What opera means: categories and case-studies
This book mounts a searching enquiry into the elusive character of opera. The author argues that any work of art can be grasped primarily through its constellation of Platonic ideas, or 'categories', several of which he explores in light of a new definition of the art-form. He elaborates e...
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London
Plumbago Books
2018
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| Schriftenreihe: | Defining opera
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| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | This book mounts a searching enquiry into the elusive character of opera. The author argues that any work of art can be grasped primarily through its constellation of Platonic ideas, or 'categories', several of which he explores in light of a new definition of the art-form. He elaborates each category with case-studies rooted in the time, place and circumstance of an opera's origin: most of these are adaptations of previously-published essays, though some draw on talks for universities, opera houses and the BBC. Although he looks back to the infancy of opera, he concentrates on later, more familiar repertory - principally Wagner, Verdi, Strauss and Britten. Case-studies included under 'Psychology' reveal his long-standing involvement with psychoanalysis, and those under 'Performance' reinforce his view of opera as a branch of rhetoric. As the first of a two-volume project, What Opera Means deals with categories accessible to all: of fifty entries, only two require basic musical knowledge (the second volume will be for specialists). The book is thus suitable for the general reader, as well as for college courses. - CHRISTOPHER WINTLE is Emeritus Senior Lecturer in Music at King's College London and General Editor of the series Defining Opera (Plumbago Books). He has published extensively on nineteenth- and twentieth-century music, and for twenty years was an opera critic for the Times Literary Supplement. KATE HOPKINS (Editor) is Content Producer for Opera at the Royal Opera House and Senior Assistant Editor of Plumbago Books. She has written on opera and literature for ENO, WNO and The Royal Opera. |
| Beschreibung: | XV, 271 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9780993198342 9780993198359 |
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| 520 | |a This book mounts a searching enquiry into the elusive character of opera. The author argues that any work of art can be grasped primarily through its constellation of Platonic ideas, or 'categories', several of which he explores in light of a new definition of the art-form. He elaborates each category with case-studies rooted in the time, place and circumstance of an opera's origin: most of these are adaptations of previously-published essays, though some draw on talks for universities, opera houses and the BBC. Although he looks back to the infancy of opera, he concentrates on later, more familiar repertory - principally Wagner, Verdi, Strauss and Britten. Case-studies included under 'Psychology' reveal his long-standing involvement with psychoanalysis, and those under 'Performance' reinforce his view of opera as a branch of rhetoric. As the first of a two-volume project, What Opera Means deals with categories accessible to all: of fifty entries, only two require basic musical knowledge (the second volume will be for specialists). The book is thus suitable for the general reader, as well as for college courses. - CHRISTOPHER WINTLE is Emeritus Senior Lecturer in Music at King's College London and General Editor of the series Defining Opera (Plumbago Books). He has published extensively on nineteenth- and twentieth-century music, and for twenty years was an opera critic for the Times Literary Supplement. KATE HOPKINS (Editor) is Content Producer for Opera at the Royal Opera House and Senior Assistant Editor of Plumbago Books. She has written on opera and literature for ENO, WNO and The Royal Opera. | ||
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Datensatz im Suchindex
| _version_ | 1804178237178249216 |
|---|---|
| adam_text | Contents
Author’s Preface...............................................xi
A cknowledgm ents..............................................xi v
Editor’s Preface...............................................xv
Introduction
1 Defining Opera 2
2 Opera Defining Opera .....................................7
Strauss: Capriccio
Part 1:Sources
1 Rising to the Occasion 14
Verdi: Aida
2 A Conundrum and a Problem.....................................19
Wagner: Tristan und Isolde and Mozart: Die Zauberflote
3 A Perennial Source............................................24
Ades: The Tempest
4 Play, Intermezzo and Opera 27
Strauss: Ariadne auf Naxos
Part 2: Genre
1 Tragedy of Affliction or Bourgeois Drama? 36
Verdi: La traviata
2 A Comedy of Psychopathologies...................................41
Britten: Albert Herring
3 A Generic Puzzle.................................... 45
Wagner: Die Meistersinger von Nürnberg
VI
Christopher Wintle: What Opera Means
4 Boccaccian Comedy...........................................51
Verdi: Falstaff
5 Epic Opera..................................................56
Weill: Aufstieg und Fall der Stadt Mahagonny
Part 3: Style
1 The Style of the House......................................62
Verdi: Les Vêpres siciliennes
2 A Melodrama of Two Styles 67
Verdi: Rigoletto
3 New-old Style...............................................72
Britten: Gloriana
4 Old-new Style...............................................78
Goehr/Monteverdi: Arianna
5 Constant Flux...............................................85
Benjamin: Written on Skin
Interlude: Revision
Introduction...................................................92
1 From 1853 to 1854 (on Keys).................................93
Verdi: La traviata
2 From Dresden to Paris.......................................97
Wagner: Tannhäuser
3 From Paris to Modena ... and Back...........................99
Verdi: Don Carlo(s)
Part 4: Beginning and End
1 The Title..................................................106
Strauss: Der Rosenkavalier
2 A Name.....................................................113
Verdi: Simon Boccanegra
3 The Prelude............................................... 116
Verdi: Un hallo in maschera
4 Multiple Beginnings........................................121
Wagner: Das Rheingold
Contents vu
5 The Denouement..............................................127
Verdi: Oteiio
6 Peroration (Cadence)...................................... .131
Wagner: Götterdämmerung
Part 5: Invention
1 Topic and Time..............................................146
Britten: The Rape ofLucretia
2 Sources of Musical Invention................................150
Britten: Death in Venice
3 Colloquy....................................................154
Wagner: Parsifal
4 Sacred and Secular..........................................161
Verdi: Stiffelio
5 The Force of the Outsider...................................166
Verdi: II trovatore
Part 6: Psychology
Introduction....................................................172
1 Freud and Opera.............................................175
Offenbach: La Belle Hélène; Peri: VEuridice; Wagner: Lohengrin
and Siegfried; Verdi: Aida; Tchaikovsky: The Queen of Spades;
Britten: Billy Budd; Bizet: Carmen
2 On Neurotics................................................188
Wagner: Der Ring des Nibelungen
3 Mother, Madonna, Maid and Whore.............................194
Wagner: Tannhäuser
4 Loss........................................................199
Verdi: Simon Boccanegra
5 Encapsulated Repression.....................................204
Verdi: Rigolet to
Part 7; Performance
Introduction....................................................216
Prologue: Alternative Rhetorics.............................217
Handel: Ariodante
VIII
Christopher Wintle: What Opera Means
1 Authentic Inauthenticity......................................222
Rameau: Les Fêtes d’Hébé
2 Psychologizing the Gods 224
Wagner: Das Rheingold
3 Reclaiming Anti-opera.........................................226
Debussy: Pelléas et Mélisande
4 Enduring Ephemera 228
Massenet: Chérubin
5 Credible Magic................................................230
Strauss: Die Frau ohne Schatten
6 The Memorable Tune 232
Prokofiev: The Love for Three Oranges
7 Production as Reinvention 234
Janacek: Kata Kabanova and The Adventures of Mr. Broucek
8 Aesthetic Inversion 237
Stravinsky: Oedipus rex, and Bartok: Duke Bluebeard’s Castle
9 Remaking a Hero...............................................239
Britten: Peter Crimes
10 Revising Revisions 243
Britten: Billy Budd
11 The Sacred Sublime............................................245
Messiaen: Saint François d’Assise
12 Mechanical Pastoral 247
Birtwistle: Van Tan Tethera
13 Reinventing the Style Heights 249
Blake: The Plumber’s Gift
14 Bardolatry....................................................251
Oliver: Timon of Athens
15 Anti-romantic Romanticism.....................................253
Weir: Blond Eckbert
Epilogue: Production versus Music?..............................256
Sutcliffe: Believing in Opera (book)
Bibliography 260
Index
|
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| spelling | Wintle, Christopher 1945- Verfasser (DE-588)1038405939 aut What opera means categories and case-studies Christopher Wintle ; edited by Kate Hopkins London Plumbago Books 2018 XV, 271 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Defining opera This book mounts a searching enquiry into the elusive character of opera. The author argues that any work of art can be grasped primarily through its constellation of Platonic ideas, or 'categories', several of which he explores in light of a new definition of the art-form. He elaborates each category with case-studies rooted in the time, place and circumstance of an opera's origin: most of these are adaptations of previously-published essays, though some draw on talks for universities, opera houses and the BBC. Although he looks back to the infancy of opera, he concentrates on later, more familiar repertory - principally Wagner, Verdi, Strauss and Britten. Case-studies included under 'Psychology' reveal his long-standing involvement with psychoanalysis, and those under 'Performance' reinforce his view of opera as a branch of rhetoric. As the first of a two-volume project, What Opera Means deals with categories accessible to all: of fifty entries, only two require basic musical knowledge (the second volume will be for specialists). The book is thus suitable for the general reader, as well as for college courses. - CHRISTOPHER WINTLE is Emeritus Senior Lecturer in Music at King's College London and General Editor of the series Defining Opera (Plumbago Books). He has published extensively on nineteenth- and twentieth-century music, and for twenty years was an opera critic for the Times Literary Supplement. KATE HOPKINS (Editor) is Content Producer for Opera at the Royal Opera House and Senior Assistant Editor of Plumbago Books. She has written on opera and literature for ENO, WNO and The Royal Opera. Oper (DE-588)4043582-9 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Oper (DE-588)4043582-9 s DE-604 Hopkins, Kate edt Digitalisierung UB Bayreuth - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030132795&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title_full | What opera means categories and case-studies Christopher Wintle ; edited by Kate Hopkins |
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| title_full_unstemmed | What opera means categories and case-studies Christopher Wintle ; edited by Kate Hopkins |
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