer, the choice to purchase and implement a property management system is one often fraught with complexity for hospitality decision-makers, as such systems are expensive, and oftentimes require additional employee training, an undertaking that in itself requires an investment of time and money. Thus it is necessary for a manager to objectively evaluate OPEA and determine what such a system can provide an individual hotel…...

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References

eG Innovations. 2012, 'The eG Monitor for Micros OPERA,' [Online] Available at  http://www.eginnovations.com/web/egmicrosopera.htm 

Micros. 2011, 'OPERA Property Management System,' [Online] Available at  http://www.micros.com/Products/HotelSolutions/PropertySolutions/OPERAPropertyManagementSystem/

Da Ponte brought a great deal of classical literature in his collaboration with Mozart and even though he did not necessarily had interest in originality, he managed to put it across by adapting a series of classical Italian texts (Zweifel & Zweifel, 2006).
The poetry da Ponte created as a result of modifying old documents was particularly impressive. Da Ponte's poems are certainly incomplete when they are not sung in accordance with Mozart's music. However, one can appreciate them as poetry, without concentrating on the fact that they are in truth of fact meant to be sung. Mozart and da Ponte virtually completed each-other in the operas they wrote.

After their relationship, both Mozart and da Ponte were unable to ever produce works that equaled the three that they produced during their relationship. Da Ponte was particularly affected by this cooperation because his later librettos appeared to be less professional and…...

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Works cited:

Mont, Mary Du, the Mozart-Da Ponte Operas: An Annotated Bibliography (Westport, CT: Greenwood Press, 2000)

Steptoe, Andrew, the Mozart-Da Ponte Operas: The Cultural and Musical Background to Le Nozze Di Figaro, Don Giovanni, and Cosi Fan Tutte (Oxford: Clarendon Press, 1990)

Winston, Richard and Winston, Clara eds., Mozart and His Times, 1st ed. (New York: Alfred a. Knopf, 1959)

Zweifel, Kathleen and Zweifel, Paul "Lorenzo Da Ponte: Mozart's Finest Librettist," Musical Opinion Nov.-Dec. 2006

Guglielmo tries to comfort Ferrando, but he himself is thankful that his lady, Fiordiligi, seems to be strong. In one last attempt to prove both of the ladies fickle, Ferrando threatens suicide, and Fiordiligi gives in to him. Just as a double wedding is being arranged, Guglielmo and Ferrando enter, pretending to be returning from their regiment. When the women discover that they have been wooed by their lovers instead of Albanians, they despair as Alfonso explains the deception and goes on to say that, "true happiness lies not in romantic illusion but in accepting things as they are" (2006).
The combination of Da Ponte's frivolity and Mozart's ponderousness created these three distinct operas similar in their use of theatrical conventions and each gradually advancing to simpler, but also more poignant plots. Mozart and Da Ponte were eager to work together (Bakshian, 1978), despite the fact that Da Ponte was…...

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References

Acocella, Joan. (2007). Nights at the opera. New Yorker, 82(44), 70-76.

Bakshian, Jr., Aram. (1978). Lorenzo Da Ponte: Mozart's librettist. History Today, 28(3), 161.

(2006). Cosi fan tutte. Opera News, 70(7).

Hamilton, David. (2004). Don Giovanni. Opera News, 68(9), 56-59.

Opera and Opera Fandom
Discuss the issues surrounding the physical appearance of female singers on the operatic stage. hat are the broader issues at play in this debate?

The contemporary American society, in general, makes the assumption that opera is one of the few outstanding fields of entertainment where talent is of greater significance and implication compared to the physical appearance. However, this is not the case as made evident by the 2004 firing of Deborah Voigt. Opera singers, in the present day, are progressively being held to more stringent image standards. In particular, in the year 2004, Covent Garden laid off Voigt from their making of Ariadne auf Naxos, in which Voigt was meant to recap her censoriously highly praised construal of the title role. As stated by Voigt, Peter Katona, the casting director of Covent Garden, had the feeling that she was too big to fit into the little black…...

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Works Cited

Benzecry, Claudio E. "Opera thugs and passionate fandom." Contexts 11.3 (2012): 39-45.

Dobrian, Chris. Thoughts on Composition and Improvisation, 1991. Website. Retrieved from:  http://music.arts.uci.edu/dobrian/CD.comp.improv.htm 

Johnstone, Ian. Lecture on Mozart or How I Learned to Live with Opera. Website, 1994. Retrieved:  https://www2.viu.ca/liberalstudies/Coursework/Lectures/mozlec.asp 

Lebrecht, Norman. Alice Coote: An open letter to opera critics. Slipped Disc, 2014. Retrieved from:  http://slippedisc.com/2014/05/alice-coote-an-open-letter-to-opera-critics/

As mentioned earlier on, the new political dispensation that took off is 1994 opened the "gates of creative possibility" (oos,2010) for the opera producers since they were therefore able to juxtapose the Western and African art scenes. This was fueled by the sense of renewed intellectual and artistic access that way created by the new political dispensation. According to oos (2010), theoretically, the new political dispensation culminated into an environment that is marked with an increased sense and rights in regards to freedom of association. The indigenous opera production as well as composition therefore was born in order to create something that is totally new and possessing unique characteristics.
Methodology

The study was conducted quantitatively via a seminal review of literature and gathering of information for both primary and secondary sources. The primary source of data was Directors and management staff of opera houses as well as opera actors/performers. Government documents…...

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References

ABC (n.d). Introduction to Opera

 http://www.abc.net.au/tv/operatunityoz/links/ 

African National Congress (1996)White Paper on Arts, Culture and Heritage (ANC, June 1996).

http://www.dac.gov.za/white_paper.htm

Stars today do not have the huge voices of the past. Even Wagnerian sopranos have more delicate tones, and schools try to produce these types of students, because of the demands of the industry.
Midgett also points a finger at the schooling of opera singers today as well as the economics of the recording industry, stating that singers do not get enough personal lessons and have too many distractions, including working to pay tuition. They are also taught by graduates of the system who can easily shape the worldview of young, impressionable singers. Singers without a distinctive sound or stage presence who will fit well into smaller parts or into a company are likewise favored. Young opera composers receive little training in the classics and tend to produce workers for lighter voices and smaller orchestras that favor the economical pressures that affect most new, American works of opera. The remaining…...

hile the monody was a traditional element of opera, through the Baroque era monody gave way to far more elaborate and melodramatic forms of singing and stage delivery. hen professional musician Claudio Monteverdi came on the Florentine opera scene in the 17th century, the character of opera changed to include a lush stage set, elaborate costumes, and almost over-the-top elements of production. The aria also became a hallmark of the opera through Monteverde's influence, which also helped opera spread throughout Italy and later, throughout the Continent and even to England. In England, the art form built upon the earlier tradition of medieval stage plays and masques, which when added with Italian elements developed a unique style of English opera.
orks Cited

Opera: History." MSN Encarta. Page 2. Online at http://encarta.msn.com/encyclopedia_761570299_2/Opera.html#endads.

Opera: History." ikipedia. Online at http://en.wikipedia.org/wiki/Opera#History....

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Works Cited

Opera: History." MSN Encarta. Page 2. Online at http://encarta.msn.com/encyclopedia_761570299_2/Opera.html#endads.

Opera: History." Wikipedia. Online at  http://en.wikipedia.org/wiki/Opera#History .

That is, the notion of rivalry and envy is not inherently connected to rational ideas about good and evil. These ethical value judgments are quite secondary to the matter of human conflict and its role in the affairs of both love and power. As Giovetti (2012) points out, "Feng Yi Ting (running until June 7 and stopping in New York at the Lincoln Center Festival, also under Redden's directorship, in July) is characterised by an emotional neutrality that leaves the audiences to decide for themselves how they feel." (Giovetti, p. 1)
In many ways, this is a distinctly eastern way of approaching conflict, providing its details as a history rather than an allegory. And once again, as with the kung fu movies that made so great an impression on me as a child, the play would using certain visual strategies to supplement these themes. They demonstrate the same spare simplicity…...

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Works Cited:

Giovetti, O. (2012). Spoleto Festival continues to provoke with Glass and Guo Wenjing. Gramophone.

Johnson, a. (2012). Atom Egoyan talks about directing Spoleto Festival's 'Feng Yi Ting'. Post and Courier.

Moore, R. (2012). Feng Yi Ting Spoleto After Party. Charleston Mag.com.

Poole, O. (2012). Spoleto Review: Feng Yi Ting Chinese Opera. Art Mag.

Exoticism in Nineteenth and Early-Twentieth Century Opera
The objective of this study is to answer as to what is meant by exoticism in nineteenth and early-twentieth century opera and as to what the appeal of exoticism to European librettists and composers. This work will take two operas as case studies and explore both the ways in which the librettists handle their subject matter and the ways in which the composers attempted to represent exoticism in musical terms. For the purpose of this study, the opera Salome by Richard Strauss and Aida by Giuseppe Verdi are chosen. This study will first examine Salome followed by an examination of Salome.

Salome the Opera

It has been said that Salome is the "most important event in German opera since the work of Richard Wagner." (Manitoba Opera 2011-2012) In fact, according to critics 'its concentrated power, eerie and sinister harmonies, and extraordinarily exotic orchestration marked a…...

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Bibliography

Aida by Giuseppe Verdi (2011) Calgary Opera Study Guide of Aida. Retrieved from: http://www.calgaryopera.com/Aida%20Study%20Guide.pdf

Aida Giuseppe Verdi (2010) Canadian Opera Company. Retrieved from:  http://files.coc.ca/studyguides/aidastudyguide.pdf 

Guarracino, S. (2010) Verdi's Aida Across the Mediterranean. California Italian Studies. 2010. Retrieved from:  http://escholarship.org/uc/item/9tj7h4wv#page-5 

Tydeman, W. And Price, S. (nd) Cambridge University Press. Retrieved from Google eBooks at:  http://books.google.com/books?id=TaFB0epfdmQC&pg=PA133&lpg=PA133&dq=Aida+and+Salome:+exoticism&source=bl&ots=MVipLVcbF2&sig=YDLezJXbNciquCepaebOkq6tecY&hl=en&sa=X&ei=QcwQT9_SMsnb0QGC6uSPAw&ved=0CDIQ6AEwBA#v=onepage&q=Aida%20and%20Salome%3A%20exoticism&f=false

Exoticism in 19th & 20th Century Opera
Exoticism in 19th and 20th Century Opera

Exoticism was a cultural invention of the 17th Century, enjoying resurgence in the 19th and 20th Centuries due to increased travel and trade by Europeans in foreign, intriguing continents. The "est," eventually including the United States, adapted and recreated elements of those alluring cultures according to estern bias, creating escapist art forms that blended fantasy with reality. Two examples of Exoticism in Opera are Georges Bizet's "Carmen," portraying cultural bias toward gypsies and Basques, and Giacomo Puccini's "Madama Butterfly," portraying cultural bias toward the Far East. "Carmen" was developed from a single original source while "Madama Butterfly" was a fusion of several sources that developed successively; nevertheless, both operas remain distinguished examples of Exoticism in Opera.

Exoticism in History and Culture

Meaning "that which is introduced from or originating in a foreign (especially tropical) country or as something which is…...

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Works Cited

Boyd, A. (n.d.). Exoticism. Retrieved from The Imperial Archive Web site: http://www.qub.ac.uk/imperial/key-concepts/Exoticism.htm

New York City Opera Project. (n.d.). New York City Opera Project: Carmen | Madama Butterfly. Retrieved from Columbia University Web site:  http://www.columbia.edu/itc/music/NYCO 

The Metropolitan Opera. (2011). Carmen | Madama Butterfly. Retrieved from Metropolitan Opera Family Web site: http://www.metoperafamily.org

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One weakness of the product life cycle is that it isn\'t set up for innovation. If your product doesn\'t operate for a full life cycle, you\'ll have to replace it over and over. That can be more costly than keeping the product for a long time and then only replacing it when a newer, better model comes along. Another weakness is predictability. That becomes dangerous, because competitors know what each company or individual in competition with them is likely doing. In order to break that knowledge and change the market, a company has to create something completely new and unexpected....

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