Uncovers a world of forgotten triumphs of musical theatre that shine a light on major social topics. This book is also available as Open Access on Cambridge Core.
Uncovers a world of forgotten triumphs of musical theatre that shine a light on major social topics. This book is also available as Open Access on Cambridge Core.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Derek B. Scott is Professor of Critical Musicology at the University of Leeds. His books include Sounds of the Metropolis (2008), and Musical Style and Social Meaning (2010). His musical compositions include two symphonies for brass band and an operetta, Wilberforce. He has also worked professionally as a singer, actor and pianist on radio and TV, and in concert hall and theatre. In 2014, he was awarded an Advanced Grant by the European Research Council to fund a five-year project researching the twentieth-century reception of operettas from the German stage on Broadway and in the West End.
Inhaltsangabe
Introduction Part I. The Production of Operetta: 1. The music of operetta 2. Cultural transfer: translation and transcreation 3. The business of operetta 4. Directors, designers and performers Part II. The Reception of Operetta: 5. The reception of operetta in London and New York 6. Operetta and intermediality 7. Operetta and modernity 8. Operetta and cosmopolitanism Postlude: the demise of operetta Appendix 1. Productions of operetta from the German stage on Broadway and in the West End Appendix 2. Longest runs of operetta from the German stage on Broadway and in the West End Appendix 3. Operettas with English librettos by composers for the German stage Appendix 4. Selected period recordings of English versions of operetta from the German stage Appendix 5. Selected films in English of operettas from the German stage Appendix 6. Research resources.
Introduction Part I. The Production of Operetta: 1. The music of operetta 2. Cultural transfer: translation and transcreation 3. The business of operetta 4. Directors, designers and performers Part II. The Reception of Operetta: 5. The reception of operetta in London and New York 6. Operetta and intermediality 7. Operetta and modernity 8. Operetta and cosmopolitanism Postlude: the demise of operetta Appendix 1. Productions of operetta from the German stage on Broadway and in the West End Appendix 2. Longest runs of operetta from the German stage on Broadway and in the West End Appendix 3. Operettas with English librettos by composers for the German stage Appendix 4. Selected period recordings of English versions of operetta from the German stage Appendix 5. Selected films in English of operettas from the German stage Appendix 6. Research resources.
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