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2 results

  • 10 - Beach’s Dramatic Works

  • from Part II - Profiles of the Music
  • Edited by E. Douglas Bomberger, Elizabethtown College, Pennsylvania
  • Book:
    The Cambridge Companion to Amy Beach
    Published online:
    19 October 2023
    Print publication:
    02 November 2023, pp 201-228

  • Summary

    Amy Beach’s “dramatic works” encompass a select few compositions over the course of her career, united by shared themes and collaboration with other female artists: two dramatic unstaged arias for solo voice and orchestra, Eilende Wolken, Segler der Lüfte (1892) and Jephthah’s Daughter (1903); and her only opera, Cabildo (1932). These dramatic works are few and far between in her oeuvre, but they represent landmarks in her lifelong creative processes. Eilende Wolken, Beach’s first commissioned work, is one of the first examples of her use of folk song in her compositions. Jephthah’s Daughter is a challenging and mature work, straddling her years focused primarily on composition and the revival of her performing career. Cabildo is filled with borrowed folk song and her own melodies with a romantic plot set during a major American historical event, representing the qualities of American opera she suggested for years.

  • Moscow’s Golden Mask Festival: The Russian Case (Online, 2021)

  • Maria Shevtsova
  • Journal:
    New Theatre Quarterly / Volume 37 / Issue 4 / November 2021
    Published online by Cambridge University Press:
    11 November 2021, pp. 376-388
    Print publication:
    November 2021

  • The team running the Russian Case as part of Moscow’s annual Golden Mask Festival pulled off a major feat in 2021 by organizing a five-day programme online. Deeply disappointed that the Russian Case had been cancelled in the preceding year due to the Covid pandemic, this group made it its mission to succeed in adverse circumstances; and succeed it did by providing works varied enough to engage its habitual audience, as well as people coming to the event for the first time, albeit digitally. In a departure from established practice, several productions that were performed too late to compete for the awards of the 2021 Festival appeared in this year’s Russian Case. The overview offered here gathers some works out of the choices made by Maria Shevtsova, Editor of New Theatre Quarterly, whose most recent book is Rediscovering Stanislavsky (Cambridge University Press, 2020).