Browsing by Author "Murphy, Maria"

Now showing 1 - 2 of 2
  • Thumbnail Image
    Item
    CLASS RECITAL featuring voice students of Susan Lorette Dunn Thursday, April 26, 2012 5:30 p.m Lillian H. Duncan Recital Hall
    (Shepherd School of Music, Rice University, 2012-04-26) Zhou, Hanqing (piano); Fakes, Christina; Marzen, Rachel; Purrington, Hilary; Hsu, Evelyn (piano); DePano, Avi; Young, Caitlin; Murphy, Maria
    PROGRAM: Nel cor piu non mi sento from La Molinara / Giovanni Paisiello -- "Se tu m'ami" from Arie antiche / Alessandro Parisotti -- "Vedrai, carino" from Don Giovanni, K. 527 / Wolfgang Amade Mozart -- Zephyr, L. 12 / Claude Debussy -- "How Could I Ever Know?" from The Secret Garden / Lucy Simon -- "Think of Me" from The Phantom of the Opera / Andrew Lloyd Webber -- "Maria Wiegenlied" from Schlinchte Weisen, Op. 76, No. 52 / Max Reger -- "Pesn' Min'ony: Net, tolko tot, kto znal" (None but the lonely heart) from Shest' romansov (Six romances), Op. 6, No. 6 / Pyotr Tchaikovsky -- "Rain has fallen" from Three Songs, Op. 10, No. 1 / Samuel Barber -- "Before I Gaze at You Again from Camelot / Frederick Loewe -- Selections from I hate music! (A Cycle of Five Kid Songs) / Leonard Bernstein -- "Glitter and be gay" from Candide / Leonard Bernstein
  • Thumbnail Image
    Item
    Female Sexual Identity and Characterization in Richard Strauss’s Salome
    (2012-09-05) Murphy, Maria; Citron, Marcia J.; Bailey, Walter B.; Ferris, David
    This thesis examines the sexual development and characterization of the title character in Richard Strauss’s Salome (1905). It contends that Salome experiences a sexual evolution—a "maturing"—that Strauss derives from Oscar Wilde's play and further emphasizes through Salome's musical language and character development. Three structural phases in Salome's sexual development are proposed: a pre-pubescent phase, a phase of sexual awakening, and a phase of dangerous sexuality. The characterization of Salome is also explored through the lens of performance theory, in an examination of the film versions of Götz Friedrich (1974), Jürgen Flimm (2004), and David McVicar (2008). In addition, the thesis applies Wildean literature on aestheticism and spirituality to Strauss’s opera to show that Salome’s sexual transformation presents an alternative path to self-fulfillment apart from religious salvation. Strauss’s setting reveals a secular, or temporal, aestheticism that leads to an earthly spirituality.