DOCSLIB.ORG

Abbate, Carolyn, 27, 52, 53 Abrams, M. H., the Mirror and the Lamp

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Cambridge University Press 978-0-521-19989-6 - Situating Opera: Period, Genre, Reception Herbert Lindenberger Index More information INDEX Abbate, Carolyn, 27, 52, 53 Altman, Robert, A Wedding, 195 Abrams, M. H., The Mirror and the Andre´, Johann, 48 Lamp, 116, 154, 161 Andreini, Virginia, 221 Abstract Expressionism, 191 Anne, queen of Britain, 231 Accademia degli Incogniti, 227 Anti-theatricality, 2, 7, 158, 176, 196–218 Adams, John, 78, 80, 99 Apollinaire, Guillaume, Les Mamelles de A Flowering Tree, 78 Tire´sias, 217 Doctor Atomic, 78, 110 Ariosto, Ludovico, 114, 159 El Nin˜o, 78 Orlando furioso, 166, 230 Hallelujah Junction, 78 Aristotle, Poetics, 37, 67, 136, 138 Nixon in China, 78, 110, 191 Armstrong, Billie Joe, 96 The Death of Klinghoffer, 78, 216 Auber, Daniel, 244 Addison, Joseph, 2, 228–32 Auden, W. H., 109, 178, 209, 210 Adorno, Theodor, 54, 65, 69, 252 Auerbach, Erich, Mimesis, 65, 66, 71 as composer, 234 Auric, Georges, 95 Beethoven: The Philosophy of Music, 69 Austen, Jane, 63, 73 Berg: Der Meister des kleinsten U¨ bergangs, 69 Bach, Johann Sebastian, 143, 270 “Bourgeois Opera,” 67–69, 170 Passions, 61, 120 disparagement of opera, 31, 58, 73, Well-Tempered Clavier, 128 77, 169 Bacon, Sir Francis, 250 “Fantasia sopra Carmen,” 69 Bakhtin, Mikhail, 54, 71–72, 73, 74, 75, 272 Introduction to the Sociology of Music, 58 Balanchine, George, 110 “Lyric and Society,” 44 Divertimento No. 15, 132 “Sakrales Fragment: U¨ ber Baldini, Gabriele, 36 Scho¨nbergs Moses und Aron,” 69 Balzac, Honore´ de, 65 Adorno, Theodor (with Max Bardare, Emanuele, 37 Horkheimer), Dialectic of the Barish, Jonas, The Antitheatrical Enlightenment, 68 Prejudice, 196, 197, 199, 206 Alberti, Leon Battista, On Painting, 143 Barthes, Roland, 107, 272 Albright, Daniel, 192, 217 Bartok, Bela, Bluebeard’s Castle, 128 Alden, David, 85, 106 Basevi, Abramo, 36 Almahide (pasticcio), 231 Baucarde´, Carlo, 11 298 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19989-6 - Situating Opera: Period, Genre, Reception Herbert Lindenberger Index More information Index 299 Baudelaire, Charles relations with Helene Berg, 255, 256 “Correspondances,” 167, 247 Three Pieces for Orchestra, 127 “Les Phares,” 167 Wozzeck, 69, 188, 190, 193, 195, 250, “Richard Wagner et Tannha¨user a` 253–57, 265;Adornoon,68; Paris,” 167, 243, 246–47 as example of “hard modernism,” “Salon of 1846,” 167 187; Messiaen’s admiration for, 212; Bauman, Thomas, 47, 48–51 its theatricality, 205; structure of, 189 Baumgarten, Alexander, Aesthetica, Berg, Helene, 255–56 146–47, 160 Berger, Karol, 223 Bavarian State Opera (Munich), 85 Bergman, Ingmar, Virgin Spring, 81 Bayreuth festival, 57, 61, 107, 113, 135, Berlin, Isaiah, 34, 239 204, 252 Berlin Staatsoper, 105 Beckett, Samuel, 196, 197, 201 Berlioz, Hector, 45, 174, 245–46 Beecham, Sir Thomas, 89–90 Fantastic Symphony, 164 Beethoven, Ludwig van, 21, 135, 143, Harold in Italy, 163 146, 156, 161, 174, 253, 261 King Lear Overture, 164 Eroica Symphony, 138, 168 La Damnation de Faust, 103 Fidelio, 69, 79, 137, 168, 254, 261 Les Troyens, 243, 245 Fifth Symphony, 38, 162 Rob Roy Overture, 164 Pastoral Symphony, 164 Bernstein, Leonard, Candide, 79 Seventh Symphony, 152 Besutti, Paola, 222 Sonata, Op. 26, 19 Bible, 65, 142, 167 Behler, Ernst, 152 Bigand, Emmanuel, 128 Beijing opera, 80 Bizet, Georges, 135 Bel canto opera, 29, 67, 77, 174, 175, 187 Carmen, 39, 41, 69, 79, 124, 125, 129, Bellini, Vincenzo, 7, 28, 29, 35 194, 237 I Capuleti e I Montecchi, 261 Bjoerling, Jussi, 18 Benjamin, Walter, 89, 91 Blood, Anne J., 119 Berg, Alban, 98, 189, 255, 272 Blythe, Stephanie, 42 and tradition of music-drama, 216, 270 Boccaccio, Giovanni, 159 attitudes toward Richard Strauss, Bo¨hm, Karl, 254 248, 250, 251 Boito, Arrigo, 30 Lulu, 69, 110, 124, 194; Adorno on, 68; Mefistofele, 52, 103 as example of “hard modernism,” Bokina, John, 52 181; delayed in being produced Bolcom, William complete, 256; heroine as akin to A View from the Bridge, 194–95 Salome, 250 A Wedding, 195 Lyric Suite, 256, 257 Bondy, Luc, 106 relations with Hanna Boston Lyric Opera, 115 Fuchs-Robettin, 256 Boulez, Pierre, 111 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19989-6 - Situating Opera: Period, Genre, Reception Herbert Lindenberger Index More information 300 Index Bourdieu, Pierre, 3 Childe Harold’s Pilgrimage, 163 Distinction, 55 Don Juan, 166 Homo Academicus, 55–56 Manfred, 94 Rules of Art, 54 Marino Faliero, 166 Bourgeois, Louise, 111 Sardanapalus, 166 Boyce, William, 122 Brahms, Johannes Caballe´, Montserrat, 135 “Die scho¨ne Magelone,” 163 Caccini, Giulio, 219 Third Symphony, 128 Cage, John, 110–11, 173 Braider, Christopher, 160 Europeras 1 & 2, 104–5, 110, 173, Brandeis, Irma, 32 191–92, 217 Braque, Georges, collages, 173 Caldero´n, Pedro, 159, 200 Braunfels, Walter, Die Vo¨gel, 194 La Devocio´ndelaCruz, 159 Breazeal, Cynthia, 101 Callas, Maria, 4, 15, 26, 67, 127, Brecht, Bertolt, 93, 196, 197 135, 260, 261 Bretzner, C. F., 47, 50 Cambridge Opera Journal, 275 Britten, Benjamin, 174, 184, 185, 187, 216 Cambridge Studies in Opera, 275 Billy Budd, 184 Camerata, Florentine, 144, 185, 219, 266 Curlew River, 184 Cammarano, Salvatore, 9, 13, 14, 15, 17, 42 Death in Venice, 184 Canova, Antonio, 146 Peter Grimes, 179, 184, 216 Carner, Mosco, 250 The Rape of Lucretia, 216 Carracci family, painters, 158 Bronte¨, Charlotte, Jane Eyre, 67 Carter, Tim, 222, 223 Bronte¨, Emily, Wuthering Heights, 63 Caruso, Enrico, 15, 261 Browning, Elizabeth Barrett, 75 Castrati, 3, 59, 85, 221, 224, 225, 232, Bruch, Max, “Kol Nidrei,” 125 238–39 Bruckner, Anton, 127 Cattelan, Maurizio, 113 Budden, Julian, 10, 14, 15, 21, 43 Cavalli, Francesco, 124, 224, 225, 227 Buffet, Bernard, 55 La Calisto, 115, 223–28 Burke, Edmund, The Sublime and Cavour, Conte di Camillo Benso, 25 the Beautiful, 147 Cervantes, Miguel, 159 Burney, Charles, 230, 232 Chaliapin, Fyodor, 261 Burns, Robert, 153 Chamisso, Adelbert von, Peter Burroughs, William, The Black Rider, Schlemihl, 94 93, 94 Chapados, Catherine, 134 Burton, Robert, Anatomy of Melancholy, 72 Chaucer, Geoffrey, 76, 159 Busenello, Gian Francesco, 227 Chekhov, Anton, 196 Busoni, Ferruccio, 254 Che´reau, Patrice, 40, 107, 217 Doktor Faust, 103, 190 Chicago Lyric Opera, 115, 195 Byron, George Gordon, Lord, 145, 160 Chomsky, Noam, 82 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19989-6 - Situating Opera: Period, Genre, Reception Herbert Lindenberger Index More information Index 301 Chusid, Martin, 19 Dawkins, Richard, 101, 102 Cimarosa, Domenico, 161 Deathridge, John, 261 Clark Institute, 113 Debussy, Claude, 248, 250 Cocteau, Jean “Clair de Lune,” 125 La Belle et le beˆte, 94–96, 109 Pelle´as et Me´lisande, 7, 67, 95, 175–76, Parade, 217 179, 188, 193, 196, 200–05, 209, 214, 215, Coleridge, Samuel Taylor, 261, 272;hypnoticeffectsof,218; “Rime of the Ancient Mariner,” its anti-theatricality, 7;itsinfluence 168 on Messiaen, 212–13; its speech Collisani, Amalia, 234 rhythms, 96 Commedia dell’ arte, 209, 226 “Why I Wrote Pelle´as,” 204 Commetant, Oscar, 243 Defoe, Daniel, 64 Conceptual Art, 191 Degas, Edgar, 166 Conrad, Joseph, 63 Delacroix, Euge`ne, 146, 161, 166, Constable, John, 146, 165–66 167, 243 Constructivism, 107 De La Grange, Henri-Louis, 234, 249 Contarini, Marco, 224 Delibes, Le´o, Lakme´, 237 Corelli, Franco, 17, 37 Della Seta, Fabrizio, 16 Corneille, Pierre De Man, Paul, 107 Cinna, 50 Dent, Edward J., 47 Pertharite, 84 Derrida, Jacques, 107, 108 Correggio, Antonio da, 158, 159 Deutsche Guggenheim, 90, 91 Cossotto, Fiorenza, 42 Deutsche Oper, Berlin, 40 Cowper, William, The Task, 145 De Van, Gilles, 36 Crisp, Deborah, 26 Diaghilev, Sergei, 110 Croce, Benedetto, 147 Dickens, Charles, 64, 67, 76 Crutchfield, Will, 29 Hard Times, 63, 64, 70 Cunningham, Merce, 132, 173 Dietsch, Pierre Louis Philippe, 246 Curtius, Ernst Robert, 148 Dionysian festival, 115 Cuzzoni, Francesca, 84, 85 Donizetti, Gaetano, 35, 174, 246 Lucia di Lammermoor, 18–19 Da Ponte, Lorenzo, 50, 113, 191 Doody, Margaret, 75 Dahlhaus, Carl, 155, 156, 261 Drury Lane Theater, 231 Daltrey, Roger, 97 Dryden, John, 64 Dante [Alighieri], 159 Dumont, Margaret, 24 Divine Comedy, 65, 152, 166 Dvorˇa´k, Antonin, Armida, 230 Darwinism, 270 David, Jacques-Louis, 144, 146 Eldar, Eran, 133 Davis, Anthony, X, 110 Elector of Hanover (later King Davis, Miles, Kind of Blue, 73 George I), 231 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19989-6 - Situating Opera: Period, Genre, Reception Herbert Lindenberger Index More information 302 Index Eliot, George, 63 Gainsborough, Thomas, 144 Middlemarch, 69 Garcı´a Gutie´rrez, Antonio Eliot, T. S., 190 El Trovador, 8, 9, 11–13, 29, 30, 42 Empathy, 136–37, 138 Los hijos del tı´o Tronera, 29–30 Euripides, 159 Simo´n Bocanegra, 29 Garibaldi, Giuseppe, 40 Farinelli (Carlo Broschi), 261 George I, king of Britain, 231 Farrar, Geraldine, 261 Gershwin, George Farrell, Eileen, 18 Porgy and Bess, 176 Faure´, Gabriel, Pelle´as et Rhapsody in Blue, 55 Me´lisande, 164 Gesamtkunstwerk, 4, 15–16, 112, 138, Faust Book, 102, 103 140, 142, 152, 169, 171 Faustini, Giovanni, 224, 226 Gigli, Beniamino, 33, 261 Faustini, Marco, 224–26 Gilbert, W. S., 209 Feldman, Martha, 57, 121 Gilman, Sander L., 180, 253 Fenlon, Iain, 220, 227 Glass, Philip, 99, 109 Fielding, Henry, 64, 65, 278 Einstein on the Beach, 94, 191, 192, Fie´rens-Gevaert, H., 247 195, 218 Film studies, 263–64, 276, 277 La Belle et le beˆte, 94–96 Flaubert, Gustave, 65 Glixon, Beth L., 224–26, 228 L’Education sentimentale, 54 Glixon, Jonathan E., 224–26, 228 Madame Bovary, 62 Glover, Jane, 224 Floros, Constantin, 256 Gluck, Christoph Willibald, 135, 143, Forster, E.
Recommended publications
  • LE MONDE/PAGES<UNE>

    LE MONDE/PAGES<UNE>

    www.lemonde.fr 57e ANNÉE – Nº 17415 – 7,50 F - 1,14 EURO FRANCE MÉTROPOLITAINE SAMEDI 20 JANVIER 2001 FONDATEUR : HUBERT BEUVE-MÉRY – DIRECTEUR : JEAN-MARIE COLOMBANI Les soucis Les juges, leur malaise et leurs erreurs de M. Jospin b Les magistrats manifestent, vendredi, pour dénoncer leur manque de moyens b Les charges nouvelles a Fonctionnaires : liées à la loi sur la présomption d’innocence les inquiètent b Ils se sentent mal aimés et mal compris les négociations b Ce mouvement survient alors que des juges d’instruction sont contestés pour des fautes de procédure salariales À L’APPEL de tous leurs syndi- Français qui ont la vision d’une jus- cats, les magistrats devaient mani- tice compliquée, lourde, longue et ont échoué fester, vendredi 19 janvier, devant peu équitable. L’accroissement de le ministère de la justice. Ils man- leurs tâches ne peut, selon eux, a quent, disent-ils, de personnel, de qu’aggraver cette perception. Les syndicats locaux, d’équipement, de crédits. D’autant que la manière dont ont GARY HERSHORN/REUTERS Ces revendications sont ancien- été menées certaines enquêtes sur réclament nes, mais elles ont été exacerbées des affaires politico-financières les ÉTATS-UNIS par la mise en œuvre de la loi sur ont soumis à de violentes criti- une augmentation la présomption d’innocence, ques. Cela a été le cas lors de la entrée en vigueur le 1er janvier. Les mise en détention de Michel Rous- Qui est plus forte syndicats estiment qu’elle est diffi- sin, ancien ministre RPR et proche cilement applicable faute de ren- collaborateur de Jacques Chirac, pour 2000 forts.
  • 103 the Music Library of the Warsaw Theatre in The

    103 the Music Library of the Warsaw Theatre in The

    A. ŻÓRAWSKA-WITKOWSKA, MUSIC LIBRARY OF THE WARSAW..., ARMUD6 47/1-2 (2016) 103-116 103 THE MUSIC LIBRARY OF THE WARSAW THEATRE IN THE YEARS 1788 AND 1797: AN EXPRESSION OF THE MIGRATION OF EUROPEAN REPERTOIRE ALINA ŻÓRAWSKA-WITKOWSKA UDK / UDC: 78.089.62”17”WARSAW University of Warsaw, Institute of Musicology, Izvorni znanstveni rad / Research Paper ul. Krakowskie Przedmieście 32, Primljeno / Received: 31. 8. 2016. 00-325 WARSAW, Poland Prihvaćeno / Accepted: 29. 9. 2016. Abstract In the Polish–Lithuanian Common- number of works is impressive: it included 245 wealth’s fi rst public theatre, operating in War- staged Italian, French, German, and Polish saw during the reign of Stanislaus Augustus operas and a further 61 operas listed in the cata- Poniatowski, numerous stage works were logues, as well as 106 documented ballets and perform ed in the years 1765-1767 and 1774-1794: another 47 catalogued ones. Amongst operas, Italian, French, German, and Polish operas as Italian ones were most popular with 102 docu- well ballets, while public concerts, organised at mented and 20 archived titles (totalling 122 the Warsaw theatre from the mid-1770s, featured works), followed by Polish (including transla- dozens of instrumental works including sym- tions of foreign works) with 58 and 1 titles phonies, overtures, concertos, variations as well respectively; French with 44 and 34 (totalling 78 as vocal-instrumental works - oratorios, opera compositions), and German operas with 41 and arias and ensembles, cantatas, and so forth. The 6 works, respectively. author analyses the manuscript catalogues of those scores (sheet music did not survive) held Keywords: music library, Warsaw, 18th at the Archiwum Główne Akt Dawnych in War- century, Stanislaus Augustus Poniatowski, saw (Pl-Wagad), in the Archive of Prince Joseph musical repertoire, musical theatre, music mi- Poniatowski and Maria Teresa Tyszkiewicz- gration Poniatowska.
  • A Countertenor's Reference Guide to Operatic Repertoire

    A Countertenor's Reference Guide to Operatic Repertoire

    A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources.
  • Verse in Fraser's Magazine

    Verse in Fraser's Magazine

    Curran Index - Table of Contents Listing Fraser's Magazine For a general introduction to Fraser's Magazine see the Wellesley Index, Volume II, pages 303-521. Poetry was not included in the original Wellesley Index, an absence lamented by Linda Hughes in her influential article, "What the Wellesley Index Left Out: Why Poetry Matters to Periodical Studies," Victorian Periodicals Review, 40 (2007), 91-125. As Professor Hughes notes, Eileen Curran was the first to attempt to remedy this situation in “Verse in Bentley’s Miscellany vols. 1-36,” VPR 32 (1999), 103-159. As one part of a wider effort on the part of several scholars to fill these gaps in Victorian periodical bibliography and attribution, the Curran Index includes a listing of verse published in Fraser's Magazine from 1831 to 1854. EDITORS: Correct typo, 2:315, 1st line under this heading: Maginn, if he was editor, held the office from February 1830, the first issue, not from 1800. [12/07] Volume 1, Feb 1830 FM 3a, A Scene from the Deluge (from the German of Gesner), 24-27, John Abraham Heraud. Signed. Verse. (03/15) FM 4a, The Standard-Bearer -- A Ballad from the Spanish, 38-39, John Gibson Lockhart. possib. Attributed by Mackenzie in introduction to Fraserian Papers Vol I; see Thrall, Rebellious Fraser: 287 Verse. (03/15) FM 4b, From the Arabic, 39, Unknown. Verse. (03/15) FM 5a, Posthumous Renown, 44-45, Unknown. Verse. (03/15) FM 6a, The Fallen Chief (Translated from the Arabic), 54-56, Unknown. Verse. (03/15) Volume 1, Mar 1830 FM 16b, A Hard Hit for a Damosell, 144, Unknown.
  • The 2017/18 Season: 70 Years of the Komische Oper Berlin – 70 Years Of

    The 2017/18 Season: 70 Years of the Komische Oper Berlin – 70 Years Of

    Press release | 30/3/2017 | acr | Updated: July 2017 The 2017/18 Season: 70 Years of the Komische Oper Berlin – 70 Years of the Future of Opera 10 premieres for this major birthday, two of which are reencounters with titles of legendary Felsenstein productions, two are world premieres and four are operatic milestones of the 20 th century. 70 years ago, Walter Felsenstein founded the Komische Oper as a place where musical theatre makers were not content to rest on the laurels of opera’s rich traditions, but continually questioned it in terms of its relevance and sustainability. In our 2017/18 anniversary season, together with their team, our Intendant and Chefregisseur Barrie Kosky and the Managing Director Susanne Moser are putting this aim into practice once again by way of a diverse program – with special highlights to celebrate our 70 th birthday. From Baroque opera to operettas and musicals, the musical milestones of 20 th century operatic works, right through to new premieres of operas for children, with works by Georg Friedrich Handel through to Philip Glass, from Jacques Offenbach to Jerry Bock, from Claude Debussy to Dmitri Shostakovich, staged both by some of the most distinguished directors of our time as well as directorial newcomers. New Productions Our 70 th birthday will be celebrated not just with a huge birthday cake on 3 December, but also with two anniversary productions. Two works which enjoyed great success as legendary Felsenstein productions are returning in new productions. Barrie Kosky is staging Jerry Brock’s musical Fiddler on the Roof , with Max Hopp/Markus John and Dagmar Manzel in the lead roles, and the magician of the theatre, Stefan Herheim, will present Jacques Offenbach’s operetta Barbe- bleue in a new, German and French version.
  • A European Singspiel

    A European Singspiel

    Columbus State University CSU ePress Theses and Dissertations Student Publications 2012 Die Zauberflöte: A urE opean Singspiel Zachary Bryant Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Bryant, Zachary, "Die Zauberflöte: A urE opean Singspiel" (2012). Theses and Dissertations. 116. https://csuepress.columbusstate.edu/theses_dissertations/116 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. r DIE ZAUBEFL5TE: A EUROPEAN SINGSPIEL Zachary Bryant Die Zauberflote: A European Singspiel by Zachary Bryant A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the Bachelor of Arts in Music College of the Arts Columbus State University Thesis Advisor JfAAlj LtKMrkZny Date TttZfQjQ/Aj Committee Member /1^^^^^^^C^ZL^>>^AUJJ^AJ (?YUI£^"QdJu**)^-) Date ^- /-/<£ Director, Honors Program^fSs^^/O ^J- 7^—^ Date W3//±- Through modern-day globalization, the cultures of the world are shared on a daily basis and are integrated into the lives of nearly every person. This reality seems to go unnoticed by most, but the fact remains that many individuals and their societies have formed a cultural identity from the combination of many foreign influences. Such a multicultural identity can be seen particularly in music. Composers, artists, and performers alike frequently seek to incorporate separate elements of style in their own identity. One of the earliest examples of this tradition is the German Singspiel.
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation

    Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation

    Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated
  • The Magic Flute

    The Magic Flute

    The Magic Flute PRODUCTION INFORMATION Music: Wolfgang Amadeus Mozart Text (English): Emanuel Schikaneder English Translation: J.D. McClatchy World Premiere: Vienna, Theater auf der Wieden Austria, September 30, 1791 Final Dress Rehearsal Date: Friday, December 13, 2013 Note: the following times are approximate 10:30am – 12:30pm Cast: Pamina Heidi Stober Queen of the Night Albina Shagimuratova Tamino Alek Shrader Papageno Nathan Gunn Speaker Shenyang Sarastro Eric Owens Production Team: Conductor Jane Glover Production Julie Taymor Set Designer George Tsypin Costume Designer Julie Taymor Lighting Designer Donald Holder Puppet Designers Julie Taymor and Michael Curry Choreographer Mark Dendy 2 Table of Contents Production Information 2 An Introduction to Pathways for Understanding Study Materials 4 Meet the Characters 5 The Story of The Magic Flute Synopsis 6 Guiding Questions 8 The History of Mozart’s The Magic Flute 10 Guided Listening Overture 12 I’m sure that there could never be 13 Such loveliness beyond compare 14 Don’t be afraid, now hear my song 15 The wrath of hell is burning in my bosom 16 Now I know that love can vanish 17 If only I could meet her 18 Pa-pa-ge-na! – Pa-pa-ge-no! 19 The Magic Flute Resources About the Composer 20 The Enlightenment & Singspiel 22 Online Resources 25 Additional Resources The Emergence of Opera 26 Metropolitan Opera Facts 30 Reflections after the Opera 32 A Guide to Voice Parts and Families of the Orchestra 33 Glossary 34 References Works Consulted 38 3 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students.
  • Information to Users

    Information to Users

    INFORMATION TO U SER S This manuscript has been reproduced from the microfilm master UMl films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer The quality of this reproduction is dependent upon the quality of the copy submitted.Broken or indistinct phnt, colored or poor quality illustrations and photographs, print bleedthrough. substandard margins, and improper alignment can adversely affect reproduction In the unlikely event that the author did not send UMl a complete manuscript and there are missing pages, these will be noted. Also, if unauthonzed copyright material had to be removed, a note will indicate the deletion Oversize materials (e g . maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 UMl® UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MICHAEL HEAD’S LIGHT OPERA, KEY MONEY A MUSICAL DRAMATURGY A Document SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By MARILYN S. GOVICH Norman. Oklahoma 2002 UMl Number: 3070639 Copyright 2002 by Govlch, Marilyn S. All rights reserved. UMl UMl Microform 3070639 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17. United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O.
  • Apocalypticism in Wagner's Ring by Woodrow Steinken BA, New York

    Apocalypticism in Wagner's Ring by Woodrow Steinken BA, New York

    Title Page Everything That Is, Ends: Apocalypticism in Wagner’s Ring by Woodrow Steinken BA, New York University, 2015 MA, University of Pittsburgh, 2018 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2021 Committee Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Woodrow Steinken It was defended on March 23, 2021 and approved by James Cassaro, Professor, Music Adriana Helbig, Associate Professor, Music David Levin, Professor, Germanic Studies Dan Wang, Assistant Professor, Music Dissertation Director: Olivia Bloechl Professor, Music ii Copyright © by Woodrow Steinken 2021 iii Abstract Everything That Is, Ends: Apocalypticism in Wagner’s Ring Woodrow Steinken, PhD University of Pittsburgh, 2021 This dissertation traces the history of apocalypticism, broadly conceived, and its realization on the operatic stage by Richard Wagner and those who have adapted his works since the late nineteenth century. I argue that Wagner’s cycle of four operas, Der Ring des Nibelungen (1876), presents colloquial conceptions of time, space, and nature via supernatural, divine characters who often frame the world in terms of non-rational metaphysics. Primary among these minor roles is Erda, the personification of the primordial earth. Erda’s character prophesies the end of the world in Das Rheingold, a prophecy undone later in Siegfried by Erda’s primary interlocutor and chief of the gods, Wotan. I argue that Erda’s role changes in various stage productions of the Ring, and these changes bespeak a shifting attachment between humanity, the earth, and its imagined apocalyptic demise.
  • September – November Hohe Giebel

    September – November Hohe Giebel

    OKTOBER Ausstellungen VERANSTALTUNGEN & AUSSTELLUNGEN KUTSCHFAHRTEN The Black Rider - „Equi Animo - Die Seele der Pferde“ – Do 25.6. – So 18.10. Sa 5.9. – Sa 28.11. Sonderausstellung: Sonderausstellung: jedenKUTSCHFAHRTEN Freitag und Samstag The Casting of the magic Bullets Wiebke Haas 1920 – Eine Provinz „HandwerksKunst“ Büchersonntag 11.00 Uhr bis 15.00 Uhr Do 8.10., 20.00 Uhr So 9.8. – So 25.10. verschwindet mit Kai Gaeth – jedenStart Freitag ab Marktplatz und Samstag Theater am Wall Historisches Rathaus, Markt 1 Westpreußisches Fantastische Pfeifen & kostenfrei Landesmuseum Manfred Kronenberg – 11.00 Uhr bis 15.00 Uhr „The Black Rider“ – ein Stück zwischen Drogenrausch und Lo- Mit der Ausstellung „Equi Animo - Die Seele der Pferde“ 19 28 Di bis So 10 – 18 Uhr Fabelhafte Bilder Adam & Eva Start ab Marktplatz ve-Story, Höllenfahrt und Gespensterzauber. Der Amtsschreiber entführt die Tierfotografin Wiebke Haas vom 9. August Stylebar by ebbers Westpreußisches Kindermoden kostenfrei Wilhelm und die Försterstocher Käthchen sind verliebt. Mög- bis zum 25. Oktober 2020 im historischen Rathaus der So 12.7. – Do 31.12. Münsterstraße 22 bis September Landesmuseum 2020 Heumarkt 4 lichst bald wollen sie heiraten. Allerdings kommt für Käthchens Pferdestadt Warendorf in die Welt der Pferdefotografie. Profession & Passion - Di bis So 10 – 18 Uhr Vater nur ein treffsicherer Jäger wie Robert in Frage. Der unge- Rund 50 großformatige Fotografien zeigen die verschie- David Yarrow 20 29 Di 27.10. – Fr 27.11. Schöner Wohnen Intersport übte Schütze Wilhelm willigt in ein Wettschießen ein und stellt denen Serien der Fotografin. Neben den bekanntesten Galerie Heinrich September – November Friederichs Museum, Druckgrafik und Malerei Preckel Kuschinski fest, dass er chancenlos ist.
  • 'Alles, Was Ist, Endet:' on Dramatic Text, Absolute Music, Adorno, and Wagner's Ring

    'Alles, Was Ist, Endet:' on Dramatic Text, Absolute Music, Adorno, and Wagner's Ring

    SHERRY D. LEE ‘Alles, was ist, endet:’ On Dramatic Text, Absolute Music, Adorno, and Wagner’s Ring ABSTRACT The crux of the operatic genre has always been the perennially problematic relationship between text and music. Richard Wagner attempted to solve this con- undrum in his new art form of music drama – first embodied in his monumental Ring cycle – which he theorized in gendered terms as a union of poetry (male) and music (female), an imagined marriage between the qualities of Shakespearean drama and Beethovenian symphony. But according to Theodor Adorno, the very notion of symphonic music, which follows its own musical logic, is antitheti- cal to the genre of opera, which demands that music construct itself according to its relationship to language. From the impasse between the demands of the opera- tic art form and the increasingly autonomous music of the late nineteenth and early twentieth centuries, he theorized the end of opera itself in the age of mod- ernism. This article entwines Wagner’s concept of music drama, the musico- dramatic character of Erda who prophesies the end of the world in the Ring, and Adorno’s diagnosis of opera’s fatal condition in the decades following Wagner, to examine the principle of ending in opera, and of opera, and how the former can be read as a prefiguration of the latter. ‘All that is, ends.’ This terse announcement is made by the goddess Erda in act 4 of Das Rheingold, the opening opera in Richard Wagner’s monumental Ring cycle. The prophecy of an inevitable end, which hangs over the entire remainder of this fifteen-plus-hour opus, arrives near the end of the begin- ning of the Ring and dramatically signals the beginning of the end.