Pathos as Narrative Glue: Marnie the Novel, Film, and Opera by Alina Bottez

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A LUDIC OPERA: “POST-FICTION” BY DAN DEDIU by Sanda HÎRLAV MAISTOROVICI

Subjects: “…opera-within-an-opera, Pirandelli’s theatre, characters, “umorismo”, ludic, parody…”
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An energy-efficient sound system in the opera hall in Poznań by Anna Telatycka

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CHRISTOPH WILLIBALD VON GLUCK AND THE DAWN OF THE REFORM OF OPERA by Noémi KARÁCSONY

Subjects: “…Gluck, Orfeo ed Euridice, reform, principle, opera, declamation.…”
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HugForUs, opera di relazione tra persone by Federica Scolari

“…Superamento dell’identificativo oggetto-arte tramite azioni pubbliche che sfruttano le piattaforme online: il progetto si definisce, utilizzando le parole di Giacomo Verde «opera di relazione tra persone». Amedani è stato in grado di attivare contesti creativi che permettono di attivare di- versi processi di relazione.…”
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Dispositio come carattere e identità dell'opera by Renato Capozzi

“…Ancora un numero di FAMagazine [1] sulla dipositio, ancora a partire da Vitruvio, ancora una riflessione su alcuni termini e procedure centrali della composizione architettonica qui sondati nella relazione tra la diposizione, il carattere e l’identità dell’opera. Nella voce “dipositio” dell’Enciclopedia dell’Arte Antica Treccani l’archeologo e storico dell’arte Silvio…”
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La musica nell’opera di Mimmo Paladino by Vincenzo Santarcangelo

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The Aesthetic Interpretation of Musical Text in Romantic Opera Productions by Adnan Khalaf Sahi

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Riflessioni sull'opera autobiográfica di Agrippina menore by Alessandra LAZZERETTI

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The Threepenny Opera: A Directorʼs Take on an Unconventional Musical by Sidney Homan

“…After placing "The Threepenny Opera" within the context of the evolution of the musical comedy from light entertainment to serving as a mirror for the issues of society, the director recounts his own experience staging the Brecht/Weill musical in terms of its metadramatic statement, the paradox of its self-effacing nature coupled with serious political issues, the role of its audience at once engaged and disengaged, the function of its unconventional score, and the work as reflecting the larger world offstage. …”
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Opera by the Book: Defining Music Theater in the Third Reich by Pollock, Emily R

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An opera house for Boston : the documentation of a design process. by Grimshaw, Rosemary Danehy

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An opera house for Metropolitan Boston: location and site selection by O'Brien, Francis E

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Opera Teater Koma dalam menghadapi tantangan zaman by , DWIMARWATI, Retno, , Prof.Dr. R.M. Soedarsono

Musical spectra, l'espace sensible, and contemporary opera by Cross, J

To repeat (or not to repeat)? Dance cues in Restoration English opera by Burden, M

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The Russian opera libretto as preached and practiced in the nineteenth century by Frainier, M

Subjects: “…Opera…”

Review of Susan Rutherford. 2006. The Prima Donna and Opera, 1815-1930. Cambridge Studies in Opera. Cambridge and New York: Cambridge University Press by Sean Parr

“…Review of Susan Rutherford. 2006. The Prima Donna and Opera, 1815-1930…”
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ALL’OPERA! PROPOSTE PER UNA DIDATTICA DELLA LINGUA ITALIANA (L1 E L2) ATTRAVERSO L’OPERA LIRICA by Fabio Rossi

“…Tra i fenomeni analizzati: l’imperativo, il gerundio, i verbi transitivi e intransitivi, l’ordine dei costituenti, la formazione delle parole e il che polivalente.   All’opera! Proposals for teaching Italian (L1 and L2) through opera Through the commentary of linguistic phenomena and exemplary opera scenes, we will demonstrate the didactic usefulness of opera, not only from a linguistic, transdisciplinary, sociocultural, historical and artistic point of view, but also from a semiotic and multimodal one. …”
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Kukura Sets his Artistic Credo against Soap Operas by Tomasz Miłkowski

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