Pagliacci (punchinello) drama in two acts ; words and music

UANL

Aida opera in four acts by G. Verdi; libretto by A. Ghislanzoni

UANL

Amleto opera in cinque atti di Michel Carré e Jules Barbier; musica di Ambroise Thomas

UANL

Don Giovanni an opera in two acts libretto by Lorenzo da Ponte; music by Wolfgang Amadeus Mozart

UANL

Lohengrin grande opera romantica in 3 atti parole e musica di Riccardo Wagner; traduzione italiana dal testo originale tedesco di Salvatore de C. Marchesi

UANL

L'Africana opera en cinque atti di Eugenio Scribe; tr. italiana di M. Marcello; musica di Giacomo Meyerbeer

UANL

Carmen opera en 4 actes tire de la nouvelle de Prosper Merimee; poeme de H. Meilhac et L. Halevy; musique de Georges Bizet

UANL

Lucia di Lammermoor : dramma tragico in tre atti, rappresentato per la prima volta al teatro San Carlo di Napoli il 26 settembre 1835

UANL

Los cruzados en Tolemaida : [Texto impreso] opera seria en dos actos

Texto en italiano y español

Beatrice di Tenda [Texto impreso] : tragedia lirica in due atti

Texto en italiano y español

El turco en Italia [Texto impreso] : drama jocoso en dos actos para representarse en el teatro de la ciudad de Valencia el año 1833

Texto en italiano y español

Product placement in US and New Zealand television soap operas : an exploratory study

Although the soap opera as a television genre has consistently captured the imagination of millions of people around the world, surprisingly little has been written about it in the marketing literature. Understanding the consumption imagery in soaps may allow marketers to assess the relevance of product placement for their promotion strategy better, as well as providing valuable insight into the consumption habits of their considerable viewing audiences. Data were collected through content analysis from two soap operas, one in the USA and one in New Zealand. The results indicated a high level of consumption imagery, including brand references. Furthermore significant differences in the types of product and the emotional outcome of product use were found between the countries.

Marking the liminal for true blue Aussies : the generic placement of Aboriginality in Australian soap operas.

This paper addresses a previously unconsidered history — that of Aboriginal characters in Australian soap operas. Rejecting critical approaches which have obtained even into the 1990s, it refuses to judge these characters as 'good' or 'bad' manifestations of indigeneity. Rather, using the idea that genre is a way of closing down interpretive possibilities, the paper looks at the manner in which generic expectations around soap operas produce particular valences for these representations of Aboriginality. It points to the many ways in which these indigenous characters are insistently constructed as liminal in soap operas' structural communities - simultaneously inside and outside of the group. This is seen to accord with the suggestions of Jakubowicz et al about the ways in which Aboriginal people are positioned by wider social discourses.

Dance in Handel's London Operas

In considering Handel's imaginative response to a range of contemporary theatrical dance styles and practices, this study demonstrates that dance was far from peripheral to the genre of opera seria. The importance of London as a leading centre for dance innovation, and the interaction between various theatrical genres regarding the use of dance, is also established.