English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

Depuis quelques années en Europe, création musicale et programmation d’opéra ontcessé de s’ignorer. L’assouplissement des pratiques compositionnelles depuis lesannées 1970-1980 autorise certains des compositeurs les plus talentueux de leurgénération à mesurer leur écriture aux fortes contraintes inhérentes à la réussite,impératif catégorique, d’un nouvel ouvrage à l’opéra. Malgré ce cadre contextuelcommun à toutes les oeuvres de l’opéracontemporain, les dramaturgies musicales divergent fortement entre,d’une part, un répertoire tendant à reproduire une stylistique traditionnelle et,d’autre part, des oeuvres s’appropriant les expériences de la modernitédramatico-musicale des années 1960-1970 et cherchant à les faire fructifier dansl’environnement culturel contemporain. Ainsi, les dernières années ont vu lanaissance de grands opéras contemporains auspectacle exclusivement instrumental et scénique, un catalogue foisonnant d’ouvragesrevendiquant leur appartenance au genre, apparemment ressuscité, del’opéra.For the past few years in Europe, musical creation and the programming of operashave ceased turning a deaf ear to each other. The more flexible range ofcompositional styles introduced since the 70s and the 80s now makes it possible forsome of the best composers in their generation to confront their style with thesubstantial constraints inherent to the success that is expected, to say the least,from new endeavors in opera. Despite this broad context which encompasses allcontemporary opera productions, musical dramaturgies offer a spectrum of highlydistinct visions. These include, on the one hand, a series of works that draw on thestylistics of traditional opera, and on the other, works that reintegrate thediscoveries of modernist music dramas from the 60s and 70s, seeking to further theirgrowth in the current cultural environment. In this light, the wealth of creationswe have seen in the last few years, ranging from the grand contemporary opera to thestrictly instrumental and staged production, now constitute a vibrant repertoire ofworks that claim their belonging to the seemingly reborn genre of theopera

Orphée ressuscité? Un panorama de l’opéra contemporain en Europe