When ‘Law’ Rhymes with ‘Flaw’: the Sounds of British Justice in Gilbert and Sullivan’s Trial by Jury (1875) por Joël Richard

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LE MASQUE COMIQUE DE L’OPÉRA DANS L’ITALIE DU XVIIIe SIÈCLE por Diana TODEA

“…During this period there was emphasised the need for the retrieval of verisimilitude and simplicity which were to be found in the comic opera emerged from the common people. These two trends will mark the final separation between the serious and comic styles that will begin to develop from now on towards two independent types, opera seria and comic opera. …”
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La place du monde anglophone dans les livrets d’Eugène Scribe por Matthieu Cailliez

“…Eugène Scribe (1791-1861) was the author of 425 plays, including 94 librettos for comic operas and thirty librettos for operas, performed in nineteen Parisian theatres, one provincial theatre and three foreign theatres. …”
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A Dinner Engagement (1954) de Lennox Berkeley : un opéra-bouffe anachronique ? por Jean-Philippe Heberlé

“…Commissioned by The English Opera Group, written on a libretto by Paul Dehn and created at the Aldeburgh Festival on 17 June 1954, A Dinner Engagement is a comic opera by Lennox Berkeley (1903-1989). The instrumentation follows that of Benjamin Britten’s The Rape of Lucretia and Albert Herring. …”
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De L’Inventaire du planteur au Mousse et au Cabin boy : Réorientation et recadrage d’une histoire antiesclavagiste d’É. Souvestre en pièce de théâtre por Barbara T. Cooper

“…Transformed into an antislavery tale by Souvestre (L’Inventaire du planteur), then changed into a comic opera by Saint-Georges and Monpou (Le Planteur) before becoming a comédie-vaudeville written by Souvestre (Le Mousse) and a drama by Stirling (The Cabin Boy), the story of a young woman who learns she is of African descent and considered a slave evolves according to generic norms and national, aesthetic and political contexts that are constantly changing. …”
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Counting musicians: a London catalogue aria in context por Burden, M

“…This article briefly examines the use of the genre in London, but then turns to its employment in a new English comic opera called The Travellers in Switzerland by Henry Bate Dudley with music compiled by William Shield. …”

Translation Principles of Vadim Shershenevich and Their Implementation in Translations of Playwrights of William Shakespeare: “King John” and “Cymbeline” por V. V. Serdechnaya, D. N. Zhatkin

“…The question is raised about Shershenevich’s two main translation strategies in relation to Shakespeare: accurate translation (in the texts under study) and free adaptation of texts for the stage, corresponding to the avant-garde understanding of theater as an art that develops outside of direct dependence on literature (when he works with Shakespeare as a librettist, in particular, participating in the creation of the comic opera Gemini based on Shakespeare’s Twelfth Night). …”
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Gian Carlo Menotti’s The Last Savage: Opera, Science, and Relevance in Cold War American Culture por Cynthia Lisa Dretel

“…Menotti’s application of Mozart’s comic opera tropes to satirize the upper class – in this case, an elite category representing highly educated scientists and artists – backfired.…”
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From the stage to the street: theatre music and the broadside ballad in London, 1797-1844 por Bartlett, GE

“…</p> <p>To test this hypothesis and discover the extent of this potential crossover, I built a database that cross-references the songs from 521 staged musical entertainments produced in London (from the English comic opera tradition and related genres) with the Bodleian Library’s Broadside Collections (which have been helpfully digitised in the Ballads Online database). …”

Topsy Turvy de Mike Leigh : l’envers du décor ou la norme mise à mal por Isabelle Cases

“…This film, which is rather unusual in his work, depicts a particular moment in the career of the famous musicians Gilbert and Sullivan, namely the writing and staging of one of their comic operas, The Mikado. Mike Leigh faithfully describes the collaboration between Gilbert and Sullivan, as well as a rigid Victorian society nevertheless characterized by resistance in many ways. …”
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Totengedenken und Wohltat. Ignaz Lachners Prolog zur Vorstellung zu Gunsten der Hinterbliebenen des weiland Kapellmeisters Albert Lortzing por Leitmeir, C

“…Albeit belatedly, the musical world was eager to pay a tribute to the foremost composers of German comic operas and organised many a fund-raising concert - including the Munich performance of opera Czaar und Zimmermann (Tsar and Carpenter). …”