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Cambridge University Press 978-0-521-85561-7 - The Cambridge Companion to Opera Studies Edited by Nicholas Till Index More information Index Abbate, Carolyn, 4, 5, 9, 122, 182, 184, 189, 197 applausi, 132 Analyzing Opera,3,6 appoggiatura, 225, 241 noumenal/phenomenal music, 106 Arabian Nights, 310 ‘Opera, or, The Envoicing of Women’, 261 Arblaster, Anthony, 289 on operatic event, 70 Arcadian movement, 208 on Pell´eas et M´elisande, 246 Argentina, 31–2, 33 on performance, 227 aria di sorbetto,78 plot-character/voice-character, 266 arias, 182–3 on singing, 13 arie di baule (suitcase arias), 231 on voice, 102 Aristotle, 8, 13, 18 Abel,Sam,86 Poetics, 95, 206 absolute music, 4, 105 Arne, Thomas, 281 Academie´ d’Opera,´ Paris, 208, 279 Alfred, 281 Academy of Music, New York, 32, 314 Artaxerxes, 281, 293 accompanied recitative, 187–8 Britannia, 281 acting, 141–2 L’olimpiade, 281 Adamo, Mark ‘The Arts of the Prima Donna’ (conference), 269 Little Women, 196 Arup,Ove,74 Adams, John Ashbrook, William, 215 The Death of Klinghoffer, 100, 193 Ashley, Robert, 100, 216 NixoninChina, 197 Attali, Jacques, 87 Peggy Kamuf on, 163 Atwood, Margaret staging by Peter Sellars, 159–60, 163 Lady Oracle, 262 temporality, 193 Auber, Daniel Addison, Joseph, 81, 298 Le Cheval de bronze, 220 Adorno, Theodor W., La Muette de Portici, 101 on Berg’s Lulu,13 audience, 76–89 ‘Bourgeois Opera’, 46, 215 outrage, 107 on death of opera, 19 Austern, Linda Phyllis, 311 exogamy in opera, 300 Austin, J. L., 283 on Germanic beards, 167 Austin, William, 5 on kitsch, 320 Australia, 73 on opera and film, 316 autobiographies of singers, 128 opera and technology, 12 azione teatrale, 204 on recording, 167 Wagnerian phantasmagoria, 166 Badiou, Alain, 19 Aguado, Alexandre, 37 ballad opera, 210 Ahlquist, Karen, 32 Balzac, Honorede´ Albright, Daniel, 102, 105 Sarrasine, 260 Aldeburgh Festival, 59 Barbaia, Domenico, 56 Algarotti, Francesco, 142, 301, 302 Barber, Samuel alla turca music, 303, 307, 308 Antony and Cleopatra, 197 Allen, Mary, 40 Barenreiter¨ (publishing house), 248 Allenbrooke, Wye James, 245 baritone, 119, 131 America, United States of, 31, 32, 34–5 Barnum,P.T.,313 Anderson, Benedict, 276 baroque opera, 160–2, 243, 264 Anderson, Marian, 132 Barthes, Roland, 118, 226, 298 Andersson, Gregor, 42 ‘The Grain of the Voice’, 270 Apollonian. See Nietzsche, Friedrich: The Birth on organic work, 247 of Tragedy from the Spirit of Music Bartlet, Elizabeth, 282 [338] Appia, Adolphe, 150–1 Bartoli, Cecilia, 88, 231 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85561-7 - The Cambridge Companion to Opera Studies Edited by Nicholas Till Index More information 339 Index basso buffo, 267 blocking, 143, 144 Bastille Opera, Paris. See Opera´ Bastille Boccaccio, Giovanni Batteux, Andre,´ 282 The Decameron, 301 Baudelaire, Charles body, 100–3, 124–5 on Wagner’s Tannhauser¨ ,1 Boilieu, Nicolas, 311 Bayreuth, Festspielhaus, 59, 79, 235, 290 Boito, Arrigo, 145, 146, 233 audience, 76, 80 Bolshoi Opera Theatre Studio. See Stanislavski covered orchestra pit, 110, 164, 168, 290 Opera Theatre Studio darkened auditorium, 80 Bondini, Pasquale, 29 like a steam laundry, 12 Bonnier, Charles and Pierre, 166 theatre technologies, 126, 165 Bontempi, Giovanni Andrea, 119 Bayreuth, Margrave’s Theatre, 75 Boosey & Hawkes (publishing house), 57 Bayreuth Festival, 151 Bordoni, Faustina, 130, 133 Beardsley, Aubrey Borodin, Alexander ‘The Wagnerites’,85 Prince Igor, 302, 304 Beaumarchais, Pierre-Augustin Caron de, 96, Bourdieu, Pierre, 47, 312 180 Brazil, 31 Beecham, Sir Thomas, 34, 62 Brecht, Bertolt, 19, 96, 106, 152–3 Beethoven, Ludwig van Aufstieg und Fall der Stadt Mahagonny, 153, Fidelio, 15, 45, 88 311 prisoners’ chorus, 286 Der Jasager, 300 Quartet, 184 Brett, Philip, 195, 245 Leonore overtures, 233 on Peter Grimes, 263 Behn, Aphra Britain Oroonoko, 301 English opera, 281, 293–4 bel canto opera, 12, 188, 238, 242 opera in England, 208 bel canto style, 121 Britten, Benjamin, 59, 67, 263 Bellini, Vincenzo, 13 Albert Herring, 311 Norma, 125 Billy Budd, 263 La sonnambula, 126 tonal associations, 195 Benjamin, Walter, 126 Curlew River, 300 Bentley, Eric, 7 Death in Venice, 302 Benzecry, Claudio, 32 exoticism in, 309 Berberian, Cathy, 119 Gloriana, 293 Berg, Alban A Midsummer Night’s Dream, 263 Lulu, 13, 101 exoticism in, 309 Wozzeck, 88, 102 Owen Wingrave, 309 Berio, Luciano, 216 Peter Grimes,99 Berlin Hofoper, 44 libretto, 245 Berlioz, Hector Philip Brett on, 263 Gluck revival, 237 The Turn of the Screw, 100, 263 Bernstein, Leonard exoticism in, 309 Candide,88 Bronsart, Ingeborg von, 258 Bertin, Louise, 258 Brook, Peter, 154 Bertolucci, Bernardo, 318 Brookes, Frances, 28 Bianconi, Lorenzo, 26, 41 Brooks, Cleanth, 7 Bieito, Calixto, 107 Brownlee, Lawrence, 132 Birmingham Opera, 88 Buckler, Julie, 43 Birtwistle, Harrison, 14 Budden, Julian, 4 Bizet, Georges Burckhard Qureshi, Regula, 71 Carmen, 45, 186, 233 Burgtheater, Vienna, 42, 72 Barenreiter¨ edition, 248 burletta, 210 on film, 316 Burney, Charles, 12, 76, 84, 281 in Italian in Madrid, 298 Busanello, Gian Francesco Nietzsche on, 214 libretto, Cavalli’s La Didone, 173 prelude, 188 Butler, Judith, 283 Susan McClary on, 260 Butt, John, 226 Les Pˆecheurs de perles, 304 Byron, George Gordon, Lord, 76, 78 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85561-7 - The Cambridge Companion to Opera Studies Edited by Nicholas Till Index More information 340 Index cabaletta, 212 Citizen Kane (film), 310 Caccini, Francesca, 258 Citron, Marcia, 110 La liberazione di Ruggiero dall’ isola d’Alcina, claque, 81 265 Clayton, Ellen Creathorne, 128 Caccini, Giulio, 122, 279 Clement,´ Catherine Caffarelli (Gaetano Majorano), 85 Opera, or, The Undoing of Women, 258–60 Cain, James M. Coke, Lady Mary, 83 Serenade, 316 Colbran, Isabella, 131 Calico, Joy, 96, 197 Coleridge, Samuel Taylor, 232 Callas, Maria, 119, 127, 129, 239 Colette, Sidonie-Gabrielle, 16 Callas Forever (film), 127 Colley, Linda, 280 Calve,´ Emma, 121, 125 coloratura, 13, 196, 259 Calzabigi, Ranieri de, 210 mezzo, 267 Cambert, Robert and Perrin, Pierre soprano, 119, 131 La Pastorale d’Issy, 208 com´edie franc¸oise en musique, 207 Cambridge Opera Journal, 3, 6, 117 com´edie larmoyante,81 Camerata, Florence, 54, 95 com´edie-ballet, 280 Cappelletto, Sandro, 118 Comedie-Franc´ ¸aise, Paris, 39 Carey, John, 313 Comedie-Italienne,´ Paris, 287 Carlson, Marvin, 73 commedia dell’arte, 26, 55, 141, 214, 266 Carnegy, Patrick, 151, 165 comparative history, 46 Carter, Tim, 180, 193 Concise Oxford Dictionary of Opera,9 Caruso, Enrico, 126, 127 conductor, 234 Castelvecchi,Stefano,218 Cone, Edward castrato, 119, 129–30, 131, 266 the composer’s voice, 189, 235 Catalani, Angelica, 128 Confidencen Theatre, Stockholm, 42 Cather, Willa, 262 Conrad, Peter, 4, 10, 119 Catherine the Great, Empress, 54 contralto, 131 Cavalieri, Emilio de, 141 conventions, 203 Cavalli, Francesco, 55 Cook, Nicholas, 4, 106 La Didone, 242 Cooke, Mervyn, 195 staging by Wooster Group, copyright, 30, 230 173–5 corago, 141 Ercole amante, 279 Corigliano, John Cavell, Stanley, 316, 317 The Ghosts of Versailles, 19, 196 Celletti, Rodolfo, 120 Corneille, Thomas censorship, 29, 38, 244, 286, 294 Le Comte d’Essex, 301 Centre for the History and Analysis of Recorded Corse, Sandra, 192 Music, 126 Corsi, Jacopo, 54 Cervantes, Miguel de countertenor, 119 Don Quixote, 301 Covent Garden, London, 31, 34, 40, 57, 58, 62, chaconne, 303 66, 74, 99, 169, 170, 216, 293, 298, 314 Chafe, Eric, 266, 306 Cowart, Georgia, 278 Chaillou, David, 37 Cowgill, Rachel, 228, 236 Chaliapin, Feodor, 126 Crary, Jonathan, 87, 166 Charle, Christophe, 79 Crescimbeni, Giovanni Mario, 208 Charles II, King, 280 Cusick, Suzanne, 265 Chereau,´ Patrice, 153 Cuvillies´ Theatre, Munich, 75 Chicago Opera Theater, 68 Cuzzoni, Francesca, 130, 133 Childs, Lucinda, 174 chorus, 7, 283, 285–8 d’Indy, Vincent, 16 Christiansen, Rupert, 315 da capo aria, 124, 181, 190, 192, 209, 211 chromaticism, 259 Da Ponte, Lorenzo, 180 Chua, Daniel, 105 Dahlhaus, Carl, 14, 15, 184, 192, 225 Chusid, Martin, 195 Daly, Cesar,´ 73 Cimarosa, Domenico dance, 102 Gli Orazi e i Curiazi, 286 and exoticism, 302–3 Cineplex Entertainment, 112 Daniel, Ute, 43 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85561-7 - The Cambridge Companion to Opera Studies Edited by Nicholas Till Index More information 341 Index Daniels, David, 119, 239 dramatic mezzo-soprano, 119, 131 David, Giovanni, 268 dramma per musica, 182 de Brosses, Charles, 76 DresdenHofoper,54 de Van, Giles, 182 Drottningholm Opera, Sweden, 216 Dean, Winton, 4, 8, 239, 244 Drucker, Peter, 66 on Oeser’s edition of Carmen, 248 Drummond, John D., 83 death of opera, 17–20, 156, 215 Dryden, John, 309 Debussy, Claude Dun, Tan on Lakm´e, 309 The First Emperor, 309 Pell´eas et M´elisande, 118 Marco Polo, 309 Melisande’s´ motif, 190 Duncan, Michelle, 118 tonal associations, 195 Duprez, Gilbert-Louis, 131, 268 and Tristan und Isolde, 246 Dvorˇak,´ Anton´ın, 5 Decker,Willi,154 Dyer, Richard, 130, 312 Degrada, Francesca, 230 Delacroix, Eugene,` 301 Eagleton, Terry, 82, 312 Delibes, Leo´ Edinburgh International Festival, 65 Lakm´e, 301, 302, 304 Edwards, Sutherland, 239, 240 British Airways advertisment, 314 History of the Opera from Monteverdi to della Seta, Fabrizio, 16 Donizetti, 237 Dellamorra,Richard,97 eighteenth-century performance practice, 143 Dent, Edward J., 293 Einstein, Albert, 193 Denzio, Antonio, 29 Elias, Norbert, 83 Derrida, Jacques, 204 Eliot, George (Mary Ann Evans), 128, 262 Descartes, Rene,´ 99 Ellis, Katherine, 237 Dessay, Natalie, 88, 134 Elsaesser, Thomas, 319 Deutsche Grammophon, 61 Elson, Arthur Deutsche Oper, Berlin, 45 A Critical History of Opera, 237 Deutscher Sangerbund,¨ 288 English National Opera, London, 34, 66, 89, 159, Di Benedetto, Renato, 209 240 Diaghilev, Sergey, 55 English Opera Group, 59 dialogic forms, 184 ensemble, 183–4 Dickens, Charles, 86 epic theatre, 153 Diderot, Denis, 78, 210 epistemology of the closet, 263 Dill, Charles, 96, 311 Erkel, Ferenc, 289 Dingelstedt, Franz von, 147 Ermath, Elizabeth Deeds, 16 Dionysian.
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  • Eröffnungsvortrag: Haydns Opern in Ihrer Zeit Und Heute

    Eröffnungsvortrag: Haydns Opern in Ihrer Zeit Und Heute

    ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Wissenschaftliche Arbeiten aus dem Burgenland Jahr/Year: 1992 Band/Volume: 090 Autor(en)/Author(s): Feder Georg Artikel/Article: Haydns Opern in ihrer Zeit und heute. 9-20 Eröffnungsvortrag:© Landesmuseum für Burgenland, Austria, download unter www.biologiezentrum.at Haydns Opern in ihrer Zeit und heute Georg FEDER, Köln “Joseph Haydn und die Oper seiner Zeit” so lautet das Thema unseres Symposions. Haydns Opern in ihrer Zeit und heute sind das Thema dieses ersten Vortrages. Mit ihm möchte ich versuchen, einen kurzen Überblick über Haydns Opernschaffen zu geben, einerseits in historischer Hinsicht, andererseits in Betrachtung der neueren Entwicklungen. Haydns Opernschaffen ist nach den Forschungen und Veröffentlichungen der letzten Jahrzehnte gut überschaubar; Umfang, Gliederung und zeitlicher Verlauf dieses Schaffens lassen sich mit klaren Linien skizzieren. (Vgl. die Tabelle.) Es erstreckte sich über einen Zeitraum von vier Jahrzehnten: von 1751/52 bis 1791. Schauplätze der Uraufführungen waren zuerst Wien, dann Eisenstadt und Esz­ terhäza. Die letzte Oper entstand in London. Den Werkgattungen nach gliedert sich Haydns Opernschaffen in die Gruppe der deutschen Singspiele, mit gespro­ chenen Dialogen, meist in der Sonderform der Marionettenoper, wobei unter lauter heiteren Singspielen ein ernstes vorkommt, und in die Gruppe der italie­ nischen Opern. Zu letzteren gehört zunächst die bei Haydn bald als Opera seria, bald als Dramma eroico oder Dramma per musica bezeichnete ernste Oper, die in kleinerer Form Festa teatrale oder Azione teatrale heißt. Daneben steht die heitere Oper, als Commedia, als Intermezzo, Opera buffa oder Burletta, einmal auch als Dramma giocoso per musica bezeichnet.