When they finally combined their ideas together they created an American masterpiece in musical theatre: Oklahoma!. It was the first Rodgers and Hammerstein collaboration, starting the most successful creative partnership in the history of American musical theatre. According to Joseph Swain in his book The Broadway Musical: A Critical and Musical Survey, there are a number of reasons why a particular work of art might be considered a milestone in the history in its genre. It might introduce innovations of technique and style so convincing that they may become extremely influential. It might attract such wide acclaim that it cannot be ignored by the artists who come after, even if the acclaimed fame eventually fades with time.
Comparing the Themes of Vincenzio Bellini’s Norma and Euripedes' Medea Vincenzio Bellini’s opera Norma is considered by many to be a reworking of Euripedes' classic Greek tragedy Medea. Both plots have many identical elements of Greek tragedy such as a chorus, unity of location, and a human decision and action culminating in tragedy. Richard Wagner greatly admired Greek tragedies, believing them to be “The highest point ever reached in human creative achievement…” (Wagner 1). In his essay Theories of Art, Wagner gives five reasons for this “artistic perfection:” 1. It represented a successful combination of the arts-- poetry, drama, costumes, mime, music, dance and song-- and as such had greater scope and expressive powers than any of the arts alone.
The Phantom loves her for her voice; Raoul loves her for her whole being. Christine has the difficult task of trying to figure out who she loves when everything around her leaves her spinning. The Phantom is The Angle of Music her father promised, but Raoul is her sw...
179-238. Griffiths, Paul with Igor Stravinsky, Robert Craft and Gabriel Josipovici. Igor Stravinsky: The Rake's Progress. Cambridge Opera Handbooks. Cambridge: Cambridge UP, 1982.
Viola, as Cesario, manages to win the favour of Orsino He truly believes that she is a he. Orsino, still convinced of my majesty, believes that he can win the love of a woman, via a proxy. By having Viola merely read the words he has prepared, he thinks that Olivia will fall immediately in love with him. But while Orsino had his head in the clouds about his love, Viola is attempting to conceal from him, her love for him. Sir Toby is tempting to deceive Maria that Sir Andrew is a great man.
He gave the girl something and said "wear these for my sake", which are almost the same words that Rosalind said to Orlando in the beginning of the play. The love between Orlando and Rosalind is portrayed as superior to other romances, which are more earthy. Touchstone and Audrey's romance represents physical passion. He wants to marry her out of church so that the marriage would be invalid. Silvius who is hopelessly in love with Pheobe, represents pastoral love The diversity of characters' romantic sentiment creates a balance in the play and makes one appreciate their silliness, spirituality and extremities.
Orfeo favola in musica. Boston: Gilbert Blin, 2012. Wikshåland, Ståle. “Monteverdi’s Voices: The Construction of Subjectivity.” The Opera Quarterly 24, no. 1 (2008): 223-45.
29 Feb. 2011. . Heartz, Daniel. "From Garrick to Gluck: The Reform of Theatre and Opera in the Mid-Eighteenth Century." Proceedings of the Royal Musical Association 94 (1968): 111-27. Print.
Stravinsky Retrospectives. Lincoln: University of Nebraska Press, 1987. Joseph, Charles M., Stravinsky's Ballets. Yale University Press, 2012 Tansman, Alexandre. Igor Stravinsky.
Not to mention he views all her unique ways and admits that he loves to hear her speak. This signifies that he loves her just the way she is, flaws and all, setting a more realistic view of his lover. McKay on the other... ... middle of paper ... .... Beauty isn’t about having a pretty face. It’s about having a pretty mind, pretty heart, and most importantly, a beautiful soul. Shakespeare’s speaker saw his lovers’ imperfections and flaws as being her beauty.