In: Musicologica Slovaca , vol. 5, no. 1
Details:
Year, pages: 2014, 66 - 87
Keywords:
gender studies, profession, female singer, female composer, opera, operetta,
Bratislava, theatre
Article type: 1 Štúdie
About article:
In the light of gender studies, this paper examines how female singers and composers exercised
their professions, and their social and artistic status, in the Bratislava City Teatre during the
years 1886 – 1920. The source base is a study of the daily newspapers Preßburger Zeitung and
Westungarischer Grenzbote. From what theatre critics wrote, it is concluded that both men
and women could exercise the profession of singer with comparable success, with decisive
criterion for evaluation being the singer’s performance and his/her creation of the theatrical
role. A more detailed description is given of the guest performances of the singers Lujza Blaha
(1850 – 1926) and Irma de Spányi (1861 – 1932). There were long-lasting prejudices against
women composers. The positive reception of the premiere of the now lost opera Tamaro, by the
Bratislava composer Countess Alexandrine Esterházy-Rossi, in the Bratislava Teatre (1907), is
presented in the wider context of female musical creativity and contemporary domestic opera
production, and also as proof of the gradual transformation of older conservative views.
How to cite:
ISO 690:
Lengová, J. 2014. K otázke rodových štúdií: Ženy v opernej a operetnej prevádzke bratislavského Mestského divadla (1886 – 1920). In Musicologica Slovaca , vol. 5, no.1, pp. 66-87. 1338-2594.
APA:
Lengová, J. (2014). K otázke rodových štúdií: Ženy v opernej a operetnej prevádzke bratislavského Mestského divadla (1886 – 1920). Musicologica Slovaca , 5(1), 66-87. 1338-2594.