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The mezzo-soprano as representation of 'the other' in nineteenth century opera
Includes bibliographical references.
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| Main Author: | |
|---|---|
| Format: | Thesis |
| Language: | English |
| Published: |
College of Music
2015
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| _version_ | 1867614315267227648 |
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| access_status_str | Open Access |
| author | Van der Walt, Karen |
| author_browse | Van der Walt, Karen |
| author_facet | Van der Walt, Karen |
| author_sort | Van der Walt, Karen |
| collection | Thesis |
| description | Includes bibliographical references. |
| format | Thesis |
| id | oai:open.uct.ac.za:11427/12317 |
| institution | University of Cape Town (South Africa) |
| language | eng |
| last_indexed | 2026-06-10T12:50:05.422Z |
| license_str | Not specified — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository |
| publishDate | 2015 |
| publishDateRange | 2015 |
| publishDateSort | 2015 |
| publisher | College of Music |
| publisherStr | College of Music |
| record_format | dspace |
| source_str | UCTD — University of Cape Town Open Access Repository |
| spelling | oai:open.uct.ac.za:11427/12317 The mezzo-soprano as representation of 'the other' in nineteenth century opera Van der Walt, Karen Music Includes bibliographical references. The author continues by arguing that mezzo-soprano and contralto voices resemble the male voice and therefore composers often cast women in this fach as the jealous and malicious characters compared to the true and simplistic nature of the soprano (e.g. Ortrud versus Elsa in Lohengrin).3 When one looks at the significant mezzo-soprano roles in nineteenth-century opera, it is clear that the majority of these roles can be seen as representations of the Other. The aim of the thesis will be to investigate some of the most important nineteenth-century mezzo-soprano roles that represent the Other. The main research question is: To what extent do the selected roles represent the various templates delineated in theories of alterity? The roles will be classified and discussed according to four templates of alterity: social, religious, moral and emotional. 2015-01-27T09:42:06Z 2015-01-27T09:42:06Z 2013 Doctoral Thesis Doctoral DMus http://hdl.handle.net/11427/12317 eng application/pdf College of Music Faculty of Humanities University of Cape Town |
| spellingShingle | Music Van der Walt, Karen The mezzo-soprano as representation of 'the other' in nineteenth century opera |
| thesis_degree_str | Doctoral |
| title | The mezzo-soprano as representation of 'the other' in nineteenth century opera |
| title_full | The mezzo-soprano as representation of 'the other' in nineteenth century opera |
| title_fullStr | The mezzo-soprano as representation of 'the other' in nineteenth century opera |
| title_full_unstemmed | The mezzo-soprano as representation of 'the other' in nineteenth century opera |
| title_short | The mezzo-soprano as representation of 'the other' in nineteenth century opera |
| title_sort | mezzo soprano as representation of the other in nineteenth century opera |
| topic | Music |
| url | http://hdl.handle.net/11427/12317 |
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