OPERA AND FILM – AN UNLIKELY MARRIAGE
Keywords:
opera, film, music, narrative, correspondence, meaning, audiovisual mediumAbstract
The aim of the following study is to analyze the manner in which opera music influenced film and became a crucial building block of certain cinematic narratives, in such films as Jonathan Demme’s Philadephia (USA, 1993), Luc Besson’s The Fifth Element (France, 1997) and Liliana Cavani’s Il portiere di note / The Night Porter (Italy, 1974). By revealing the correspondence between these audiovisual mediums and examining the common language used by them we intent to reveal numerous facets of this symbiotic relationship, all put in the service of lending meaning to the film, thus making the viewer’s escapist adventure truly unique.
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FILMOGRAPHY
Philadelphia, USA, 1993. Directed by Jonathan Demme
The Fifth Element, France, 1997. Directed by Luc Besson
Il portiere di note / The Night Porter, Italy, 1974. Directed by Liliana Cavani
DISCOGRAPHY
Giordano, Umberti: Andrea Chenier, Conducted by: Antonio Votto, Teatro alla Scala Orchestra and Chorus, Milan (Live recording), Performed by Maria Callas, EMI Classics, 1955.
Donizetti, Gaetano: Lucia di Lammermoor, Act 3, Scene 1: Mad scene "Il dolce suono mi colpi”, Conducted by Frédéric Chaslin, London Symphony Orchestra, Performed by soprano Inva Mula, Produced by Michel Glotz, Gaumont, 1997.
Mozart, Wolfgang Amadeus: Die Zauberflöte (The Magic Flute), Conducted by Karl Böhm, Berlin Radio Chamber Choir, Berlin Philharmonic Orchestra, Performed by Fritz Wunderlich (Tamino), Evelyn Lear (Pamina), Dietrich Fischer-Dieskau (Papageno), Deutsche Grammophon, 1997.
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