Opera:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cambridge
Cambridge University Press
2012
|
| Ausgabe: | First published |
| Schriftenreihe: | Cambridge introductions to music
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XVII, 431 Seiten Diagramme |
| ISBN: | 9780521763028 9780521746472 |
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Datensatz im Suchindex
| _version_ | 1804148445972267008 |
|---|---|
| adam_text | Contents
List of tables page
xiii
Introduction
1
Part I The seventeenth and eighteenth centuries
5
1
Pre-operatic forms
7
Pre-opera: Greek drama
7
Pre-opera: mediaeval music theatre (liturgical, sacred and secular
drama)
8
Mannerism and the growth of overtly expressive music
10
Italy: the
Intermedii
13
Strophic song
14
France and England
15
2
First operatic forms
17
The stile
rappresentativo
17
Aria, arioso, recitative, singers
18
First and second practice
19
Rome and Venice: entertainment and commerce
21
Monteverdi in Venice
(L incoronazione di
Popped)
23
Cavalli
(
Giasone)
24
France: the rule of Lully (Armide)
27
Germany (Keiser s Croesus)
30
3
Formalisation
33
Towards opera
seria:
first stage
-
Apostolo Zeno
33
The da capo aria
35
Music and emotion
37
Sentiment and rhetoric
38
vn
viii Contents
Handel (Rinaldo) 39
Opera
seria:
second
stage (Pietro Metastasio)
40
Libretto
43
Practicalities
43
4
Reform: the
reintegration
of elements
50
Differing aspects of reform
52
Neo-classical ideals
52
Internal reform
54
Rameau (Hippolyte et
Aride)
54
Jommelli and Traetta
57
Radical reform
60
Benda
and
Gluck
60
5
Comedy and the real world
70
Realism and sentiment
70
Intermezzi and the opera
buffa
72
Comic opera
72
Naples and the opera
buffa
75
The reform of Italian comedy
76
Mozart
79
The balance of reason and feeling
80
The
da Ponte
operas
(Così fan tutte)
82
6
Authentic performance
91
The early music revival
93
The score
94
Technical elements
95
Instruments and instrumentation
95
Pitch and range
96
The singer
97
Performance conditions
98
Production
99
The audience
100
Part II The nineteenth century
юз
7
Romanticism and Romantic opera in Germany
105
Revolution and war
105
Contents ix
History, art and myth
107
The Industrial Revolution and Nature
107
Romanticism and pessimism
109
Romanticism: national and international 111
Germany
112
Beethoven and
Fidelio
113
Weber and
Der Freischütz 119
8
Opera in nineteenth-century Italy
127
The
primo ottocento
(Rossini, Bellini, Donizetti)
127
The challenge of integrated operatic form
127
Dramatic aims
127
Situazione
and the functions of the libretto
129
The aria and the tripartite form
131
Melody and its problems
135
Verdi
141
The role of the librettist
144
Casting
147
Staging
147
Musical form (Macbeth)
149
Rigoletto:
melody, subject and convention
152
Final innovations
(Otelio)
160
Structure, melody and orchestration
161
9
Grand
opéra
and the visual language of opera
169
The role of the
Opéra
169
The development of alternative forms: the
Opéra-Comique
170
Opera in the Revolution and Restoration
173
Romantic demands
174
Eugene Scribe and the
pièce bien faite
175
Characteristics of stage presentation
(
Auber,
La Muette de
Portici)
176
Meyerbeer: words and music, spectacle and sense
[Les
Huguenots)
179
10
The
Wagnerian
revolution
194
Cultural and artistic purpose
195
Convention and reform
(Der fliegende Holländer,
Lohengrin)
197
Form and motif
(
Die
Walküre) 206
Rhythm
207
Contents
Melody
207
Prosody and text, harmony and time
208
Formal moments
209
Stage and theatre
211
Inheritance
216
11
Nationalists: vernacular language and music
218
Nationalism and folk culture
218
National struggle: Russia, Poland, Hungary and Bohemia
222
Pushkin
224
Glinka
226
Musical elements
227
Musorgsky: words, music and truth
231
The future of Nationalism?
236
12
The role of the singer
240
The range of roles and attractions of the singer
240
Functions of the singer
241
Association with a particular role or composer
244
Functions of the opera/composer
245
Special relationship between singer and composer
249
Part III The twentieth and twenty-first centuries
255
13
The turn of the century and the crisis in opera
257
Naturalism and
Verismo
257
Mascagni ( Cavalleria rusticana)
260
Puccini
(
Tosca, Madama
Butterfly)
261
Janáček
276
Modernism and Richard Strauss
282
The orchestra (Salome)
284
Tonality
285
Lyricism and melody
(Der Rosenkavalier) 286
Conversation
291
14
First modernism: Symbolist and Expressionist opera
294
Debussy and Symbolism
(Pelléas et Mélisande)
294
Symbolism
296
Pelléas
et
Mélisande
297
Contents xi
Berg
and Expressionism
( Wozzeck) 303
Expressionism
305
The problem of form
306
15
The dramaturgy of
opera: libretto
-
words and
structures
313
Plot: the order of incidents
314
Retrospective narration
314
Complication, discovery and reversal
318
Words
319
Points of division
320
16
Narrative opera: realistic and non-realistic
325
Realistic narratives
326
Britten: the composer in society
326
Peter Grimes
329
Henze: opera as dialectic
(
The Bassarids)
334
Stravinsky: opera as tradition
(
The Rake s Progress)
336
Adams: opera in plain English (Nixon in China)
339
Turnage: opera as spikes of feeling (The Silver Tassie)
342
Non-realistic narratives
344
Tippett: a world of archetypes
(
The Midsummer Marriage)
344
Sallinen
(
The King Goes Forth to France)
350
Dusapin
(Perelà, l uomo di fumo)
351
17
Radical narratives
357
Dialectical organisation of text and score
357
Brecht
and Weill: narrative and montage
(Aufstieg und
Fall
der Stadt Mahagonny) 357
Nono:
dislocation and montage
(Al gran sole carico
d amore)
361
Zimmermann:
simultaneous staging and quotation
(Die
Soldaten) 364
The totality of performance as meaning
367
Glass: layers in parallel (Satyagraha)
367
Stockhausen (Donnerstagaus Licht) 372
Birtwistle:
artifice as reality
(
The Mask of Orpheus)
375
18
Directors and the direction of opera
380
xii Contents
Appendixes
1
Motifs
from The Ring used in Chapter
10 387
2
The development of singing voices in opera
389
3
The development of lyric theatre alternatives to opera
394
4
Some major operas and artistic and political events of the
twentieth century,
1899-2008 397
Glossary of key terms
405
Notes
408
Bibliography
414
Index
427
|
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| discipline | Musikwissenschaft |
| edition | First published |
| era | Geschichte gnd |
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| illustrated | Not Illustrated |
| indexdate | 2024-07-10T00:07:15Z |
| institution | BVB |
| isbn | 9780521763028 9780521746472 |
| language | English |
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| spelling | Cannon, Robert Verfasser aut Opera Robert Cannon First published Cambridge Cambridge University Press 2012 XVII, 431 Seiten Diagramme txt rdacontent n rdamedia nc rdacarrier Cambridge introductions to music Geschichte gnd rswk-swf Opera Oper (DE-588)4043582-9 gnd rswk-swf Oper (DE-588)4043582-9 s Geschichte z DE-604 Digitalisierung UB Bayreuth application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024456186&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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