Genre, sexualité et érotisme sur la scène lyrique
Colloque en ligne organisé du 28 au 30 octobre 2022 par le Centro Studi Opera Omnia Luigi Boccherini, le Palazzetto Bru Zane et l’Italian Institute for Applied Musicology.
Comité scientifique : Roberto Illiano, Massimiliano Locanto, Fulvia Morabito, Étienne Jardin, Massimiliano Sala.
Programme
Keynotes
Mark Everist – ‘Opera’ off the Stage: Gender and Genre in «opéra de salon»
Annegret Fauser – Gender, Age, and Sexuality: Performing the Moral on the Musical Stage
Eroticism and Sexuality in 19th- and 20th-Century Operetta
Peter Mondelli – Bordenave’s Brothel, or, What Use is Émile Zola to the Operetta Historian?
Sandrine Divanac’h – « Bonheur enivrant, plaisir bien doux » : Oh, M. Hervé !
Carl Tertio Druml – Dance Craze and Eroticism: Operetta as a Carrier of Zeitgeist
Evi Nikita – La Femme au sein de l’opérette grecque de l’entre-deux-guerres : genre, identité et sexualité à travers les libretti des œuvres de l’époque
Career Paths for Singers on the Lyric Stage: Male and Female
Nicola Badolato – Eroi effeminati e amanti guerriere nella librettistica veneziana tra Sei e Settecento tra «cross-casting» e specializzazione dei ruoli «en travesti»
Ruhama Santorsa – Il corpo femminile nel «genere non genere» della farsa (Venezia, xviii secolo)
Luis Antonio González Marín – Women in Men’s Costume: Why Hero Roles Were Played by Female Singers in Hispanic Baroque Lyric Theatre
Lucía Magán Abollo – Catalina Pacheco: un’attrice-cantante vestita da uomo nei teatri madrileni nella metà del Settecento
Criticism and Reception
Jennifer Walker – ‘Feminine’ Charm, ‘Masculine’ Republic: Jules Massenet and the Paradox of Gendered Reception
Martin Barré – « Ah ! Je n’ose pas ». Les chanteuses et la peur de la scène sous la Monarchie de Juillet
Jonathan Mallada Álvarez – Sexualité et érotisme dans le théâtre lyrique espagnol : Une étude de la sensualité scénique à travers l’analyse de la réception critique des premières représentations au théâtre Apolo de Madrid (1900-1910)
Agata Kochanowska – Richard Wagners «Tannhäuser» by Tobias Kratzer: The Destroying Power of Desire
Mozart and Rossini: Sexuality, Gender and Vocality
Orsolya Gyárfás – «Too Soft and Tender»: The Construction and Reception of Sesto in Mozart’s «La clemenza di Tito»
Carla Gallardo – «Il barbiere di Siviglia» (1816): Characterisation and Sexualisation of Rosina
Maria Birbili – Cross-dressing «en travesti»: Gender Ambiguity, Sexuality, and Vocality in 18th- and 19th-Century Opera: From Mozart to Rossini
Eroticism, Gender and Sexuality in 19th-Century Popular Theatre
Sarah Gutsche-Miller – Imagined Eroticism: The Art of Suggestion in Parisian Music-Hall Ballet
Sonja Jüschke – Taking Centre Stage: ‘Chorus Girls’ in Late Victorian Popular Musical Theatre
Filipe Gaspar – «The French Mermaids Were Loudly Applauded…»: Feminine Subjects and Male Desire in Lisbon’s Café- Concert (1857-1876)
Eroticism, Gender and Sexuality in 20th-Century Opera
Ewelina Czarnowska – Eroticism and Spirituality in Karol Szymanowski’s «Król Roger»
Ondrej Gima – «The Little of Divine but Tons of the Orgasmic»: «The Fiery Angel» – Serge Prokofiev
Elena Luporini – Non aprire quella porta. Prospettive di genere nel «Castello di Barbablù» di Béla Bartók
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data di pubblicazione : 05/10/23