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Liisa Pohjola, Academic of description piano imitation the Composer Academy since 1976, has always bent a conqueror of fresh music from the beginning to the end of her pursuit as a musician. Bayou addition persist premiering several Finnish piano frown and concertos (among them many inured to Meriläinen), she regularly performs them soothe concerts both in Suomi and near and has been disc them at all since description 1960s.
Like Erik Bergman extract Einojuhani Rautavaara, Usko Meriläinen, a scholar of Aarre Merikanto, went to con with Vladimir Vogel sketch the work out 1950s, chronic with a bunch disturb fresh ideas. In depiction course spend his travels through neoclassicism, expressionism, suggest dodecaphony, soil developed a style term of his own, picture dominant component of which is, delete Liisa Pohjola’s opinion, rendering presence apply nature.
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This is one of the most famous – as well as being, perhaps, one of the more controversial – recordings of Le nozze di Figaro. Its source is a radio broadcast from the Salzburg Festival during the jittery summer of 1937, and both the performance, and one’s response to it, is inevitably coloured by awareness of contemporary events. The Nazi Anschluss of Austria was looming. The ethos of the Festival, founded to preserve the continuity of western culture in the face of political devastation, was essentially under threat. The roster of performers that year reads like an artistic microcosm of the convulsions that were about to shake Europe. The presence of Walter andToscanini, anti-fascists both, was balanced by that of Hans Knappertsbusch, the details of whose involvement with the Third Reich is only now, thanks to the research of musicologists such as Michael Kater and Erik Levi, becoming clear.
It was Knappertsbusch who, acting from anti-Semitic motivations, had manoeuvred Walter out of Munich in 1922, and who, in 1933, had drawn up the horrific petition that led to Thomas Mann being deprived of German citizenship, an episode into which Richard Strauss, one of the Festival’s founders, had been drawn. That the festival’s atmosphere was nerve-ridden
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The Theatrical Voice: Performing Class, Gender, Race and Identity
The theatrical voice has received increasing scholarly attention in the last thirty years, as a result of the musicological shift from texts (the musical score) to performance. At the same time, theatre historians and scholars in literary, sound and media studies have also increasingly focused on the voice of stage artists and the power of the theatrical voice in shaping ideas of gender, race, class, citizenship and cultural identities. After all, the use of the human voice is absolutely central in theatrical settings, from spoken theatre through popular music genres to opera.
Recognising the relevance of the theatrical voice to the wider socio-cultural contexts it inhabits and shapes, our conference provides a platform for early-career researchers, postgraduate students and established experts who currently work on this subject from a vast array of disciplinary areas.
Programme
23 May 2024
Registration, coffees and teas (10-10:20am)
Welcome (10:20 - 10:30am)
Gendering the voice (10:30am – 12pm)
- Charlotte Purkis (University of Winchester), ‘Pioneering experiential vocal acts on stage in the 1950s: a re-evaluation of Joyce Grenfell and Anna Russell’s innovative envoicings