EADV News No. 4

Total Page:16

File Type:pdf, Size:1020Kb

EADV News No. 4 Fall issue 2002 - N°4 EADV Leadership Executive Committee Officers : Martin Black (UK) President Jose M. Mascarò (E) Past President Welcome to Prague Jean-Hilaire Saurat (CH) President-Elect Frank Powell (IRL) Secretary General Welcome to the Home of Jacques Delescluse (B) Treasurer Jana Hercogová (Czech) President 11th Congress 2002 Czech Dermatology! Mario Lecha (E) President 12th Congress 2003 JEADV Editors : Congress President Prof. Jana Torello Lotti (I) Editor Dermatology Hercogová, Honorary President Derek Freedman (IRL) Editor Venereology Prof.Vladímir Resl and Jean-Paul Ortonne (F) Editor-Elect Vice-President Prof.Jaroslav Board of Directors : ^ Ove Bäck (S) Simon Barton (UK) Strejcek, hosts of the 11th EADV Christine Birringer (LUX) Martin Black (UK) Congress, welcome you to Prague. Luca Borradori (CH) John Bourke (IRL) Ole Christensen (N) rague, capital of the Czech Jose Diaz Perez (E) Republic, is an amazing and Yves Dinet (B) P Harald Gollnick (D) incredibly beautiful city, replete with Jana Hercogová (Czech) Michael Hornstein (D) architectural wonders as well as artistic Jacques Houset (F) Dimitris Ioannides (GR) treasures. The Congress is held in the Finn Kjaer Jacobsen (DK) only meetings with "international Pascal Joly (F) newly reconstructed Congress Centre Giorgio Landi (I) Prague, which combines the conve- participation". These were meetings Mario Lecha (E) Josè M. Mascarò (E) nience of its city centre location with a in which some colleagues from the Jon Hjaltalin Olafsson (IS) Joe Pace (Malta) stunning panoramic view over Prague. Eastern block participated and only Maria Zaoura Petranyi (CY) rarely did colleagues from Western Antonio Picoto (P) Alfredo Rebora (I) countries visit. The only exception Dimitrios Rigopoulos (GR) International Jean-Hilaire Saurat (CH) was the IInd Dermatological Raimo Suhonen (FIN) Meetings in Prague Kristian Thestrup-Pedersen (DK) Symposium "De Structura et Erwin Tschachler (AUS) At the beginning of 20th century, Willem Van Vloten (NL) Functione Stratorum Epidermis S. D. Staff : Prague was a city of international Barrierae" held in Brno, capital of Administrative Officer dermatology meetings. June 1889 Els Vanpee Moravia. Administrative Assistant saw the 1st Congress of the German Tanja Seppälä Dermatological Society in Prague The Velvet revolution (17 November (two months before the first interna- Inside this edition 1989) brought sunshine to our lives, Letter from the President . .Page 2 tional congress in Paris), organised by both personal and professional. Since EADV to Elect President at OGM . .Page 3 F. Pick. In 1934, the IIIrd Meeting of then each of us has been trying hard News from around the Dermatology Globe .Page 4 Slavic Dermatologists was organised Mozart: DON GIOVANNI in Prague . .Page 7 to enter Europe again, even though Frantz Kafka and Medicine . .Page 8 by F. Šamberger (Fig 1, Page 7). we never really left it. Individuals Highlights of the 11th EADV Congress . .Page 10 Call for Action . .Page 12 started their own private practice Book Review . .Page 13 However, during the occupation by (nowadays about 90% of all 700 Moriz Kaposi . .Page 16 the Soviet army, no international der- First EADV Spring Symposium . .Page 18 dermatologists are private doctors). Update from the Secretary General . .Page 20 matological meetings were held in Everybody was focused with enthusi- our country. At this time, there were asm on new possibilities, new equip- ment, and new drugs that had not been available until that time. Hardly anyone was interested in what col- leagues were doing, regular meetings of the Czech Dermatological Society did not continue. >>> continued on page 6 2 Letter from the President Welcome to the 11th Congress of the EADV which is being held in Prague this week. We have all been looking forward to this event for some time. I know that you will be enchanted with Prague, an incredibly beautiful city of charm and culture. Jana Hercogová and her team have laid on a superb scientific and cultural programme that will make your visit unforgettable! Earlier this year, I launched a membership drive under the theme 'Dermatologists and Venereologists from across Europe come together'. Our vision is to develop the EADV to its full potential, advance quality patient care and provide continuing medical education and advocacy on behalf of both the speciality and our patients. As we meet in Prague now, it is worth remembering that for many years, Europe and its med- ical specialities remained politically and culturally divided. The collapse of the Berlin wall in 1989 soon led to the 'spontaneous' liberation of Prague and the Czech Republic as well as Martin Black (President EADV) con- gratulates Jean Revuz (President of other countries. Within a short time, the potential to unite Europe was there, and the EADV the 20th World Congress of is working hard to encourage and support our 'Eastern European' colleagues in developing Dermatology) on the huge success of the Meeting in Paris. our speciality. From now on, we do not need to differentiate between Western and Eastern Europe - we are all one Europe working in harmony and keen to help each other. This has indeed been quite a year for Dermatology. The Opening Ceremony of the EADV House in Brussels was attended by over 150 dermatologists and their spouses. We now have the capacity to make Brussels the very hub of European Dermatovenereology and develop the EADV as the premier Dermatovenereology association. We are also developing ever- closer links and co-operation with the UEMS, ESDR and EDF. At the same time, the American Academy of Dermatology (AAD) has also moved into brand new larger headquarters in the Chicago area. These openings clearly show the growth and development of our speciality in America and Europe. Martin Black chats with the new incoming President of the ILDS, Robin The 20th World Congress of Dermatology held in Paris in the first week of July was an out- Marks and his wife, Margaret. standing success. The attendance appeared to be an all time record, with some 11.000 dermatologists attending, representing 126 countries. The cool, windy, and at times, wet weather, undoubtedly helped to swell attendance at all the scientific sessions in the Palais des Congrès! Who will ever forget the 'feast' in Montmartre in which the delegates took over the entire village of Montmartre for the evening. The rain let up and an excellent time was had by all. A special thank you goes to Jean Revuz, Congress President; Jean-Paul Ortonne, Secretary General; Louis Dubertret, Vice President and the Société Française de Dermatologie (President: Michel le Maitre) ,who worked tirelessly together to produce such an outstanding success. As I conclude my Presidency of the EADV here at the Prague Congress, I am heartily encour- aged to see that the EADV is going forward in such a positive manner. Your President is given a warm wel- Our Congresses become ever larger and more successful, the first Spring Symposium awaits come to Montmartre! us in Malta next Spring; the JEADV steadily increases its impact factor and more of you appre- ciate what the EADV offers and stands for. To all of you who have helped me in my term of office and have helped the EADV, a very special thank you. Professor Martin M. Black Other delegates receive an equally warm welcome. President 2000-2002 3 EADV Members to Elect President at OGM In the last edition of EADV News we announced the Call for Nominations for President-Elect. As a result of the nomination process, the EADV is now very privileged to have two of the leading figures in European Dermato-venereology going forward for election as President- Elect at the OGM in Prague. The successful candidate will take up office at the end of the 11th Congress in Prague when Jean-Hilaire Saurat becomes EADV President. Dr. Johannes Ring Prof. Torello Lotti Statement of Intent Statement of Intent Dermato-venereology in Europe is facing Where is the EADV now? increasing problems such as growing economic The primary role of the EADV is to promote pressure with trends to "gatekeeper" medicine advances in the practice of dermatology and and against specialists, increasing competition from neighbouring venereology throughout Europe. It does this by providing CME specialties, heterogeneity in education and training in different at the highest academic level. This is a result of the untiring European countries and a poor financial situation in Eastern efforts of its members, who generously share their knowledge in Europe. various educational activities such as its annual congress and its journal. EADV is the society where the tremendous work at different levels should be co-ordinated in close co-operation with national Where do we need to go in the future? and other European societies, specialty groups and lay organisations. ❚ Harmonise and optimise educational activities and the prac- tice of dermato-venereology throughout Europe. Dermato-venereology must not become a "consultant specialty"! ❚ Transcend geographic bounders to give a stronger identity to In the future, the EADV should focus - not only on education, European dermato-venereology. with increasingly well-attended and informative congresses in How can we get there? the excellent tradition of the past - but also on: ❚ Allow European dermato-venereologists to critically evaluate ❚ harmonisation and improvement of education and training (in their clinical practice and to participate in the democratic co-operation with UEMS) development of dermato-venereology.
Recommended publications
  • Magnus Tessing Schneider Mozart Og Hans Venner Om Luigi Bassi Og Uropførelsen Af Don Giovanni
    Magnus Tessing Schneider Mozart og hans venner Om Luigi Bassi og uropførelsen af Don Giovanni PUFF - en skriftserie om pædagogisk udvikling, forskning og formidling i musiklivet - 1 - PUFF Skriftserie fra VMK om pædagogisk udvikling, forskning og formidling i musiklivet Magnus Tessing Schneider Mozart og hans venner. Om Luigi Bassi og uropførelsen af Don Giovanni PUFF nr. 14-09 Esbjerg, september 2009 VMK Forlag Vestjysk Musikkonservatorium Kirkegade 61, 6700 Esbjerg. Tlf: +45 76104300 ⋅ Fax: 76104310 ⋅ e-mail: [email protected] http://www.vmk.dk/ Redaktion: Carl Erik Kühl (ansvarshavende) Anne Helle Jespersen Margrethe Langer Bro E-mail: [email protected] Tryk: Fællestrykkeriet - SUN Aarhus Universitet Universitetsparken, bygn. 1163 8000 Århus C. ISBN 978-87-89919-05-8 - 2 - - 3 - Magnus Tessing Schneider MOZART OG HANS VENNER Om Luigi Bassi og uropførelsen af ’Don Giovanni’ Indledning I 1700-tallet blev italienske operaer i vid udstrækning skrevet til bestemte kompagnier, og sjældent med genopsætning i tankerne. Fra et historisk synspunkt vil det sige, at partiturerne i yderste konsekvens er at betragte som levn fra teateropsætninger, der aldrig kan genskabes, snarere end som selvstændige kunstværker. Mozarts operaer var ingen undtagelse, skønt han i 1800-tallet blev taget til indtægt for en ny, romantisk, musikopfattelse, der dyrkede det ideale, afsluttede værk. Om Don Giovanni skal han f.eks. have sagt, at den ikke var ”skrevet til Wien, mere til Prag, men først og fremmest til mig og mine venner”. – Det morede ham åbenbart, at operaens fulde indhold kun blev fattet af de indforståede, men den var stadig skrevet med henblik på én konkret opsætning. Det vil også sige, at den blev skabt til et helt bestemt hold af sangere, og skønt Mozart fastholdt, at ”hvad terzetter og kvartetter angår, da må man give komponisten frie hænder”, indrømmede han selv, at han holdt af ”at få en arie til at passe godt til en sanger, ligesom en skrædder kan lide at lave den rette dragt til en kunde”.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 40,1920-1921, Trip
    INFANTRY HALL . PROVIDENCE Tuesday Evening, March 8, at 8.15 ^milium,,,.. •^ %. ^m. 3T % BOSTON %\ SYAPHONY ORCHESTRA INCORPORATED FORTIETH SEASON 1920-1921 PRoGRHttME mm 14 % ho individuality 01 tone and action i (The % aidtainJimno together with the dis- tinctive refinement and elegance in case design appeals to artists and connoisseurs alike. 2hclSMdu>m jjiano (Co. Cincinnati Chicago New York Indianapolis St. Louis Louisville Denver Dallas San Francisco Sole Representatives THE MEIKLEJOHN COMPANY, 297 Weybosset Street, Providence, R. I INFANTRY HALL • • • PROVIDENCE FORTIETH SEASON, 1920-1921 INCORPORATED PIERRE MONTEUX, Conductor TUESDAY EVENING, MARCH 8, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1921, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN FREDERICK E. LOWELL FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN. Manager G. E. JUDD, Assistant Manager NWAY <UHE INSTRUMENT OF THE IMMORTALS LISZT, greatest of all pianists, preferred -a the Stemway. Wagner, Berlioz, Rubinstein and a host of master-musicians esteemed it more highly than any other instrument. It is these traditions that have inspired Steinway achievement and raised this piano to its artistic pre-eminence which is today recognized throughout the world. 107-109 East 14th Street New York City Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE Fortieth Season, 1920-1921 PIERRE MONTEUX, Conductor Violins. Burgin, R.
    [Show full text]
  • Don Giovanni
    Don Giovanni A Letter to the Teachers Dear Teachers, Opera Colorado is pleased to provide engaging educational programs and performances for students across Colorado. What follows is a guide that we hope you and your students find useful, as we explore Wolfgang Amadeus Mozart’s Don Giovanni. In the spirit of exploration, we have included various lessons that connect Don Giovanni with different subjects of learning. The lessons reference the new Colorado Department of Education’s Academic Standards. While we would be very pleased if you used these lessons in the exact format provided, we encourage you to expand, alter, and adapt these lessons so that they best fit your students’ abilities and development. After all, the teacher knows their student’s needs best. We would appreciate your feedback on our teacher evaluation form found at the end of this guide, and we hope that you enjoy all that Opera Colorado has to offer! Ciao! - Cherity Koepke - Director of Education & Community Programs - Meghan Benedetto - Manager of Education & Community Programs - Emma Martin - Education Intern 2 Contact us to learn more! Opera Colorado’s Education & Community Programs department offers many more programs to assist your students as they continue to discover the world of opera. We have programs that take place at the Ellie Caulkins Opera House as well as programs that we can bring directly to your classroom. We even have opera education specialists that can teach lessons directly to your students. Cherity Koepke, Director of Education & Community Programs [email protected] , 303.778.0371 Meghan Benedetto, Manager of Education & Community Programs [email protected] , 303.778.7350 Emma Martin, Education Intern [email protected] , 303.778.0389 Opera Colorado 695 S.
    [Show full text]
  • Mozart's Operas
    Topics in Operatic Literature: Mozart’s Operas MUHL-M407 (2 credits) / MUHL-M807 (3 credits) Spring semester 2021 Class meetings Tuesdays and Thursdays, 9:30-10:20 Note that this is a synchronous online course. In other words, we will meet on Zoom during the official class period. See below for more details. Prerequisites MUTH M203 (Theory IV) and MUHL M307 (Music History II), or permission of instructor Brief course overview This is a seminar-style study of a single topic in the history of opera. Course may be repeated for credit, as long as topic is different. (University Bulletin) This semester we will be focusing on the operas of Wolfgang Amadeus Mozart. His mature works (especially the three on which he collaborated with Lorenzo da Ponte) are the first operas to be continually in the performing repertory. We will examine these works in terms of the musical and dramatic conventions of their own time and their reception history. Course objectives By the end of the semester, students should be able (among other things) to: • explain the basic generic and stylistic features of classical opera seria, opera buffa, and Singspiel • explain how Mozart’s seven mature operas both use and play with the conventions of their genres • consider the cultural issues may arise in performing those operas today, given the different values and expectations of audiences in Mozart’s time and ours Students should also become more comfortable reading scholarly literature in music and using basic tools of scholarly research (such as Grove Music Online and RILM), developing skills they can use in other settings.
    [Show full text]
  • CHAN 3155 Book.Indd
    CHAN 3155 CCHANHAN 33155155 WWideide bbookook ccover.inddover.indd 1 11/2/08/2/08 113:50:363:50:36 © Bill Cooper © Bill Great Operatic Arias with Sir Thomas Allen 3 CCHANHAN 33155155 BBook.inddook.indd 22-3-3 11/2/08/2/08 113:48:353:48:35 Time Page Time Page Wolfgang Amadeus Mozart (1756–1791) from Macbeth from The Magic Flute Macbeth’s Scena and Aria (Perfi di! – Pietà, rispetto) Papageno’s Aria (Der Vogelfänger bin ich ja) 5 ‘Treachery!’ – ‘When you are old and full of tears’ 5:16 [p. 59] 1 ‘I’m sure that there could never be’ 2:52 [p. 56] Wolfgang Amadeus Mozart from The Marriage of Figaro from Don Giovanni Figaro’s Aria (Non più andrai) Leporello’s Catalogue Aria (Madamina) 2 ‘Here’s an end to your life as a rover’ 3:51 [p. 56] 6 ‘Little lady! Here’s a list I’ve assembled’ 5:38 [p. 60] Giuseppe Verdi (1813–1901) from The Marriage of Figaro from Falstaff Figaro’s Recitative and Cavatina (Se vuol ballare) Ford’s Monologue (È sogno? O realtà…) 7 ‘Bravo, my lord and master’ – 3 ‘I’m dreaming? Or is this true?’ 4:37 [p. 57] ‘So little master, you’re dressed to go dancing’ 3:30 [p. 60] from Don Carlos Giuseppe Verdi Don Carlos’ and Rodrigo’s Duet (Dio, che nell’alma infondere) from La traviata (The Fallen Woman) 4 ‘Listen!’ – ‘God who has brought us together’ 5:41 [p. 58] Recitative and Duet (Pura siccome un angelo) with Gwyn Hughes Jones tenor • Philip Tebb bass 8 ‘You are Violetta Valéry?’ – Geoffrey Mitchell Choir ‘I have a daughter sent from God’ 18:56 [p.
    [Show full text]
  • La Clemenza Di Tito a Reappraisal
    Mozart’s La clemenza di Tito A Reappraisal Magnus Tessing Schneider and Ruth Tatlow (eds.) Published by Stockholm University Press Stockholm University SE-106 91 Stockholm, Sweden www.stockholmuniversitypress.se Text © The Author(s) 2018 License CC-BY Supporting Agency (funding): Performing Premodernity, Stockholm University, The Swedish Foundation for Humanities and Social Sciences First published 2018 Cover Illustration: P. Travaglia, Sala ter[r]ena destinata per le pubbliche udienze, Pietro Travaglia’s Sketchbook, f. 11. Published with permission from the Collection of Theatre History at the Hungarian National Széchényi Library, Budapest. Access. Nr. 1955/9645 Cover Copyright: Collection of Theatre History at the Hungarian National Széchényi Library License: CC BY-NC-ND Cover designed by Karl Edqvist, SUP Stockholm Studies in Culture and Aesthetics ISSN: 2002-3227 ISBN (Paperback): 978-91-7635-055-3 ISBN (PDF): 978-91-7635-052-2 ISBN (EPUB): 978-91-7635-053-9 ISBN (MOBI): 978-91-7635-054-6 DOI: https://doi.org/10.16993/ban This work is licensed under the Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This license allows for copying any part of the work for personal and commercial use, providing author attribution is clearly stated. Suggested citation: Tessing Schneider, M. and Tatlow, R. (eds.) 2018 Mozart’s La clemenza di Tito: A Reappraisal. Stockholm: Stockholm University Press. DOI: https://doi. org/10.16993/ban. License: CC-BY 4.0 To read the free, open access version of this book online, visit https://doi.org/10.16993/ban or scan this QR code with your mobile device.
    [Show full text]
  • Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
    COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Copyright Service. sydney.edu.au/copyright CURATING OPERA Stephen James Mould A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music University of Sydney October 2015 Page | 1 CANDIDATE’S DECLARATION Thesis title: Curating Opera Candidate’s name: Stephen James Mould I declare that this thesis is the result of my own research, that it does not incorporate without acknowledgment, any material submitted for a degree or diploma in any university and that it does not contain any materials previously published, written or produced by another person except where due reference is made in the text.
    [Show full text]
  • Danish Yearbook of Musicology 37 • 2009 / Dansk Årbog For
    Mozart, Luigi Bassi, and ‘Fin ch’han dal vino’ Magnus Tessing Schneider uring the long reception history of Wolfgang Amadeus Mozart’s and Lorenzo DDa Ponte’s Il dissoluto punito ossia Il Don Giovanni (1787), critics holding that operatic characters are delineated by the music rather than by the words have often been struck by the fact that the title hero was not allotted a grand aria to give a full expression to his peculiar character.1 In the buffo aria ‘Metà di voi qua vadano’ (No. 17), addressed to the vengeful Masetto, the disguised Don Giovanni mimes the musical style of his servant Leporello, and the canzonetta ‘Deh vieni alla fi nestra’ (No. 16), with which he tries to seduce Donna Elvira’s chambermaid, is generic in style. As a consequence, attention has traditionally centred on the Don’s brief Act One aria, the presto ‘Fin ch’han dal vino’ (No. 11), in which he gives Leporello his orders about the preparations for the ball: Fin ch’han dal vino Go and prepare calda la testa a great party, una gran festa so that their heads become fa’ preparar. hot from the wine. Se trovi in piazza If in the square you fi nd qualche ragazza, some girl: teco ancor quella try to make her cerca menar. come along, too. Senza alcun ordine Let the dancing la danza sia: be without any order: chi ’l minuetto let some dance chi la follia, the minuet, chi l’alemana some the folia, farai ballar. some the allemande. Ed io fra tanto And in the meantime, I dall’altro canto for my part 1 This article is a reworking of material from my Ph.D.
    [Show full text]
  • Inventions of Truth
    City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2015 Inventions of Truth Deidre Bird CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/563 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] BIRD | 1 Inventions of Truth Deidre Bird Submitted in partial fulfillment of the requirements for the degree Of Master of Arts of the City College of the City University of New York Professor Felicia Bonaparte October 15, 2015 BIRD | 2 Inventions of Truth Table of Contents 1. INTRODUCTION 3 2. PART 1 ­ Christoph Willibald Gluck / Ranieri de' Calzabigi 6 3. PART 2 ­ Wolfgang Amadeus Mozart / Lorenzo Da Ponte ​ ​ 28 4. PART 3 ­ Giuseppe Verdi / Francesco Maria Piave ​ ​ 71 5. PART 4 ­ Richard Wagner ​ 115 6. BIBLIOGRAPHY 141 BIRD | 3 INTRODUCTION The American humorist Robert Benchley (1889­1945) famously described opera as “when a guy gets stabbed in the back and, instead of bleeding, he sings.” The joke is a good one. Not only does it play on the prevailing idea of opera as unrealistic (sight unseen), but his quip interrogates the central criticism of this particular genre: How can opera function as a relevant art form when it does not adhere to or support accurate representations of reality? This sentiment was born alongside opera and has clung to it with remora­like tenacity for over four hundred years.
    [Show full text]
  • Book Reviews 799 Mozart on the Stage. by John
    Book Reviews 799 some issues superficially (Nietzsche and been presented in the numerous works neoclassicism, for example), and buries available on Mozart’s life and works. As the many interesting points in the endnotes, author writes, his extensive incorporation of unpublished primary sources and unexplored published I propose what anthropologists might ones, multidisciplinary reading list, meticu- call a “synchronic” study of Mozart as a lous reconstruction of virtually unknown composer of operas: a book organized works, discovery of new information and not chronologically or by individual op- fresh perspectives on more familiar ones, eras, but by topics as relevant to the early and engaging style make this study a top operas as to the late ones. This book recommendation for scholars interested in shows how Mozart—whether he was thir- Strauss and/or ballet. It is not easy to make teen or thirty, in Milan or Vienna, writ- “bad” or forgotten works seem interesting ing a Singspiel or an opera buffa—put an and relevant, but Heisler does just that. opera together in a series of interactions Morten Kristiansen with a libretto (and sometimes—but not Xavier University always—a poet who wrote or revised the libretto), singers, a stage designer, an or- chestra, and an audience. (p. xiii) Mozart on the Stage. By John A. Rice. By taking this fresh perspective and exam- (Composers on the Stage.) Cam bridge: ining even familiar material within new Cambridge University Press, 2009. [xv, non-traditional categories, some surprising 278 p. ISBN 9780521816342 (hard- information jumps to the foreground about cover), $72; ISBN 9780521016612 (pa- Mozart himself and the society in which he perback), $28.] Music examples, illus- lived and worked.
    [Show full text]