The Conservatory of Music Presents:The Art of Film Music: Opera of Our Time A three-part series is planned for Friday evenings at 6:30-8:45 P.M. The dates are July 9th, 16th, and 23rd. Light refreshments will be provided during an intermission. You can sign up for just one or all four evenings—each session is self-contained. The fee is $50.00 per session. If you bring another person, the fee would be $35.00 making a combined fee of $85.00. Contact information: E-mail:
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; Phone: 609-538-0830 "It was not music that might describe terra incognita but the opposite of that, music that would put us in touch with very familiar and remembered emotions, which for me as a musician translated into the use of a 19th century operatic idiom, if you like, Wagner and this sort of thing. These sorts of influences would put us in touch with remembered theatrical experiences as well, all western experiences to be sure." ―John Williams on Star Wars, 1997 Session I “John Williams’ Wagnerian Scores” Richard Wagner (1813-1883) created the device of the ‘leitmotif’ and used it pervasively in his opera’s—most notably in the four operas of the Ring cycle. A leitmotif is a recurring musical motive that represents a character, thing, or place. Many film composers throughout the history of film were influenced by Wagner’s invention. John Williams’ scores for Star Wars IV: A New Hope (1977) and Indiana Jones and the Last Crusade (1989) provide excellent examples of the leitmotivic process. The mythological themes of these two films also resonate with Wagner’s interpretation of Norse mythology in the Ring cycle. Session II “Romance in Film: Operatic Perspectives” Romance has always been fundamental to opera. One only has to think of Puccini’s La Boehme and Madame Butterfly. In its more unhealthy portrayals of obsession, Verdi’s Otello, Bizet’s Carmen, and Puccini’s Tosca come to mind. Films such as Spellbound (1945-score by Miklós Rózsa) and Mirage (1965-score by Quincy Jones) will be discussed in the light of Puccini’s operas. Vertigo (1958-score by Bernard Hermann) shows parallels to the operas Otello, Carmen, and Tosca. Session III “Theatrical Adventures in Film Music: Operatic Overtures” The overture in both opera and film can function in multifarious ways: provide a summary of musical themes, invite the spectator into the film’s/opera’s fantasy world, and secure the audience’s attention. The overtures to Star Trek: The Motion Picture (1979-score by Jerry Goldsmith), Silverado (1985-score by Bruce Broughton), and The Untouchables (1987-score by Ennio Moricone) will be discussed in light of the characteristics listed above. More discussion will be given to special action moments with the films Silverado and The Untouchables. Additional highlights include shots from the French Connection (1971-score by Don Ellis) and JFK (1991-score by John Williams).
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