South African Opera Productions after the Apartheid

Iwalewahaus, Bayreuth
Musikwissenschaft, Uni Bayreuth
18.10.2018 - 19.10.2018
Lena van der Hoven

Symposium & Workshop:
South African Opera Productions after the Apartheid
18. - 19. October 2018, Iwalewahaus, 10am - 5pm

The symposium will focus on South African Opera productions. Thereby the aim of the symposium is to represent the plurality of artistic concepts that deal in different ways with the multiple challenges of political and social transformation. How can opera in South Africa be involved in the process of societal transformation in a post-apartheid society? How did themes for the libretti and how did the aesthetics change? How did language, the style of composition and orchestration transform? Which new locations for performances are found to involve new audiences?


Symposium and Workshop: South African Opera Productions after the Apartheid

Date: 18th and 19th October 2018
Venue: Iwalewahaus, University of Bayreuth

Thursday, 18th October
10.00 - 10.05 am
Welcome: Dr Lena van der Hoven (Junges Kolleg of Bavarian Academy of Sciences/ University of Bayreuth)

10.05 - 11.15 am
Chair: Dr Lena van der Hoven

Prof Naomi André (University Michigan, USA):
Engaging Opera with New Narratives, Winnie: The Opera

Dr Donato Somma (University of Witwatersrand, SA):
Walking on Thorns: The Operatic Princess Magogo

11.15 – 11.30 am
coffee break

11.30 – 12.45
Chair: Dr Donato Somma

William Fourie (University of Royal Holloway, University of London, UK):
Memory Rituals: On Modernism and Neo Muyanga’s Heart of Redness

Dr Lena van der Hoven (Junges Kolleg of Bavarian Academy of Sciences/ University of Bayreuth):
“In or Out?”: Creating a South African Narrative through creative collaborative work in Umculo’s Romeo’s Passion

12.45 - 2.15 pm
lunch break

2.15 – 3.25 pm
Chair: William Fourie

Dr Juliana M. Pistorius (University of Huddersfield, UK):
The Total Work of War: William Kentridge’s The Head and the Load as Post-Operatic Gesamtkunstwerk

Angelique Mouyis (Rutgers University, USA):
Isango Ensemble’s Unogumbe – An Adaptation of Benjamin Britten’s Noye’s Fludde

3.25 - 3.50 pm
coffee break

3.50 – 5.00 pm
Chair: Shirley Apthorp

Wayne Muller (Stellenbosch University, South Africa):
Towards contemporary relevance and political significance: The reception of Beethoven's Fidelio in Cape Town

Lebona R. Sello (North West University, South Africa):
Exploring Nelson Mandela’s masculinity through the lens of Mandela trilogy the opera

7.00 pm
Prof Naomi André (University Michigan, USA):
Black Opera and Working Catfish Role: Engaging Black Experience in Opera

Friday, 19th October 2018

10 – 11.45 am
Chair: Dr Lena van der Hoven

Melissa Gerber (Odeion School of Music, South Africa):
“We have our own stories to tell”: Questioning hybridity and identity in post-apartheid South African opera

Allison R. Smith (Boston University, USA):
Difference for the Sake of Difference: The Marketization of Black Voices in Post-Apartheid South African Opera

Megan Quilliam (University of Colorado, USA):
#SaveGautengOpera: Strategies for the Preservation of South African Opera

11.45 – 12.00 am
coffee break

12.00 – 1.00 pm
Workshop I. with input-presentations

12.00 – 12.30 pm
Input Naomi André:
Subjects, and Structures: South African Opera post-apartheid in the millennium

12.30 – 1.00 pm
Input July Zuma (Opera Singer):
An Observation of a Situation for South African Opera Singers in and outside South Africa

1.00 – 2.30 pm
lunch break

2.30 – 4.30 pm
Workshop II. with input-presentations

2.30 – 3.00 pm
Input Shirley Apthorp (Founder & Director of Umculo):
Opera as Necessity – For Whom Do We Sing, and How?

3.00 – 3.30 pm
Financial situation and political influence?

3.30 – 4.45 pm
coffee break

4.45 – 5.00
Dr Donato Somma & Dr Lena van der Hoven: Final statement

7.00 pm
A documentary portrait of a radical re-make of Verdi’s opera Macbeth.


van der Hoven

Universitätsstraße 30
95440 Bayreuth

South African Opera Productions after the Apartheid, 18.10.2018 – 19.10.2018 Bayreuth, in: H-Soz-Kult, 10.10.2018, <>.
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