This volume offers a cross-section of English-language scholarship on German and Slavonic operatic repertories of the ""long nineteenth century,"" giving particular emphasis to four areas: German opera in the first half of the nineteenth century; the works of Richard Wagner after 1848; Russian opera between Glinka and Rimsky-Korsakov; and the operas of Richard Strauss and Janácek. The essays reflect diverse methods, ranging from stylistic, philological, and historical approaches to those rooted in hermeneutics, critical theory, and post-modernist inquiry.
Edited by:
Michael C. Tusa
Series edited by:
Professor Roberta Montemorra Marvin
Imprint: Routledge
Country of Publication: United Kingdom
Edition: New edition
Dimensions:
Height: 244mm,
Width: 169mm,
Weight: 1.140kg
ISBN: 9780754629061
ISBN 10: 0754629066
Series: The Ashgate Library of Essays in Opera Studies
Pages: 530
Publication Date: 23 December 2010
Audience:
College/higher education
,
A / AS level
,
Further / Higher Education
Format: Hardback
Publisher's Status: Active
Contents: Introduction; Part I German Opera in the Early 19th Century: The arias of Marzelline: Beethoven as a composer of opera, Philip Gossett; New light(s) on Weber's Wolf's Glen scene, Anthony Newcomb; Richard Wagner and Weber's Euryanthe, Michael C. Tusa. Part II Wagner: The Ring and the conditions of interpretation: Wagner's writing, 1848 to 1852, James Treadwell; ...wie ein rother Faden: on the origins of 'leitmotif' as critical construct and musical practice, Thomas Grey; The structure of the Ring and its evolution, Robert Bailey; Dramatic recapitulation in Wagner's Götterdämmerung, William Kinderman; Wagner, 'On modulation' and Tristan, Carolyn Abbate; Death drive: Eros and Thanatos in Wagner's Tristan und Isolde, Linda Hutcheon and Michael Hutcheon; Constructing Nuremberg: typological and proleptic communities in Die Meistersinger, Arthur Groos; Amfortas's Prayer to Titurel and the role of D in Parsifal: the tonal spaces of the drama and the enharmonic C-flat/B, David Lewin; Strange love or, how we learned to stop worrying and love Wagner's Parsifal, John Deathridge. Part III Russian Opera: On Ruslan and Russianness, Marina Frolova-Walker; Mussorgsky's Boris on the stage of the Maryinsky Theater: a chronicle of the first production, Robert William Oldani; Mussorgsky's libretti on historical themes: from the two Borises to Khovanshchina, Caryl Emerson; The semiotics of symmetry, or Rimsky-Korsakov's operatic history lesson, Simon Morrison. Part IV Strauss and Janácek: Strauss and the pervert, Sander L. Gilman; Fin-de-siècle fantasies: Elektra and the culture of supremacism, Lawrence Kramer; Janácek's speech-melody theory in concept and practice, Paul Wingfield; Evasive realism: narrative construction in Dostoyevsky's and Janácek's 'From the House of the Dead', Geoffrey Chew and Robert Vilain; Name Index.
Michael C. Tusa, Professor, University of Texas at Austin, USA Philip Gossett, Anthony Newcomb, Michael C. Tusa, James Treadwell, Thomas Grey, Robert Bailey, William Kinderman, Carolyn Abbate, Linda Hutcheon, Michael Hutcheon, Arthur Groos, David Lewin, John Deathridge, Marina Frolova-Walker, Robert William Oldani, Caryl Emerson, Simon Morrison, Sander L. Gilman, Lawrence Kramer, Paul Wingfield, Geoffrey Chew, Robert Vilain.
