Melbourne Conservatorium of Music - Research Publications
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ItemNo Preview AvailableLa estética tardía de Les Ballets Russes y la transformación de El amor brujo en la versión de León Woizikovsky y Natalia Goncharova (1935)(Centro de Documentación de Música y Danza-INAEM; Fundación Archivo Manuel de Falla, 2017)In 1935 Les Ballets de Léon Woizikovsky staged El amor brujo with costumes and sets by Natalia Goncharova. The production was the first major choreography by the famous dancer Woizikovsky, whose reworking of the celebrated ballet by Manuel de Falla was one of the principal attractions of the new company for several years in the second half of the 1930s. During this time they undertook long tours around Spain, Europe and Oceania. Woizikovsky and Goncharova, who had been key members of Sergei Diaghilev’s Ballets Russes, also had many ties with the music of Falla and Spain. However, some of the ideas they explored in El amor brujo had origins in their collaboration with Bronislava Nijinska in the staging of Igor Stravinsky’s Les Noces (1924). These concepts included the simplification of the original plot, stylisation of the choreography and the employment of a limited range of colours in the sets and costumes.
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ItemPrólogo: Epistolario Manuel de Falla - Wanda Landowska (1922-1931)(Editorial Universidad de Granada, 2022)
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ItemBeethoven, Vienna and Spain’s Trienio Liberal [Beethoven, Viena y el Trienio Liberal](Comares Música, 2021)
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ItemIntroduction to Fernando Sor: Cendrillon(Editions Orphee, 2016)
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ItemGoya and Spanish Musical Identity(National Gallery of Victoria, 2021)
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ItemPreface(FIMTE, 2020-06-20)
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ItemIn the Wake of Granados: Manuel De Falla’s Artistic Reorientation (1916-1919)(FIMTE, 2020-06-20)
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ItemFlamenco and the ‘Hispanicisation’ of Bizet’s Carmen in the Belle Epoque(Cambridge University Press, 2020)For over a century, flamenco has been closely associated with productions of Carmen around the world. Bizet’s gypsy protagonist is often depicted as a flamenco performer while it has become commonplace to perceive aspects of flamenco in Bizet’s score. Yet this nexus only developed gradually during the first three decades of the opera’s existence. Bizet was largely unfamiliar with flamenco and composed Carmen while flamenco as we recognise it today was still coalescing in Spain, especially in the flamenco-orientated cafés cantantes of Seville and Madrid. During the Belle Époque the rise of flamenco and its global recognition occurred almost in tandem with Carmen’s establishment in the international operatic repertory. French and Spanish opera singers of this period, from Emma Calvé to Elena Fons and Maria Gay, sought hispanic authenticity for their Carmens by drawing on the Spanish entertainment cultures of Seville, Granada and even Barcelona. The tripartite structure of this chapter employs the conceit of offering different perspectives on the intersection of Carmen and flamenco in the Belle Époque loosely framed around the basic elements of the artform: toque y palos, baile and cante.
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ItemThe Hispanic Grainger: Encounters with the Modern Spanish School(ASHGATE PUBLISHING LTD, 2015)
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ItemManuel de Falla's Personal Library and Insights into the Composer's Annotations(Scarecrow Press, 2005)