Suchergebnisse

The OPERA experiment is a long baseline neutrino oscillation experiment aimed at observing the ν_μ → ν_τ neutrino oscillation in the CERN neutrino to Gran Sasso beamline in the appearance mode by detecting the τ-decay. Here I will summarize the results from the run years 2008–10 with an update on observed rare decay topologies and the results of the neutrino velocity measurements.

Intro -- Contents -- About the Editors and Authors -- Law in the Opera, Law on the Opera, Law Around the Opera: A Multidisciplinary Approach -- 1 Conceptual Premises -- 2 Law in Opera -- 3 Law on Opera, Law Around Opera -- 4 Conclusion (to the Introduction) -- References -- Part I: Law in Opera -- Scalia/Ginsburg: The Rhythm of the US Federal Supreme Court -- 1 The Plot -- 2 Two Different Justices -- 3 Theories of Interpretation and the Principle of Separation of Powers -- 4 The Myth of the Supreme Court of the United States -- References -- Exile and Identity: Findings of Fact and Opinions of Law, in Bellini´s La Straniera -- 1 Introduction -- 2 Reasons for a Choice -- 2.1 Identity Basics: il ver rispondi: chi sei tu? -- 2.2 Facts Connected by Weak Causation: Act 1 [1h.26mn.] -- 2.3 Thoughts After Curtains -- References -- Fiat iustitia et pereat mundus. The Tragic Conflicts of the Judge in I Due Foscari -- 1 Between Law and Justice -- 2 The Doge and the Father -- 3 The Paradox of the Undecidable -- 4 The Triumph of the Reason of State -- 5 The Blindfold of Justice -- 6 Beyond the Law -- References -- ``That May Be Japanese Law but Not in My Country!´´ Marriage, Divorce, and Private International Law in Giacomo Puccini´s Mad... -- 1 Introduction -- 2 Origin and Plot -- 3 Legal Issues -- 4 Applicable Law -- 5 Conclusions -- References -- Crime, Prosecution, and Justice in Giuseppe Verdi´s Otello -- 1 Honor Killing or Premeditated Murder? -- 2 The Sources of Othello -- 3 The Criminal Legislation in Cyprus During the Venetian Rule -- 4 Honor Killing at Verdi´s Time: Criminal Legislation and Public Opinion -- 5 The Libretto and the Score -- References -- Further Reading -- The Marriage of Figaro and the Sunset of Ancien Rgime Legacy on Modern Legal Culture -- 1 Introduction -- 2 ``Le droit du seigneur´´ (ius primae noctis)

"In times of delirious, madcap fun and political turmoil, opera fans have expressed their passion by dispatching records into the cosmos, building fairy-tale castles, and singing together through the arduous work of social justice. OPERA welcomes readers and listeners to a community full of friendship, passion, critique-and always, beautiful music"--

An opera is a complex, multidisciplinary, stage music genre that primary school pupils in the 8th grade aurally and visually recognize, differentiate, describe, and compare as part of the primary school subject Music Culture. The paper presents the contribution of the preparation and performance of an opera on the case study of Ivan Josip Skender's Šuma Striborova (The Stribor's Forest), an opera for adults and children (to the libretto by Ozren Prohić, based on the fairy tale of the same name written by Ivana Brlić Mažuranić) performed by the pupils of the Bartul Kašić Primary School in Zadar, in July 2023. It is an innovative and unique project in Croatia designed to bring opera closer to young people. The paper presents the Curriculum for the subject of Music for both primary and high schools in the Republic of Croatia, where the case study analysis methodology presents the outcomes within three domains: A – Listening and getting to know music, B – Expressing yourself through music and with music, and C – Music in context, which are realized by participating in the performance of an opera. Furthermore, there are also tasks (material, functional, and educational) that are realized through musical activities such as opera production. The contribution of this work is the possibility and presentation of the pupils' performance of the ballet and puppet show the Šuma Striborova opera through active listening. During such a performance, the recipients are also active, while the audience reacts to the music and action. Through active listening, one is brought up aesthetically and grows both personally and culturally.

This dissertation discusses the musical, dramatic, and political implications of postwar German opera through the examination of four case studies: Boris Blacher's Abstrakte Oper Nr. 1 (1953), Hans Werner Henze's König Hirsch (1956), Carl Orff's Oedipus der Tyrann (1959), and Bernd Alois Zimmermann's Die Soldaten (1965). Both the composers' musical decisions and the finished works' critical and musicological reception demonstrate just how urgently the genre of opera was thought to be in crisis. Enabled by the myth of the "Stunde Null" or Zero Hour, many avant-garde composers shunned opera as artistically bankrupt and conservative, preferring instead genres that were less closely tied to the musical past. Opera's coherence as a genre depended upon the maintenance and renewal of dramatic and musical conventions from eras both immediate and distant - a dependence that became politicized as the boundaries of "new music" were policed. Composers of new operas in this era were forced to attempt creative and productive solutions to the problem of how to write an opera in a milieu skeptical of opera's potential for innovation. The reception of these operas reflects these concerns, as critics and musicologists alike sought to make sense of the pieces within the context defined aesthetically by operatic tradition and politically by the Stunde Null.If opera was a problem in general for post-war composers in Germany, each of the four operas in this dissertation represents one set of solutions. By referring to a varied dramatic and musical heritage, these composers looked for artistic touchstones that would allow them to position themselves in meaningful artistic lineages, whether Italian bel canto, Wagnerian Gesamtkunstwerk, Greek tragedy, or abstract theater. In Boris Blacher's Abstrakte Oper Nr. 1, the authors' efforts to foil operaticism with nonsense opened the door for audiences to project their deepest fears onto the piece. The songs and arias in Henze's König Hirsch, which Henze revised and crafted to be as lyrical and transparent as possible, made the opera a target of harsh criticism because it was too "conventional." By contrast, Orff's Oedipus der Tyrann was met with both praise and confusion, for despite its striking effects, the piece's extreme asceticism proved incompatible with the expectations of an opera audience. Meanwhile, the ambition and message of Zimmermann's Die Soldaten earned it accolades, but the smaller, more intimate opera that lurks behind the noisy surface contradicts the received idea that Zimmermann conquered the tradition of operatic expressiveness. The relationship of these operas' musico-dramatic orientations to tradition is therefore indicative of their positions relative to the ideology of the post-war blank slate. Inasmuch as the aesthetics prized after Stunde Null were largely defined by a negation of tradition through the privileging of the radically new, the supposed conservatism of opera led many to declare it dead. But by approaching tradition more constructively, we can better understand the position of opera during this fraught era.

This lecture explores the representation of prayer in opera during the bel canto era. During the operatic bel canto era, prayer scenes were featured with increasing frequency. The popularity of this practice was likely rooted in a Romantic trend towards utilizing religious ceremony for dramatic effect. Eventually, these scenes became a standard part of Romantic Italian opera in a variety of forms, but none so prevalent as the heroine's pleading. As the era developed, the language for referencing a religious figure used in prayers, the musical structure, the orchestration, and the way composers and librettists utilized these scenes within the dramatic context of the opera all changed and moved towards the grand preghiera scenes of Giuseppe Verdi. The scenes examined are: Gioachino Rossini's "Deh, tu reggi in tal momento" from La gazza ladra, Gaetano Donizetti's "Deh, tu di un'umile preghiera" from Maria Stuarda, "Madre pietosa Vergine" from Giuseppe Verdi's La forza del destino, "Deh calma o ciel" from Rossini's Otello, and Verdi's "Ave Maria" also from Otello. A detailed study of the scenes and arias above exemplifies how the politics, tastes, and sensibilities of the Italian people changed.

PurposeThis paper examines the US opera sector as a means for interrogating how varying forms of non-standard work shape gender inequality in the creative industries.Design/methodology/approachThe authors draw on 16 seasons of opera production data from Operabase.com to conduct a gender-based exploratory data analysis of the key creative roles of conductor, director and designers, as well as the hiring networks through which teams are formed, at the 11 largest opera companies in the United States.FindingsThe authors find that women, as a group, experienced gender-based disadvantage across the key creative roles of opera production, but particularly in the artistic leadership roles of conductor and director. The authors also find that women's exclusion in the field is being further perpetuated by the sector's non-standard and overlapping employment structures, which impacts women practitioners' professional visibility and career opportunities.Practical implicationsThe study can help organizations implement strategic hiring practices that acknowledge the relationship between gender inequality and varying forms of non-standard work with the aim of increasing women's representation.Originality/value This study work establishes the scale of gender inequality operating within a sector that has received minimal scholarly attention as a site of employment. The study analysis also offers important insight for the wider creative industries and highlights opportunities to redress gender inequality in other sectors where project-based work is prevalent.