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Yearly Archives: 2014
This year’s RMA Research Students’ Conference took place at the University of Birmingham from 6th – 8th January. Two OBERTO PhD students, Anna Maria Barry and Corrina Connor, attended to give papers. Here they share their thoughts on the conference:
The RMA Research Students’ Conference was a great experience. With as many as five parallel sessions at a time, there was a significant number of students and lots of interesting papers on subjects as diverse as music in video games and Egyptian hip-hop.
I particularly enjoyed Monday’s session, ‘Music in 18th and 19th Century Britain’, where papers included an examination of the 1842 English production of Semiramide (Catherine Hutchinson) and a discussion of national identity as imagined in the programme notes of the Crystal Palace Concerts (Bruno Bower). These topics were particularly relevant to me, as my research focuses on opera in nineteenth-century Britain, and it was great to meet others working on similar areas. Another particularly interesting session on Monday was ‘Social Analysis – 20th Century England’ where papers included an examination of music publishing during the inter-war period (Kirstie Asmussen) and a fascinating discussion of Holst’s Indian operas (Zara Barlas).
On Tuesday I enjoyed the session on ‘Opera’, where OBERTO’s Corrina Connor gave an excellent paper on the figure of Strauss’ Prince Orlofsky and another paper offered a fascinating insight into Shostakovich’s Hamlet (Michelle Assay). My own session was ‘Performance in the 19th Century’ on Tuesday afternoon, where I gave a paper on tenor John Braham, examining how he constructed a British identity. Other papers in this session included a consideration of the politicised reception of prima donna Marie Delna (Emma Higgins) and a discussion of Brodsky’s concert career (Geoff Thomason).
My first visit to the RMA Students’ Conference was a great experience – I hope it won’t be my last!
Because our interests largely coincide, I found myself at many of the same panels that Anna also attended, and in various ways opera or opera-related papers were prominent in many other sessions. On Wednesday morning in the ‘Analysis – Baroque’ panel, Dionysios Kyropoulous (Cambridge) spoke energetically about ‘Reviving period stagecraft in Baroque opera today’, and drew attention to the fact that in many productions of Baroque operas, the musical aspects (orchestral and vocal) are ‘historically informed’ while the art and rhetorical significance of physical gesture is largely ignored. The next session was the Jerome Roche Prize Lecture, ‘The Turn of the Screw, or: The Gothic Melodrama of Modernism’, given by Christopher Chowrimootoo (who was an OBERTO Early Career Research Fellow last year). His lecture illustrated how Britten’s Turn of the Screw incorporated aspects of gothic melodrama and some of the purer aspects of modernism. I enjoyed especially hearing about the range of critical responses to Britten’s opera after its premiere, and the ways in which critics felt Britten had remained ‘faithful’ to James, or diverged from the source text (to good or disastrous effect).
On Tuesday morning there was a session dedicated to opera, as Anna has described. I was delighted that Charlotte Bentley (Nottingham) was also speaking about operetta in ‘Satire and the status quo: Offenbach’s Grande-Duchesse in Second Empire Paris’. Charlotte emphasised the differences between satire and parody in Parisian operetta, and how the political aspect of operetta functioned as a form of substitute for more open political debate. Opera and politics were also part of Marco Pollaci’s ‘Analyzing Verdi: pedagogic traditions between innovation and politics’. Here we learnt that the Neapolitan system of harmony and counterpoint in which Verdi was educated was so distinctive that Verdi’s use of these pedagogic formulae in his operas were an audibly recognisable political statement. After my own paper, Michelle Assay (Sheffield/Sorbonne) had some useful comments about Russian aristocracy in the early nineteenth century, and their movement throughout Europe.
In addition to hearing so many diverse and fascinating papers, another valuable aspect of attending this conference was to see the different ways in which people presented their research. It is very tempting to cram as much into a conference paper as possible, but I found that I learned the most from those papers in which the speaker dealt with just a few points, but in greater detail. I hope to incorporate what I observed into future presentations.
Did you know that both the Royal Opera House and English National Opera offer brilliant benefits for students, with many cheap tickets available?
The Royal Opera House runs a fantastic Student scheme – free for all students to sign up to online. Once they are registered students get an advanced booking period, making it easier for them to purchase cheaper seats before they go on general public sale. In addition, 20 of the cheapest seats for every performance are now reserved for students only – these can cost as little as just £4! There are also several dedicated student performances every season, and students are offered discounts at the bar and on programmes. In addition, the ‘Student Standby’ scheme offers unsold tickets to performances for just £10. Student booking for the Spring season opened at 10 am this morning – sign up quickly to get tickets for some fantastic productions!
English National Opera has a scheme called Access All Arias for students and those aged under 30. Under this scheme, students are able to buy heavily discounted tickets for every performance – these cost as little as £10 each. Programmes are also half price and cheap, last-minute tickets are often made available.