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Spór o The Death of Klinghoffer Johna Adamsa. Opera w opinii krytyków muzycznych

100%
Zając M.
Kwartalnik Młodych Muzykologów UJ
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2016
|
issue 2(29)
31-51
EN
In October 1985, several members of the Palestine Liberation Front hijacked the cruise ship Achille Lauro during its Mediterranean cruise. After the surrender of the terrorists, it came to light that a disabled passenger, Leon Klinghoffer, was killed by one of the kidnappers. The news of the attack was all the more disturbing that Klinghoffer belonged to the Jewish community. The case of abduction of Achille Lauro has been one of the most important topics in the field of international politics and the Israeli-Palestinian conflict for a long time. The idea of creating an opera based on those events came from one of the most distinctive directors of our time, Peter Sellars (1957–), who invited composer John Adams (1947–) to cooperation. Libretto was created by Alice Goodman (1958–). Stage presentation of the fate of the passengers of Achille Lauro was to be a musical background for the wider topic: Israeli-Palestinian conflict. The main aim of the authors of The Death of Klinghoffer, what they repeatedly stressed in interviews, was to present both sides: Jewish and Muslim; not only the design of the libretto and musical development, but also the right direction. Despite these assumptions, since the premiere in 1991 at the Brussels Theatre Royale de La Monnaie, this opera is consequently dividing the audience into its hot enthusiasts and declared opponents. Demonstrations and protests, accusations of anti-Semitic content, presentation and justification of terrorism have led not only to a change in the score, but today they are almost inseparable elements of issue. This article focuses on the opinions on the opera by critics and music journalists. After presenting the context of creation, examples of the reception, analytical and creative works are shown, such as the opinions found in the reviews of the printed sources, as well as the online ones.
2
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Postać celebrytki w operze: rozwiązła księżna i króliczek „Playboya”

100%
Bogucki M.
Poznańskie Studia Polonistyczne. Seria Literacka
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2022
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issue 42
229-248
EN
The aim of the article is to analyse two British contemporary operas: Thomas Adès’s Powder Her Face and Mark Anthony Turnage’s Anna Nicole from the perspective of celebrity studies. Both of these works were inspired by the biographies of celebrities – Margaret Campbell, Duchess of Argyll’s and Anna Nicole Smith’s. The text analyses how their biographies were edited both in literary and musical terms, attempting to determine to what extent they are either pioneering or embedded in the traditions of the opera.
3
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ahat ilī – siostra bogów Olgi Tokarczuk i Aleksandra Nowaka. Od powieści do operowego libretta

75%
Zgliniecka-Hojda P.
Kwartalnik Młodych Muzykologów UJ
|
2020
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issue 4(47)
157-176
EN
In 2018, the third opera composition by Aleksander Nowak (*1979), ahat ilī – Sister of Gods had its premiere., The libretto was created by Polish Nobel Prize winner Olga Tokarczuk, on the basis of her own novel. This kind of combination of literature and opera, reinforced by the unique situation in which the author of the text-inspiration and the libretto is the same person, suggests that the work should be defined as a literary opera. The aim of the article is to present the composition in terms of its genres as well as to show the unique path of its content from literary work to operatic, together with the analysis of the libretto from the librettological perspective.
4
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ahat ilī – Sister of Gods by Olga Tokarczuk and Aleksander Nowak: From the Novel to the Operatic Libretto

75%
Zgliniecka-Hojda P.
Kwartalnik Młodych Muzykologów UJ
|
2020
|
issue 4(47) ENG
157-176
EN
Aleksander Nowak’s (*1979) third opera, ahat ilī – Sister of Gods, premiered in 2018, sets a libretto by Polish Nobel Prize winner Olga Tokarczuk, based on her own novel. This marriage of literature and opera, reinforced by the unique situation in which the author of the text which served as an inspiration and of the libretto is one and the same person, suggests that the work could be defined as a Literaturoper. My paper aims to analyse this composition in terms of genre as well as to represent the unique path of its content’s transformation from a literary into an operatic work, along with an analysis of the verbal component presented from the librettological perspective.
5
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Rhetorical figures and rhetorical strategies in The Minotaur by Harrison Birtwistle

63%
Micał D.
Kwartalnik Młodych Muzykologów UJ
|
2016
|
issue 3(30)
89-114
EN
The Minotaur is the opera composed by Harrison Birtwistle to libretto by David Harsent. It was premiered in 2008 in Royal Opera House, Covent Garden. Birtwistle’s musical language is basically modernist: atonal, centralised, based on interval or number patterns, pre-compositional operations, scales invented by the composer himself. His music is recognised as generally intellectual and connected with great avantgarde of 20th century. On the other hand, Birtwistle has never denied expression in his pieces. Titles and extra-musical inspirations are common (i.e. Melencolia 1). Birtwistle is inspired by music of the Middle Ages, Renaissance, and, less often, Baroque. The score of The Minotaur is full of rhetorical figures: both hypothyposis and emphasis. They are evident and immediately recognised in spite of contemporary, atonal language of the opera. Mostly, they are inspired by Baroque musical-rhetorical figures but there are examples of individual, contemporary means. Figures are local and connected with only one or few words. General atmosphere of fear and isolation can be created with ‘rhetorical strategies’, which are active much longer than figures. Birtwistle uses musical symbols as well. There are two main symbols in The Minotaur: the iambic ‘glissando gesture’ which opens the opera and appears in its key moments, and the ‘motif of fate’ – repetition connected with powers of fate and with tragic irony. The question is, why Birtwistle used so traditional and instantly recognisable means, as he is known for his highly intellectual music. Answer given in this text is that they stay in service of narration. They are audible and visible signs of telling the story.
PL
Minotaur to opera skomponowana przez Harrisona Birtwistle’a do libretta Davida Harsenta. Jej premiera odbyła się w 2008 roku w Royal Opera House w Covent Garden. Język muzyczny Birtwistle’a jest zasadniczo modernistyczny. Charakteryzują go atonalność, zcentralizowanie, bazowanie na formułach interwałowych lub numerycznych, zabiegach pre-kompozycyjnych, czy też skalach wymyślonych przez samego kompozytora. Jego muzykę uznaje się generalnie za intelektualną, powiązaną z wielką awangardą XX wieku. Z drugiej strony Birtwistle nigdy nie pozbawiał swoich utworów ekspresji. Powszechnie pojawiają się u niego tytuły i inspiracje pozamuzyczne (na przykład Melencolia 1). Kompozytor czerpie inspirację z muzyki średniowiecznej, renesansowej i w mniejszym stopniu barokowej. Partyturę Minotaura przepełniają figury retoryczne – zarówno hipothyposis, jak i emphasis. Są oczywiste i natychmiast dają się rozpoznać pomimo współczesnego, atonalnego języka opery. Zasadniczo, są one oparte na barokowej teorii retoryki muzycznej. Figury pojawiają się w wybranych miejscach i łączą się tylko z jednym lub kilkoma słowami. Atmosfera strachu i izolacji w całej operze została wykreowana dzięki całym strategiom retorycznym, które wykazują znacznie dłuższą aktywność niż same figury. Birtwistle posługuje się także symbolami. Dwa główne w Minotaurze to jambiczne glissando, rozpoczynające operę i pojawiające się w jej kluczowych momentach, oraz motyw fatum – kręgu powtarzającego się motywu powiązanego z siłami przeznaczenia oraz ironią tragiczną. Pytanie, dlaczego kompozytor sięgnął po tak oczywiste, wręcz trywialne środki, skoro jest znany ze swej wysoce intelektualnej muzyki? Pozostają one w służbie narracji – oto odpowiedź, której dostarcza niniejszy artykuł; są słyszalnymi i widzialnymi znakami opowiadania historii.
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