Christopher Wintle, Kate Hopkins
What Opera Means
Categories and Case-Studies
Herausgeber: Hopkins, Kate
Christopher Wintle, Kate Hopkins
What Opera Means
Categories and Case-Studies
Herausgeber: Hopkins, Kate
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A fresh, elegant and vital enquiry into the elusive character of opera, unfolded through categories and case-studies, with an emphasis on historical background, psychology and performance.
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A fresh, elegant and vital enquiry into the elusive character of opera, unfolded through categories and case-studies, with an emphasis on historical background, psychology and performance.
Produktdetails
- Produktdetails
- Verlag: Boydell and Brewer
- Seitenzahl: 288
- Erscheinungstermin: 15. März 2018
- Englisch
- Abmessung: 233mm x 157mm x 22mm
- Gewicht: 539g
- ISBN-13: 9780993198359
- ISBN-10: 099319835X
- Artikelnr.: 50010674
- Verlag: Boydell and Brewer
- Seitenzahl: 288
- Erscheinungstermin: 15. März 2018
- Englisch
- Abmessung: 233mm x 157mm x 22mm
- Gewicht: 539g
- ISBN-13: 9780993198359
- ISBN-10: 099319835X
- Artikelnr.: 50010674
Christopher Wintle, Kate Hopkins
Author's Preface Introduction: Defining Opera Opera Defining Opera
(Strauss: Capriccio) Rising to the Occasion (Verdi: Aida) A Conundrum and a
Problem (Wagner: Tristan und Isoldeand Mozart: Die Zauberflöte) A Perennial
Source (Adès: The Tempest) Play, Intermezzo and Opera (Strauss: Ariadne auf
Naxos) Tragedy of Affliction or Bourgeois Drama? (Verdi: La traviata) A
Comedy of Psychopathologies (Britten: Albert Herring) A Generic Puzzle
(Wagner: Die Meistersinger von Nürnberg) A Boccaccian Comedy (Verdi:
Falstaff) Epic Opera (Weill: Aufstieg und Fall der Stadt Mahagonny) The
Style of the House (Verdi: Les Vêpres siciliennes) A Melodrama of Two
Styles (Verdi: Rigoletto) New-old Style (Britten: Gloriana) Old-new Style
(Goehr/Monteverdi: Arianna) Constant Flux (Benjamin: Written on Skin) From
1853 to 1854 (on Keys) (Verdi: La traviata) From Dresden to Paris (Wagner:
Tannhäuser) From Paris to Modena . and Back (Verdi: Don Carlo(s)) The Title
(Strauss: Der Rosenkavalier) A Name (Verdi: Simon Boccanegra) The Prelude
(Verdi: Un ballo in maschera) Multiple Beginnings (Wagner: Das Rheingold)
The Denouement (Verdi: Otello) Peroration (Cadence) (Wagner:
Götterdämmerung) Topic and Time (Britten: The Rape of Lucretia) Sources of
Musical Invention (Britten: Death in Venice) Colloquy (Wagner: Parsifal)
Sacred and Secular (Verdi: Stiffelio) The Force of the Outsider (Verdi: Il
trovatore) Freud and Opera (Offenbach: La Belle Hélène; Peri:
L'Euridice;Wagner: Lohengrin and Siegfried; Verdi: Aida; Tchaikovsky: The
Queen of Spades; Britten: Billy Budd; Bizet: Carmen) On Neurotics (Wagner:
Der Ring des Nibelungen) Mother, Madonna, Maid and Whore (Wagner:
Tannhäuser) Loss (Verdi: Simon Boccanegra) Encapsulated Repression (Verdi:
Rigoletto) Prologue: Alternative Rhetorics (Handel: Ariodante) Authentic
Inauthenticity (Rameau: Les Fêtes d'Hébé) Psychologizing the Gods (Wagner:
Das Rheingold) Reclaiming Anti-opera (Debussy: Pelléas et Mélisande)
Enduring Ephemera (Massenet: Chérubin) Credible Magic (Strauss: Die Frau
ohne Schatten) The Memorable Tune (Prokofiev: The Love for Three Oranges)
Production as Reinvention (Janá?ek: Kát'a Kabanová and The Adventures of
Mr. Brou?ek Aesthetic Inversion (Stravinsky: Oedipus Rex,and Bartók: Duke
Bluebeard's Castle) Remaking a Hero (Britten: Peter Grimes) Revising
Revisions (Britten: Billy Budd) Reinventing the Style Heights (Blake: The
Plumber's Gift) Mechanical Pastoral (Birtwistle: Yan Tan Tethera) Sacred
Awe and Terror (Messiaen: Saint François d'Assise) Bardolatry (Oliver:
Timon of Athens) Anti-romantic Romanticism (Weir: Blond Eckbert) Epilogue:
Production versus Music? (Sutcliffe: Believing in Opera (book))
Bibliography Index
(Strauss: Capriccio) Rising to the Occasion (Verdi: Aida) A Conundrum and a
Problem (Wagner: Tristan und Isoldeand Mozart: Die Zauberflöte) A Perennial
Source (Adès: The Tempest) Play, Intermezzo and Opera (Strauss: Ariadne auf
Naxos) Tragedy of Affliction or Bourgeois Drama? (Verdi: La traviata) A
Comedy of Psychopathologies (Britten: Albert Herring) A Generic Puzzle
(Wagner: Die Meistersinger von Nürnberg) A Boccaccian Comedy (Verdi:
Falstaff) Epic Opera (Weill: Aufstieg und Fall der Stadt Mahagonny) The
Style of the House (Verdi: Les Vêpres siciliennes) A Melodrama of Two
Styles (Verdi: Rigoletto) New-old Style (Britten: Gloriana) Old-new Style
(Goehr/Monteverdi: Arianna) Constant Flux (Benjamin: Written on Skin) From
1853 to 1854 (on Keys) (Verdi: La traviata) From Dresden to Paris (Wagner:
Tannhäuser) From Paris to Modena . and Back (Verdi: Don Carlo(s)) The Title
(Strauss: Der Rosenkavalier) A Name (Verdi: Simon Boccanegra) The Prelude
(Verdi: Un ballo in maschera) Multiple Beginnings (Wagner: Das Rheingold)
The Denouement (Verdi: Otello) Peroration (Cadence) (Wagner:
Götterdämmerung) Topic and Time (Britten: The Rape of Lucretia) Sources of
Musical Invention (Britten: Death in Venice) Colloquy (Wagner: Parsifal)
Sacred and Secular (Verdi: Stiffelio) The Force of the Outsider (Verdi: Il
trovatore) Freud and Opera (Offenbach: La Belle Hélène; Peri:
L'Euridice;Wagner: Lohengrin and Siegfried; Verdi: Aida; Tchaikovsky: The
Queen of Spades; Britten: Billy Budd; Bizet: Carmen) On Neurotics (Wagner:
Der Ring des Nibelungen) Mother, Madonna, Maid and Whore (Wagner:
Tannhäuser) Loss (Verdi: Simon Boccanegra) Encapsulated Repression (Verdi:
Rigoletto) Prologue: Alternative Rhetorics (Handel: Ariodante) Authentic
Inauthenticity (Rameau: Les Fêtes d'Hébé) Psychologizing the Gods (Wagner:
Das Rheingold) Reclaiming Anti-opera (Debussy: Pelléas et Mélisande)
Enduring Ephemera (Massenet: Chérubin) Credible Magic (Strauss: Die Frau
ohne Schatten) The Memorable Tune (Prokofiev: The Love for Three Oranges)
Production as Reinvention (Janá?ek: Kát'a Kabanová and The Adventures of
Mr. Brou?ek Aesthetic Inversion (Stravinsky: Oedipus Rex,and Bartók: Duke
Bluebeard's Castle) Remaking a Hero (Britten: Peter Grimes) Revising
Revisions (Britten: Billy Budd) Reinventing the Style Heights (Blake: The
Plumber's Gift) Mechanical Pastoral (Birtwistle: Yan Tan Tethera) Sacred
Awe and Terror (Messiaen: Saint François d'Assise) Bardolatry (Oliver:
Timon of Athens) Anti-romantic Romanticism (Weir: Blond Eckbert) Epilogue:
Production versus Music? (Sutcliffe: Believing in Opera (book))
Bibliography Index
Author's Preface Introduction: Defining Opera Opera Defining Opera
(Strauss: Capriccio) Rising to the Occasion (Verdi: Aida) A Conundrum and a
Problem (Wagner: Tristan und Isoldeand Mozart: Die Zauberflöte) A Perennial
Source (Adès: The Tempest) Play, Intermezzo and Opera (Strauss: Ariadne auf
Naxos) Tragedy of Affliction or Bourgeois Drama? (Verdi: La traviata) A
Comedy of Psychopathologies (Britten: Albert Herring) A Generic Puzzle
(Wagner: Die Meistersinger von Nürnberg) A Boccaccian Comedy (Verdi:
Falstaff) Epic Opera (Weill: Aufstieg und Fall der Stadt Mahagonny) The
Style of the House (Verdi: Les Vêpres siciliennes) A Melodrama of Two
Styles (Verdi: Rigoletto) New-old Style (Britten: Gloriana) Old-new Style
(Goehr/Monteverdi: Arianna) Constant Flux (Benjamin: Written on Skin) From
1853 to 1854 (on Keys) (Verdi: La traviata) From Dresden to Paris (Wagner:
Tannhäuser) From Paris to Modena . and Back (Verdi: Don Carlo(s)) The Title
(Strauss: Der Rosenkavalier) A Name (Verdi: Simon Boccanegra) The Prelude
(Verdi: Un ballo in maschera) Multiple Beginnings (Wagner: Das Rheingold)
The Denouement (Verdi: Otello) Peroration (Cadence) (Wagner:
Götterdämmerung) Topic and Time (Britten: The Rape of Lucretia) Sources of
Musical Invention (Britten: Death in Venice) Colloquy (Wagner: Parsifal)
Sacred and Secular (Verdi: Stiffelio) The Force of the Outsider (Verdi: Il
trovatore) Freud and Opera (Offenbach: La Belle Hélène; Peri:
L'Euridice;Wagner: Lohengrin and Siegfried; Verdi: Aida; Tchaikovsky: The
Queen of Spades; Britten: Billy Budd; Bizet: Carmen) On Neurotics (Wagner:
Der Ring des Nibelungen) Mother, Madonna, Maid and Whore (Wagner:
Tannhäuser) Loss (Verdi: Simon Boccanegra) Encapsulated Repression (Verdi:
Rigoletto) Prologue: Alternative Rhetorics (Handel: Ariodante) Authentic
Inauthenticity (Rameau: Les Fêtes d'Hébé) Psychologizing the Gods (Wagner:
Das Rheingold) Reclaiming Anti-opera (Debussy: Pelléas et Mélisande)
Enduring Ephemera (Massenet: Chérubin) Credible Magic (Strauss: Die Frau
ohne Schatten) The Memorable Tune (Prokofiev: The Love for Three Oranges)
Production as Reinvention (Janá?ek: Kát'a Kabanová and The Adventures of
Mr. Brou?ek Aesthetic Inversion (Stravinsky: Oedipus Rex,and Bartók: Duke
Bluebeard's Castle) Remaking a Hero (Britten: Peter Grimes) Revising
Revisions (Britten: Billy Budd) Reinventing the Style Heights (Blake: The
Plumber's Gift) Mechanical Pastoral (Birtwistle: Yan Tan Tethera) Sacred
Awe and Terror (Messiaen: Saint François d'Assise) Bardolatry (Oliver:
Timon of Athens) Anti-romantic Romanticism (Weir: Blond Eckbert) Epilogue:
Production versus Music? (Sutcliffe: Believing in Opera (book))
Bibliography Index
(Strauss: Capriccio) Rising to the Occasion (Verdi: Aida) A Conundrum and a
Problem (Wagner: Tristan und Isoldeand Mozart: Die Zauberflöte) A Perennial
Source (Adès: The Tempest) Play, Intermezzo and Opera (Strauss: Ariadne auf
Naxos) Tragedy of Affliction or Bourgeois Drama? (Verdi: La traviata) A
Comedy of Psychopathologies (Britten: Albert Herring) A Generic Puzzle
(Wagner: Die Meistersinger von Nürnberg) A Boccaccian Comedy (Verdi:
Falstaff) Epic Opera (Weill: Aufstieg und Fall der Stadt Mahagonny) The
Style of the House (Verdi: Les Vêpres siciliennes) A Melodrama of Two
Styles (Verdi: Rigoletto) New-old Style (Britten: Gloriana) Old-new Style
(Goehr/Monteverdi: Arianna) Constant Flux (Benjamin: Written on Skin) From
1853 to 1854 (on Keys) (Verdi: La traviata) From Dresden to Paris (Wagner:
Tannhäuser) From Paris to Modena . and Back (Verdi: Don Carlo(s)) The Title
(Strauss: Der Rosenkavalier) A Name (Verdi: Simon Boccanegra) The Prelude
(Verdi: Un ballo in maschera) Multiple Beginnings (Wagner: Das Rheingold)
The Denouement (Verdi: Otello) Peroration (Cadence) (Wagner:
Götterdämmerung) Topic and Time (Britten: The Rape of Lucretia) Sources of
Musical Invention (Britten: Death in Venice) Colloquy (Wagner: Parsifal)
Sacred and Secular (Verdi: Stiffelio) The Force of the Outsider (Verdi: Il
trovatore) Freud and Opera (Offenbach: La Belle Hélène; Peri:
L'Euridice;Wagner: Lohengrin and Siegfried; Verdi: Aida; Tchaikovsky: The
Queen of Spades; Britten: Billy Budd; Bizet: Carmen) On Neurotics (Wagner:
Der Ring des Nibelungen) Mother, Madonna, Maid and Whore (Wagner:
Tannhäuser) Loss (Verdi: Simon Boccanegra) Encapsulated Repression (Verdi:
Rigoletto) Prologue: Alternative Rhetorics (Handel: Ariodante) Authentic
Inauthenticity (Rameau: Les Fêtes d'Hébé) Psychologizing the Gods (Wagner:
Das Rheingold) Reclaiming Anti-opera (Debussy: Pelléas et Mélisande)
Enduring Ephemera (Massenet: Chérubin) Credible Magic (Strauss: Die Frau
ohne Schatten) The Memorable Tune (Prokofiev: The Love for Three Oranges)
Production as Reinvention (Janá?ek: Kát'a Kabanová and The Adventures of
Mr. Brou?ek Aesthetic Inversion (Stravinsky: Oedipus Rex,and Bartók: Duke
Bluebeard's Castle) Remaking a Hero (Britten: Peter Grimes) Revising
Revisions (Britten: Billy Budd) Reinventing the Style Heights (Blake: The
Plumber's Gift) Mechanical Pastoral (Birtwistle: Yan Tan Tethera) Sacred
Awe and Terror (Messiaen: Saint François d'Assise) Bardolatry (Oliver:
Timon of Athens) Anti-romantic Romanticism (Weir: Blond Eckbert) Epilogue:
Production versus Music? (Sutcliffe: Believing in Opera (book))
Bibliography Index