Music

The views in these entries are not evaluated by the IPA in Culture Committee; they are posted in their original languages and can be translated using DeepL.



La realización de Placing the Soul:
Un documental sobre el alma del violín y el trabajo como psicoanalista. *19 May 2020*
Guillermo Julio Montero y Alicia Mirta Ciancio


Valeria Apel: La Sonoridad de la Mente y la Historia de la Música
Determinismos y  Aleatoriedades. Sus improntas en las transformaciones musicales.



Breve ensayo sobre tres mujeres en la ópera y el drama
por Oscar Espinosa Restrepo (available in Spanish only)
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    Andrea Sabbadini Psychoanalysis and Choral Singing
I have been singing in choruses for over thirty years. I remember that only one hour into my first rehearsal back in 1987 (we were working on Berlioz’s Te Deum) I was already promising myself that I would go on singing choral music for the rest of my life - or at least as long as I had a good enough voice to do so. Since then I have sung in more than three-hundred concerts, covering most of the classical repertory, from Thomas Tallis’ Spem in Alium to John Adams’ Harmonium, including numerous performances of such staple works in the choral canon as Bach’s Mass in B-Minor, Handel’s Messiah, Mozart’s, Verdi’s, Brahms’s and Fauré’s Requiems, Mendelssohn’s Elijah and Orff’s Carmina Burana. Read more
     
    A short introduction to Eugene Onegin the Opera: The fate of ‘Redundant man’
Gender and sexual assignment are prominent issues in the current cultural debate.  
Sara Collins asks:  With the emphasis on the changing place of women, what of the role of men? 
Sexual developmental issues and their effect on internal fantasy and conflict are of crucial interest to psychoanalysis.  
The arts have long explored these baffling issues.  The opera Eugene Onegin is a story told in verse and music, that mirrors the fate of ‘redundant man’ in Russia, centuries ago.  It tells us of the fall out from social change on those too vulnerable to adjust. Read article
     
   

‘La Traviata’: Morality, Freud and Female Masochism 
By Sara Collins, Training and Supervising Psychoanalyst of the British Psychoanalytic Association.
Verdi peopled his operas with the morally frail, the marginal and the outcast.  Is La Traviata, the fallen woman, a case of the tart who has found a heart?  Sara Collins thinks not.
Read: The real La Traviata First published in New Associations, Issue 21 Summer 2016

     
     

Rusalka – How Deep is your Love?
By Sara Collins, Training and Supervising Psychoanalyst of the British Psychoanalytic Association
Rusalka is the title of an opera by Dvorak, based on a fairy tale story combining themes from The Little Mermaid by Hans Christian Andersen, Undine by Friedrich de la Motte Fouqué, and other works. Recently, the opera was performed at the Metropolitan Opera in New York with Kristine Opolais in the title role of Rusalka, in full command of her art, as she sang the famous ‘song to the moon’.
Read here This article was originally printed by New Associations, published by the British Psychoanalytic Council.