Storytelling in Opera and Musical Theater

Penner, Nina

doi:10.2307/j.ctv177tj35

Cited by 4 publications

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“…1950 Lawton (1982), Stephen Huebner (2004), Edward Latham (2008), and David Easley (2020. In musicals, the association of characters with particular keys or harmonic patterns has been explored by Trudi Wright (2020), Nathan Blustein (this volume), and Michael Buchler (this volume), and the association of characters with particular musical styles has been considered by Paul Laird (2011), Nina Penner (2020), and Elizabeth Sallinger (2016. In The Rocky Horror Show, flat keys and softer pop-music styles are loosely correlated with the conservative, heteronormative human characters, and sharp keys and hard-rock styles with the sexually open, queer alien characters.…”

Section: Duets As Formal Markersmentioning

confidence: 99%

Here for the Hearing

2023

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This book offers a series of essays that show the integrated role that musical structure (including harmony, melody, rhythm, meter, form, and musical association) plays in making sense of what transpires onstage in musicals. Written by a group of music analysts who care deeply about musical theater, this collection provides new understanding of how musicals are put together, how composers and lyricists structure words and music to complement one another, and how music helps us understand the human relationships and historical and social contexts. Using a wide range of musical examples, representing the history of musical theater from the 1920s to the present day, the book explores how music interacts with dramatic elements within individual shows and other pieces within and outside of the genre. These essays invite readers to consider issues that are fundamental both to our understanding of musical theater and to the multiple ways we engage with music.

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Section: Duets As Formal Markersmentioning

confidence: 99%

Here for the Hearing

2023

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Against the Grain Theatre'sMessiah/Complexand Indigenous Sovereignty

Penner

2023

J Soc American Mus

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The COVID-19 pandemic and the intensification of IBPOC (Indigenous, Black, and People of Color) activism during this time have prompted many in the classical music industry to pause and reflect on the ways in which we perpetuate colonialism and racism in our leadership and governance structures, programming, casting practices, performance practices, and treatment of IBPOC artists. This article focuses on Messiah/Complex (2020) by Toronto's Against the Grain Theatre (AtG). All soloists were Indigenous or people of color. Based on conversations with several Indigenous artists involved in this project, this article argues that we need to move from thinking about how to include more Indigenous artists to thinking about how we can create space for Indigenous sovereignty. That is going to involve giving over decision-making power to Indigenous artists at all levels. Messiah/Complex could have made a more decisive move toward sovereignty if it had begun with conversations with IBPOC artists about what they want to say at this moment. The performers should have been able to decide not only what language to perform in but also whether they want to perform Handel's music at all, who they want to collaborate with, and how they want to work together.

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Les nouvelles technologies à l’opéra. Trois oeuvres lyriques revisitent le genre opératique

Gauvin

2023

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La présente étude vise à montrer dans quelle mesure l’utilisation des nouvelles technologies à l’opéra permet de revisiter le genre opératique en proposant une nouvelle hiérarchisation des paramètres qui le constituent, notamment les composantes auditives et visuelles, ainsi que la scénographie, le lieu de production et le mode d’écoute. Afin de démontrer cette nouvelle hiérarchisation, trois oeuvres récentes et novatrices sont examinées en guise d’études de cas : EROR (The Pianist) (2019), un opéra sans chant de Georgia Spiropoulos ; Invisible Cities (2013), un opéra pour écouteurs de Christopher Cerrone, de même que Laila (2020), une oeuvre interactive mise au point par Opera Beyond, un projet chapeauté par le Finnish National Opera. Cette analyse démontre comment les oeuvres parviennent à confronter les définitions sociales et musicologiques de l’opéra, sans pour autant faire émerger une nouvelle définition.

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Storytelling in Opera and Musical Theater

Cited by 4 publications

References 0 publications

Here for the Hearing

Here for the Hearing

Against the Grain Theatre'sMessiah/Complexand Indigenous Sovereignty

Les nouvelles technologies à l’opéra. Trois oeuvres lyriques revisitent le genre opératique

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