The Operatic Audiences: Between Power and Creativy
Abstract
This article explores the classification of the audience of opera. It considers the research of Herbert Lindenberger, David T. Evans, and those of Nicholas Abercrombie and Brian Longhurst, with particular emphasis on the study of the audience that, eventually, can coordinate an operatic event. The discussion considers two case studies, which allows the exploration and definition of the term: Empowered audience.Downloads
References
Bibliografía:
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Hemerografía:
Chaney, D. (2012). “The Music Industry in the Digital Age: Consumer Participation in Value Creation”. En International Journal of Arts Management 15, 1.
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Cibergrafía:
Bayerische Staatsoper: https://www.staatsoper.de/en/staatsopertv.html?no_cache=1. Consultado el 2 de julio de 2018.
Diccionario de Música de Oxford: http://www.oxfordreference.com/abstract/10.1093/acref/9780199578108.001.0001/acref-9780199578108-e-6677. Consultado el 2 de julio de 2018.
Glyndebourne Festival: https://www.glyndebourne.com/about-us/our-history/a-brief-history-of-glyndebourne. Consultado el 2 de julio de 2018.
Kareol http:www.kareol.es Consultado el 2 de julio 2018.
Metropolitan Opera House de Nueva York: https://www.metopera.org/Season/In-Cinemas/HD-Events-Participate/. Consultado el 2 de julio de 2018.
M6an4eb: https://www.youtube.com/channel/UCPWyRxWI9xCtARawJPEUrTQ. Consultado el 2 de julio de 2018.
M9an8eb OperaWorld: https://www.youtube.com/channel/UCk-XZOiyiQ1OLZV4wxlSZxg/videos. Consultado el 2 de julio de 2018.
Royal Opera House en Londres: http://www.roh.org.uk/about/royal-opera-house/whos-who. Consultado el 2 de julio de 2018.
Teatro Alla Scala en Milán http://www.teatroallascala.org/it/la-scala/chi-siamo/chi-siamo.html. Consultado el 2 de julio de 2018.
Teatro Real en Madrid: https://www.teatro-real.com/es/el-teatro/quienes-somos/organos-de-gobierno/. Consultado el 2 de julio de 2018.
Wiener Staatsoper: https://www.staatsoperlive.com/en/info/#tab_0. Consultado el 2 de julio de 2018.
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