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From Medieval Romance to Contemporary Opera: Philosophy, Allegory, Eros

From Medieval Romance to Contemporary Opera: Philosophy, Allegory, Eros From Medieval Romance to Contemporary Opera Philosophy, Allegor y, Eros Kate Soper in conversation with Joseph Cermatori ver the past decade, Kate Soper has established herself as a formida- ble presence in the field of contemporary American music, garnering Ofellowships from the Guggenheim Foundation and the Radcliffe Insti- tute for Advanced Study, along with a 2017 Pulitzer Prize nomination for her “philosophy-opera” IPSA DIXIT. That work featured writings by Plato, Aristotle, Wittgenstein, Lydia Davis, and Jenny Holzer, among others, and was praised by New Yorker critic Alex Ross as “a twenty-first-century masterpiece.” Her previous large-scale works, including the 2012 monodrama Voices from the Killing Jar and the 2014 chamber opera Here Be Sirens, allowed her to fine-tune a distinctive compositional voice that interweaves the legacies of musical modernism with the contemporary American tradition of composer-performers like Meredith Monk and Laurie Anderson. She brings to these projects her own brilliant, shimmering soprano, virtuosic in its range, color, and precision, and a uniquely captivating presence onstage. Soper’s current large-scale project is an adaptation of the medi- eval Roman de la Rose, an extended philosophical disquisition on love originally comprising more than twenty-thousand lines of Old French verse. She has de- scribed http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

From Medieval Romance to Contemporary Opera: Philosophy, Allegory, Eros

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Publisher
MIT Press
Copyright
© 2022 Kate Soper
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj_a_00608
Publisher site
See Article on Publisher Site

Abstract

From Medieval Romance to Contemporary Opera Philosophy, Allegor y, Eros Kate Soper in conversation with Joseph Cermatori ver the past decade, Kate Soper has established herself as a formida- ble presence in the field of contemporary American music, garnering Ofellowships from the Guggenheim Foundation and the Radcliffe Insti- tute for Advanced Study, along with a 2017 Pulitzer Prize nomination for her “philosophy-opera” IPSA DIXIT. That work featured writings by Plato, Aristotle, Wittgenstein, Lydia Davis, and Jenny Holzer, among others, and was praised by New Yorker critic Alex Ross as “a twenty-first-century masterpiece.” Her previous large-scale works, including the 2012 monodrama Voices from the Killing Jar and the 2014 chamber opera Here Be Sirens, allowed her to fine-tune a distinctive compositional voice that interweaves the legacies of musical modernism with the contemporary American tradition of composer-performers like Meredith Monk and Laurie Anderson. She brings to these projects her own brilliant, shimmering soprano, virtuosic in its range, color, and precision, and a uniquely captivating presence onstage. Soper’s current large-scale project is an adaptation of the medi- eval Roman de la Rose, an extended philosophical disquisition on love originally comprising more than twenty-thousand lines of Old French verse. She has de- scribed

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: May 1, 2022

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