Relevant bibliographies by topics / Operas – Germany – History

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Operas – Germany – History'

Author: Grafiati
Published: 10 March 2023

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Journal articles on the topic "Operas – Germany – History"

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Kallin, Britta. "Intertextualities in Elfriede Jelinek’s Rein Gold: Ein Bühnenessay." Seminar: A Journal of Germanic Studies 57, no. 2 (May 1, 2021): 114–33. http://dx.doi.org/10.3138/seminar.57.2.2.

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Elfriede Jelinek’s postdramatic stage essay Rein Gold (2012) interweaves countless texts including Richard Wagner’s operas from the Ring cycle, Karl Marx’s The Capital, and Marx and Friedrich Engels’s The Communist Manifesto as well as contemporary writings and news articles. Scholarship has so far examined the play in comparison to Wagner’s Rheingold opera, which serves as the base for the dialogue between the father Wotan and daughter Brünnhilde. This article examines intertextualities with the story of the National Socialist Underground, an extremist right-wing group that committed hate-crime murders and bank robberies, and with the exploitative history of workers, particularly women, in capitalist systems. Jelinek compares the National Socialist Underground’s attempt to violently rid Germany of non-ethnic Germans with Siegfried’s mythical fight as dragon slayer in the Nibelungenlied that created a hero who has been cast as a German identity figure for an ethnonational narrative and fascist ideas in twenty-first-century Germany.
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KREUZER, GUNDULA. "Voices from beyond: Verdi's Don Carlos and the modern stage." Cambridge Opera Journal 18, no. 2 (July 2006): 151–79. http://dx.doi.org/10.1017/s0954586706002151.

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It has often been suggested that a renewed fascination with Verdi’s Don Carlos coincided with the advent of Regieoper (or radically revisionist staging) in Germany over the past few decades. However, Don Carlos already counted among the most frequently revived operas in German-language theatres during the first half of the twentieth century. This article argues that neglect of this rich performance tradition is linked both to a German-centred narrative of the history of operatic production, which constructs the 1930s and 1940s as a gap in the development of ‘avant-garde’ direction, and to an over-emphasis on the visual side in recent academic discourse on operatic staging. These attitudes are challenged by a close look at selected German productions of Don Carlos from the 1920s to 1940s. Treatment of the opera's most difficult scenes – the mystical elements of the auto-da-fé finale and the dénouement – reveals striking continuities between the Weimar and Nazi eras, as well as conceptual affinities to some of the most acclaimed recent stagings. These findings call for a more historically grounded approach to operatic production.
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Charlton, David. "Cherubini: A Critical Anthology, 1788–1801." Royal Musical Association Research Chronicle 26 (1993): 95–99. http://dx.doi.org/10.1080/14723808.1993.10540963.

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… as they say in Germany, ‘in music, Cherubini is a hundred years ahead of us’. trans. from Correspondance des Arrwteurs musiciens, 8 October 1803Attitudes to Cherubini have been affected by the knowledge that his most important operas had scant success in Paris after 1800. This lack of a continuous French performing tradition has encouraged the feeling that they were perhaps unviable or unattractive. It is not one shared by the author of a substantial dissertation on Cherubini, Stephen C. Willis; but Willis's work was focussed on the composer rather than his operas’ reception. In fact, neither the performance history nor reception of these five main works has apparently, until now, been investigated. They are: Démophoon (text by J. F. Marmontel, Paris Opéra, 2 December 1788); Lodoïska (C. F. Fillette, or ‘Fillette Loraux’, 18 July 1791); Eliza, ou Le voyage aux glaciers du Mont St Bernard, J. A. Révéroni St-Cyr, 13 December 1794); Médée (F. B. Hoffman, 13 March 1797); and Les Deux journées (J. N. Bouilly, 16 January 1800). The last four were all produced at the Théâtre Feydeau. A properly detailed account of Cherubini's involvement at this theatre must be reserved for another occasion: part of the ignorance surrounding the genesis of these extraordinary operas lies simply in the fact than no history of the Feydeau has been written. Cherubini produced two comedies at the Feydeau which were unsuccessful and are not considered here: L'Hôtellerie portugaise (25 July 1798) and La Punition (23 February 1799).
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Golovlev, Alexander. "Political Control, Administrative Simplicity, or Economies of Scale? Four Cases of the Reunification of Nationalized Theatres in Russia, Germany, Austria, and France (1918–45)." New Theatre Quarterly 38, no. 2 (April 20, 2022): 107–24. http://dx.doi.org/10.1017/s0266464x22000021.

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In 1917–18, the new republican governments of Russia, Germany, and Austria nationalized their former court property. A monarchic-turned-national heritage of prestigious opera and dramatic theatres weighed heavily on national and regional budgets, prompting first attempts to create centralized forms of theatre governance. In a second wave of theatre reorganization in the mid-1930s, the Soviet government created ‘union theatres’ under a Committee for Arts Affairs; the German and Austrian theatres underwent the Nazi Gleichschaltung (1933–35 and 1938); and France, a ‘democratic outlier’, opted for nationalizing the Opéra and Opéra-Comique under the Réunion des théâtres lyriques nationaux. These conglomerates have so far been little studied as historically specific forms of theatre management, particularly from a comparative, trans-regime perspective. What balance can be struck between economic, political, and ‘artistic’ costs and benefits? How does ‘Baumol’s law’ of decreasing theatre profitability apply to these very different politico-economic systems, as well as to war economies? Dictatorships reveal an economic seduction power, while this essay argues for confirming a long-term ‘great European convergence’ of state-centred theatre management, internal structure, and accountability, both in peace and war. Here, the stated goals and short-term contingencies yielded to trends originating from the logic of theatre production itself, and the compromises that the state, theatre professionals, and the public accepted in exchange for the capital of prestige. Alexander Golovlev (PhD, European University Institute in Florence, 2017) is a senior research fellow at the HSE Institute for Advanced Soviet and Post-Soviet Studies at the University of Moscow. His recent publications include, for New Theatre Quarterly, ‘Theatre Policies of Soviet Stalinism and Italian Fascism Compared, 1920–1940s’ (2019), and ‘Balancing the Books and Staging Operas under Duress: Bolshoi Theatre Management, Wartime Economy, and State Sponsorship in 1941–1945’, Russian History XLVII, No. 4 (2020).
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Lēvalde, Vēsma. "Atskaņotājmākslas attīstība Liepājā un Otrā pasaules kara ietekme uz mūziķu likteņiem." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 338–51. http://dx.doi.org/10.37384/aplkp.2021.26-1.338.

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The article is a cultural-historical study and a part of the project Uniting History, which aims to discover the multicultural aspect of performing art in pre-war Liepaja and summarize key facts about the history of the Liepāja Symphony Orchestra. The study also seeks to identify the performing artists whose life was associated with Liepāja and who were repressed between 1941 and 1945, because of aggression by both the Soviet Union and National Socialist Germany. Until now, the cultural life of this period in Liepāja has been studied in a fragmentary way, and materials are scattered in various archives. There are inaccurate and even contradictory testimonies of events of that time. The study marks both the cultural and historical situation of the 1920s and the 1930s in Liepāja and tracks the fates of several artists in the period between 1939 and 1945. On the eve of World War II, Liepāja has an active cultural life, especially in theatre and music. Liepāja City Drama and Opera is in operation staging both dramatic performances, operas, and ballet, employing an orchestra. The symphony orchestra also operated at the Liepāja Philharmonic, where musicians were recruited every season according to the principles of contemporary festival orchestras. Liepāja Folk Conservatory (music school) had also formed an orchestra of students and teachers. Guest concerts were held regularly. A characteristic feature of performing arts in Liepaja was its multicultural character – musicians of different nationalities with experience from different schools of the world were encountered there. World War II not only disrupted the balance in society, but it also had a very concrete and tragic impact on the fates of the people, including the performing artists. Many were killed, many repressed and placed in prisons and camps, and many went to exile to the West. Others were forced to either co-operate with the occupation forces or give up their identity and, consequently, their career as an artist. Nevertheless, some artists risked their lives to save others.
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Tusa, Michael C. "Cosmopolitanism and the National Opera: Weber's Der Freischütz." Journal of Interdisciplinary History 36, no. 3 (January 2006): 483–506. http://dx.doi.org/10.1162/002219506774929809.

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Carl Maria von Weber's Der Freischütz reflects competing definitions of national identity at a crossroads in German history. The historiography of the opera reveals a contrast between the opera's reception as quintessentially German and its interpretation as an example of cosmopolitanism, particularly in its dependence on French operatic models. Weber's own ideas about German opera represent a cosmopolitanism typical of the German Enlightenment, defining Germany's cultural mission as a universalist endeavor. For Weber, the “German” and the “cosmopolitan” were practically identical. The realization of these ideals in Der Freischütz supports multiple, even contradictory, intepretations of its status as “national opera.”
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van Kooten, Kasper. "‘Ein dürftiger Stoff’: Hermann and the Failure of German Liberation Opera (1815–1848)." Nineteenth-Century Music Review 16, no. 02 (September 24, 2018): 249–72. http://dx.doi.org/10.1017/s1479409817000817.

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This article traces the development of national opera on political-historical themes in Germany between 1815 and 1848 and attempts to explain why this genre ultimately did not succeed. The focus will lie on the warrior hero Arminius/Hermann, one of the most potent national symbols of the nineteenth century, who was indeed brought to the German opera stage, but could never conquer it. The period between 1815 and 1848 not only forms a crucial phase in the coming of age of German opera against the background of a burgeoning national conscience, but also presents a lacuna in the current literature on Arminius as an opera character. Two early nineteenth-century Arminius opera projects will be discussed: musical realizations of August von Kotzebue’s 1813 libretto Hermann und Thusnelde and French composer Hippolyte Chélard’s 1835 opera Die Hermannschlacht, based on a libretto by Carl Weichselbaumer. Questions of authorship, patronage, musical style and reception will be addressed. This article presents a history of an operatic ‘misfit’ that fills a hiatus in the study of German nineteenth-century opera and will add to our understanding of the peculiar relation between opera and German national thought during the first half of the century.
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Ломтев, Д. Г. "Ella von Schultz-Adaiewsky’s Operas (On the History of Russian Music Theatre in the 1870s)." Научный вестник Московской консерватории, no. 4(35) (December 19, 2018): 80–97. http://dx.doi.org/10.26176/mosconsv.2018.35.4.03.

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На основе сохранившихся нотных рукописей впервые рассматриваются оперы Эллы фон Шульц-Адаевской «Непригожая, или Дочь боярина» (1873) и «Заря свободы» (1877). Находясь в русле тенденций развития оперного театра в России 1870-х годов, они, вместе с тем, являются первыми крупными достижениями на пути самоутверждения Шульц-Адаевской как женщины-композитора и несут черты присущего ее творческому облику симбиоза русской и немецкой культур. For the first time, Ella von Schultz-Adaiewsky’s operas Die Hässliche, oder Die Tochter des Boajren (The Ugly Girl, or The Boayr’s Daughter, 1873) and Morgenröte der Freiheit (The Dawn of Freedom, 1877) are analyzed on the basis of preserved musical manuscripts of her works. They correspond to the general historical development of the Russian opera in the 1870s, however, they also exhibit the characteristics of Russian-German cultural symbiosis in the composer’s oeuvre. In addition, both operas confirm Schultz-Adaiewsky’s self-assertion as a female composer.
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Fulcher, Jane F. "French Identity in Flux: The Triumph of Honegger's Antigone." Journal of Interdisciplinary History 36, no. 4 (April 2006): 649–74. http://dx.doi.org/10.1162/jinh.2006.36.4.649.

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Why did the Paris Opera stage Arthur Honegger's Antigone in 1943, sixteen years after rejecting it for being too modernist? Recent theories of modernism reveal how the later production was able to penetrate the cultural “spaces” inadvertently created during Vichy's collaboration with Germany. The opera appealed not only to the German-and French-authorized press but also to the public, which viewed it as a work of existential examination, free from political and cultural propaganda.
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Manuwald, Gesine. "Nero and Octavia in Baroque Opera: Their Fate in Monteverdi's Poppea and Keiser's Octavia." Ramus 34, no. 2 (2005): 152–66. http://dx.doi.org/10.1017/s0048671x00000990.

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The imperial history playOctavia, transmitted among the corpus of Senecan drama, has suffered from uncertainty about its date, author, literary genre and intended audience as regards its appreciation in modern criticism. Although the majority of scholars will agree nowadays that the play was not written by Seneca himself, there is still a certain degree of disagreement about its literary genre and date. Anyway, such scholarly quibbles seem not to have affected poets and composers in the early modern era: they recognised the high dramatic potential of the story of Nero and his love relationships in 62 CE along with the involvement of the historical character and writer Seneca.Indeed, this phase in imperial history was apparently quite popular in Italian and German opera of the late 17th and early 18th centuries. The earliest of a number of operatic treatments of the emperor Nero (also the first opera presenting a historical topic) and arguably the best known today is an Italian version:L'incoronazione di Poppea (The Coronation of Poppaea)to a libretto by Giovanni Francesco Busenello (1598-1659) and music attributed to Claudio Monteverdi (1567-1643), first produced in Giovanni Grimani's ‘Teatro di SS Giovanni e Paolo’ in Venice during the carnival season of 1643. Among the latest operas on this subject is a German version, which is hardly known and rarely performed today:Die Römische Unruhe. Oder: Die Edelmütige Octavia. Musicalisches Schau-Spiel (The Roman Unrest. Or: The Magnanimous Octavia. Musical Play)by the librettist Barthold Feind (1678-1721) and the composer Reinhard Keiser (1674-1739), first performed in the ‘Oper am Gänsemarkt’ in Hamburg on 5 August 1705. In this period German opera was generally influenced by Italian opera, but at the same time there were attempts, particularly in Hamburg, to establish a typically German opera.
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Dissertations / Theses on the topic "Operas – Germany – History"

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Mendenhall, Margaret Ann. "Vox Eurydice| The Ascent of Female Rescuers in German-Language Opera." Thesis, Pacifica Graduate Institute, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10792387.

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This dissertation is a mythological analysis written from a feminist perspective, on the emergence of the theme of rescue stories, and specifically plots where a female heroine saves a male character, which arose in German-language opera during the roughly one hundred years that spanned the lifetimes of Wolfgang Amadeus Mozart, Ludwig van Beethoven and Richard Wagner.

This paper begins with a survey of the origins of the Orpheus and Eurydice myth, in which Orpheus descends to Hades in an effort to bring his beloved back to the world of the living. It then describes the creation of opera in the city-states of Italy at the turn of the seventeenth century, based on the understanding scholars of that time had of ancient Greek tragedies. It next explores how the Orpheus and Eurydice narrative was used frequently as the source material for the still nascent genre, focusing on Monteverdi’s Orfeo and Gluck’s Orfeo ed Eurydice. Following this, it considers the parallel development of the artform in the German-speaking territories of Europe. Finally, it analyzes the German-language compositions of Mozart, Beethoven and Wagner using the Orpheus and Eurydice myth to interpret them from Eurydice’s perspective, or the Vox Eurydice.

This writing explores how the German-language works of these three musical giants grew out of the rescue story paradigm, as an extension of Italian opera buffa and French opéra comique. This is reflected in Mozart’s Singspiele and Beethoven’s one completed opera, Fidelio, considered the epitome of the German-language rescue opera. It then goes on to examine Wagner’s oeuvre, not only his ten mature masterpieces, but also three earlier operas and his unfinished pieces. This writing also suggests that the need for the ascent of the female rescuer in German-language opera was unconsciously tied into the desire of the people of the German-speaking territories for a homeland, and how the presence of the Orpheus-Eurydice archetype subsided soon after a German nation was established in 1871.

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Cochran, Keith Harris. "The genesis of Gaspare Spontini's Agnes von Hohenstaufen : a chapter in the history of German opera /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb400412034.

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Siddiqui, Tashmeen Monique. "Jews against Wagner : the 1929 Krolloper production of Wagner's Der fliegende Holländer." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669985.

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Rue, Robert A. ""Mixed Taste," Cosmopolitanism, and Intertextuality in Georg Philipp Telemann's Opera Orpheus." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1483456936606681.

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Cohn, Maurice E. "Finding Music’s Words: Moses und Aron and Viennese Jewish Modernism." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1521740116488967.

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Cailliez, Matthieu. "La diffusion du comique en Europe à travers les productions d’opere buffe, d’opéras-comiques et de komische Opern (France - Allemagne - Italie, 1800-1850)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040110/document.

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Cette étude de la diffusion du comique en Europe, à travers les productions d’opere buffe, d’opéras-comiques et de komische Opern dans la première moitié du XIXe siècle, porte dans un premier temps sur les livrets et leur circulation, puis sur la diffusion des œuvres, enfin sur les modèles structurels musicaux du comique et leurs transferts. Entré le premier dans l’ère de la « littérature industrielle », le théâtre français s’impose à l’échelle du continent et les librettistes français bénéficient du système avantageux du droit d’auteur. Déconsidérés et mal rémunérés, les librettistes italiens et allemands traduisent et adaptent en grande quantité des pièces françaises. Tandis que l’opera buffa connaît une incroyable diffusion en France et en Allemagne entre 1800 et 1850, aussi bien en langue originale qu’en traduction, et que l’opéra-comique suit son exemple en Allemagne en traduction, la komische Oper est rarement jouée en France, et les genres français et allemand restent inconnus en Italie. Les modèles structurels du comique italien, dont les opere buffe de Rossini constituent la plus célèbre expression, sont repris par les compositeurs français et allemands dans leurs propres ouvrages. Les compositeurs allemands empruntent également aux modèles structurels du comique français, si bien que le genre de la komische Oper consiste principalement en une synthèse franco-italienne. Dans une période caractérisée par l’essor des nationalismes, la circulation des œuvres, des librettistes et des compositeurs favorise paradoxalement la construction d’une unité de l’Europe par le rire
This study of the diffusion of comic in Europe, through the productions of opere buffe, opéras-comiques and komische Opern during the first half of the 19th century, firstly examines the libretti and their circulation, then the diffusion of comic operas, and lastly the musical structural models of comic and their transfers. The French theatre inaugurates the age of « industrial literature » imposing itself on the whole continent, and the French librettists benefit from the profitable system of royalties. Discredited and badly payed, the Italian and German librettists translate and adapt a great number of French plays. While the opera buffa enjoys an incredible diffusion in France and in Germany between 1800 and 1850, as well in the original language as in translation, and while the opéra-comique follows suit in Germany (but always in translation), the komische Oper is rarely played in France, and the French and German genres remain unknown in Italy. The structural models of Italian comic, of which Rossini’s opere buffe are the most famous expression, are taken up by French and German composers in their own works. The German composers also borrow from the structural models of French comic, so much so that the genre of the komische Oper ends up consisting principally of a synthesis of French and Italian elements. During a period characterised by the rise of nationalisms, the circulation of the works, the librettists and the composers paradoxically favours the construction of a European unity through laughter
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Jacob, Adrienne. "L'opéra de Strasbourg, une architecture au service de la vie sociale et artistique à Strasbourg (XIXe-XXe siècles)." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG028.

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Créée sous l’Ancien Régime sous le nom de 'Comédie Françoise', l’institution qui fait aujourd’hui partie de l’Opéra National du Rhin a une histoire mouvementée au XIXe siècle. Elle reflète la spécificité culturelle de la ville, dont une partie de la population est germanophone au XIXe siècle. Deux théâtres vont cohabiter dans la ville pendant près d’un siècle, jusqu’à l’interdiction de celui en langue allemande. L’histoire architecturale de l’institution a une vie propre, marquée par d’autres événements, mais toujours liée à la présence de la culture française. Au XVIIIe siècle, le théâtre de langue française est imposé par les autorités. Il est le seul théâtre privilégié de la ville. Il sera hébergé dans quatre lieux successifs plus ou moins provisoires, dont une ancienne église abbatiale, jusqu’à la construction de l’édifice actuel, entre 1801 et 1821. Le choix urbain définitif est le résultat de l’histoire d’un lieu voué depuis le Moyen Age au commerce et aux loisirs : l’actuelle place Broglie. Le choix architectural est lui aussi le résultat d’une histoire qui commence sous l’Ancien Régime, avec plusieurs projets de papier pour la construction d’un vrai théâtre. Sous l’Ancien Régime, la corporation des Drapiers prend l’initiative d’aménager une salle appelée Théâtre allemand et située dans un autre quartier. Il y a donc deux théâtres. Mais entre 1789 et 1805, le Théâtre français décline jusqu’à disparaître complètement en 1806, tandis que son homologue allemand est florissant. Cependant la nouvelle législation du Premier Empire met fin à la liberté théâtrale instaurée par la Révolution. Elle entraînera la mort du Théâtre allemand en 1808. À partir de ce moment, et jusqu’en 1821, le Théâtre français se maintient tant bien que mal à la Salle Saint-Etienne, dans un cadre législatif de plus en plus rigide. Le directeur est confronté à d’innombrables difficultés humaines et matérielles...[]
The Strasbourg Theatre was an institution that is now belonging to the Opera National du Rhin. It has been created under the “Ancien Régime”, and was named 'Comédie Françoise' at that time. Its tormented history reflects the cultural particularity of the city, in which a large part of the population is German speaking in the 19th century. Two theatres will cohabit in the town during nearly one century, until the prohibition of the German one. The architectural story of the institution hat its own life, marked by other events, but always linked to the presence of the French culture.The authorities order the creation of the French Theatre. It is the only one that has the privilege of the French King. It is going to use four different places, more or less temporary. One of them will be, after the French Revolution, a former church. The actual house is build between 1801 and 1821. The urban choice is resulting of the story of a place dedicated until the Middle Ages to trade and leisure : the actual Broglie square. The architectural choice is resulting of a story that begins before the French Revolution, with various projects remaining paper designs. At that time, the guild of the drapers takes the initiative of creating a special room for the German Theatre, in another part of the town. The city has now two heatres. But between 1789 and 1805, the French Theatre looses its importance until disappearing completely in the year 1806. Meanwhile, the German Theatre is flourishing.But the new legislation of the First Empire ends the period of freedom of the French Revolution for theatres. It will soon kill the German Theatre, in the year 1808. Since that year, and until 1821, the French Theatre has the greatest difficulties in the former church called Salle Saint-Etienne. The legislation becomes more and more rigorous. The manager has human and material difficulties...[]
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Shichijo, Megumi. "Les suites instrumentales issues des opéras de Lully publiées à Amsterdam : études historique, philologique et musicale sur l’éditeur Estienne Roger (1665/66 - 1722)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040109.

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Les opéras de Jean-Baptiste de Lully (1632-1687) ont joui d’une diffusion européenne tant de son vivant que de manière posthume. Parmi les pays où ses opéras suscitèrent un véritable engouement, la Hollande bénéficiait d’une situation particulière. En effet, les opéras ont paru aussi bien dans les théâtres que dans l’édition musicale. Concernant l’édition musicale, la ville d’Amsterdam occupa un rôle primordial, où les opéras de Lully furent publiés non seulement en partitions générales et réduites, mais aussi en extraits vocaux et instrumentaux, dont les derniers ont pu être considérés comme les suites instrumentales. Celles-ci constituent un corpus exceptionnel dans la diffusion de l’opéra de Lully, car elles sont arrangées en 4 parties au lieu des 5 originairement présentées et ont joué un rôle intermédiaire entre l’opéra français et la suite d’orchestre allemande. Parmi les éditeurs contribuant à ce phénomène, il faut notamment distinguer un éditeur ayant exercé le commerce extensif : Estienne Roger (1665/66 - 1722). Au sein des recherches sur Roger, la publication de la musique instrumentale italienne et le commerce international représentaient deux enjeux majeurs. Pourtant, la place de la musique française dans ses éditions n’a pas suffisamment été évaluée, bien qu’elle ait atteint jusqu’à un tiers. Cette thèse traite de la particularité commerciale et éditoriale de ce domaine, en se focalisant sur les suites provenant des opéras de Lully. Trois points seront mis en examen : avantage de Roger en tant que libraire huguenot, son utilisation des catalogues lors de la vente des œuvres de Lully, caractéristiques musicales des suites par le biais de l’arrangement
The operas of Jean-Baptiste de Lully (1632-1687) enjoyed a European diffusion both during his lifetime and posthumously. Among the countries where his operas aroused a real enthusiasm, Holland enjoyed a special situation. Indeed, the operas appeared both in theaters and in music publishing. Concerning musical publishing, the city of Amsterdam occupied a primordial role, where Lully's operas were published not only in scores, but also in vocal and instrumental extracts, the last of which could be considered as the instrumental suites. These suites constitute an exceptional corpus in the diffusion of Lully's opera, as they are arranged in 4 parts instead of the 5 originally presented and played an intermediate role between the French opera and the German orchestra suite. Among the publishers contributing to this phenomenon, we must distinguish a publisher who has carried out the extensive marketing: Estienne Roger (1665/66 - 1722). In the researches about Roger, the publication of Italian instrumental music and international trade were two major issues. Yet the place of French music in his editions has not been sufficiently evaluated, although it has reached as much as a third. This thesis deals with the commercial and editorial character of this field, focusing on the suites resulting from the Lully’s operas. Three points will be examined: Roger's advantage as a Huguenot bookseller, his use of catalogs in the sale of Lully's works, musical features of the suites through the arrangement
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KOTKINA, Irina. "Classical opera under authoritarian rule : a comparative study of cultural policy in the USSR, Italy and Germany." Doctoral thesis, 2008. http://hdl.handle.net/1814/10401.

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Defence date: 15 December 2008
Examining Board: Prof. Edward Arfon Rees (EUI, and European Research Institute, University of Birmingham) - supervisor Prof. Heinz-Gerhard Haupt (EUI) Prof. Svetlana Savenko (Moscow State P.I. Tchaikovsky Conservatory, and Russian State Institute for Art Studies) Prof. Hans Erich Bödeker (Max Planck Institute for History, Göttingen, and Max Planck Institute for the History of Science, Berlin)
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The aim of this thesis is to analyze and compare the operatic culture of Stalinist USSR, Nazi Germany, and Fascist Italy. This task implies analyzing and comparing the operatic cultures, and scrutinizing governmental policies as they affected opera in the USSR, Germany, and Italy in the period of authoritarian rule. The most important focus is on the impact which these three regimes had on opera. And we start our analysis from the paradoxical fact that opera managed to retain its high quality during the time of strictest repression
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Moss, Patricia Josette. "Richard Strauss's Friedenstag: a political statement of peace in Nazi Germany." Thesis, 2010. http://hdl.handle.net/1828/2977.

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After the conclusion of World War II, Richard Strauss’s activities and compositions came under intense scrutiny as scholars tried to understand his position with respect to the National Socialist regime. Their conclusions varied, some describing Strauss as a Nazi sympathizer, some as a victim of Nazism, with others concluding that Strauss was neither a sympathizer nor a victim, merely politically naïve. Among the latter was Strauss’s friend and biographer, Willi Schuh, who ardently defended the composer’s activities during the Nazi period. While Schuh asserted that Strauss’s music had no direct political ties to the “Third Reich”, Strauss’s 1938 opera, Friedenstag, demonstrates that he was, in fact, politically aware and capable of composing a work replete with conscious political overtones. The correspondence between Strauss and his Jewish librettist, Stefan Zweig, shows that Strauss deliberately chose to compose Friedenstag in the face of his disillusionment with the Nazi government. Although initially hailed as the first Nazi opera, elements of Friedenstag’s political message resist appropriation by Hitler’s regime. While addressing the pro-Nazi implications through a close study of the libretto and score, this thesis will argue that Friedenstag was composed as a tribute to peace and a response to the increasingly hostile political climate.
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Books on the topic "Operas – Germany – History"

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Stanley, Sadie, ed. Wagner and his operas. London: Macmillan, 2000.

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Politik mit sinnlichen Mitteln: Oper und Fest am Münchner Hof (1680-1745). Köln: Böhlau, 2010.

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Schindler, Ute. Rheinsberg: Opernfestival am Musenhof. Berlin: Parthas, 2000.

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Kleiner, Stephanie. Staatsaktion im Wunderland: Oper und Festspiel als Medien politischer Repräsentation (1890-1930). München: Oldenbourg, 2013.

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Hans-Jochen, Genzel, and Komische Oper Berlin, eds. Die Komische Oper. Berlin: Nicolai, 1997.

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Bauman, Thomas. North German opera in the age of Goethe. Cambridge: Cambridge University Press, 1985.

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Seebald, Christian. ‘Medieval’ Librettos. Discoveries of History in (North) German and European Opera around 1700. Berlin, New York: Walter de Gruyter – Max Niemeyer Verlag, 2009. http://dx.doi.org/10.1515/9783484970847.

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The German baroque pastoral "Singspiel". Bern: P. Lang, 1990.

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Ulrike, Hessler. The Munich National Theatre: From royal court theatre to the Bavarian State Opera. München: Bruckmann, 1991.

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Reichhardt, Hans Joachim. --bei Kroll 1844 bis 1957: Etablissement, Ausstellungen, Theater, Konzerte, Oper, Reichstag, Gartenlokal : eine Ausstellung des Landesarchivs Berlin, 14. Juni bis 31. Oktober 1988. Berlin: Transit, 1988.

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Book chapters on the topic "Operas – Germany – History"

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Tomaszewski, Jerzy. "Upside-Down History." In Polin: Studies in Polish Jewry Volume 14, 377–80. Liverpool University Press, 2001. http://dx.doi.org/10.3828/liverpool/9781874774693.003.0028.

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This chapter reviews an article by David Cymet, entitled ‘Polish State Antisemitism as a Major Factor Leading to the Holocaust’. The article was published in Britain in the Journal of Genocide Research. The chapter considers a number of peculiarities and mistakes present in the article. It questions the sources drawn by the article to expound its thesis. Moreover, the chapter analyses the article's thesis that the views and deeds of Polish antisemites influenced the Nazi policy of genocide in Germany, occupied Poland, and other countries. It argues that the German authorities in occupied Poland were not under the influence of Poles. Indeed, while there were rare cases of individual Polish politicians offering to co-operate with Germany against the Soviet Union, these proposals met with no response.
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"Chapter 8. Early German Opera." In A Short History of Opera, 121–31. Columbia University Press, 2003. http://dx.doi.org/10.7312/grou11958-009.

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"Chapter 21. The Romantic Opera in Germany." In A Short History of Opera, 417–35. Columbia University Press, 2003. http://dx.doi.org/10.7312/grou11958-022.

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Hayton, Jeff. "Introduction." In Culture from the Slums, 1–27. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198866183.003.0001.

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Culture from the Slums opens with an overview of punk and a detailed explanation of the divided German context. In the process, it makes three main claims. First, that punk has substantially influenced politics, society, and culture in divided Germany during the 1970s and 1980s and helps explain the success of democracy in West Germany and the failure of socialism in East Germany. Second, that alternative culture and authenticity are crucial for understanding the subculture and these decades, and explains why and how they drove the cultural experimentation that defines this era. And third, there were considerable similarities between East and West Germany in popular music production and consumption, parallels suggesting a certain subcultural convergence across the Iron Curtain in the last decades of the Cold War. Along with discussions of methodology and definitions, the introduction outlines the study’s historiographical interventions and punk’s importance for understanding postwar German history.
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"Chapter 23. The Later Nineteenth Century: France! Italy! Germany! and Austria." In A Short History of Opera, 473–504. Columbia University Press, 2003. http://dx.doi.org/10.7312/grou11958-024.

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"Chapter 26. Opera in the German-Speaking Countries." In A Short History of Opera, 611–61. Columbia University Press, 2003. http://dx.doi.org/10.7312/grou11958-027.

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Kruglanski, Arie W., David Webber, and Daniel Koehler. "Right-Wing Extremism in Germany." In The Radical's Journey, 8–38. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190851095.003.0002.

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Chapter 2 provides an overview of German right-wing extremism. A history of German right-wing extremism is first discussed, tracing the formation of right-wing political parties and militant groups in this country in the post–World War II period. Critical periods and events are highlighted, including, among others, the reunification of East and West Germany and the current “refugee crisis.” The chapter describes important groups and organizations that operate or have operated within the right-wing milieu over the last decades. These groups include political parties, subcultural groups, and organizations that have committed terrorist attacks. These latter groups are discussed in terms of their formation, terrorist actions, and consequences.
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"Chapter 7. Seventeenth-Century Italian Opera in German-Speaking Lands." In A Short History of Opera, 107–20. Columbia University Press, 2003. http://dx.doi.org/10.7312/grou11958-008.

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Zenck, Claudia Maurer, Anke Caton, and Simon P. Keefe. "German opera from Reinhard Keiser to Peter Winter." In The Cambridge History of Eighteenth-Century Music, 331–84. Cambridge University Press, 2009. http://dx.doi.org/10.1017/chol9780521663199.012.

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von der Goltz, Anna. "Introduction." In The Other '68ers, 1–21. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198849520.003.0001.

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This chapter introduces the book’s protagonists and main subject: the other ‘68ers, a group of centre-right activists who had participated in the West German student movement of the late 1960s and 1970s and later commemorated their efforts as a form of democratic resistance against left-wing radicals. It argues that a close examination of the other ‘68ers’ ideas, experiences, repertoires, and remarkable career trajectories enables us to rethink the history of 1968 and its afterlives in important ways. Studying the hitherto neglected role these individuals played at the time, as well as their life paths and long-term impact on West German political culture, opens up new vistas for understanding the history of protest in 1968, the late Federal Republic, and the role that generation played in postwar Germany. The Introduction also discusses the different sources used for this study, including the oral history methodology on which parts of the book are based.
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Conference papers on the topic "Operas – Germany – History"

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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.

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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.
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Zunno, Antonio. "La fortezza e il suo giardino: uno sguardo dal mare." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11368.

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The fortress and its garden: a view from the seaThe Fortress was built from 1554, on the ruins of an ancient convent, at the behest of Philip of Austria, and it was completed in about 55 years under the direction of Giulio Cesare Falco, knight of the Order of Malta and Captain General against the Turks. The maine structure, called Forte a Mare, was joined with the Opera a Corno, a mighty rampart with the function of enclosure of the intermediate island, separated from the other island in 1598 by the construction of the Angevin canal: here were arranged the lodgings of the troops and garrisons. Castello and Forte, were named by the Spaniards Isla Fortalera que abre el Puerto Grande, because of its particular position to protect the port. The complex was entrusted to the Germans in 1715, then conquered by the French Revolutionaries and, in 1815, re-annexed to the Kingdom of Naples and destined to lazaretto. A period of decline follows until the end of the 19th century when Brindisi became a first class naval base and the fort became a garrison of the Royal Navy, destined, during the Great War, to recover torpedoes and detonators The recovery of the complex, starting in the 1980s, allowed the conservation of the structures but was never included in a real valorisation program. With this intervention in progress, a first visit is expected through the visit from the walkways through a circular route from the Castle to the whole Opera in Corno: the itinerary will allow you to retrace the history of the Fortress and enjoy a unique view from the high towards the sea, also through the passage in a curtain of Mediterranean scrub that has colonized the walls over the centuries, creating a veritable hanging garden on the sea. The aim is to lead the visitor to the rediscovery a forgotten place that is closely connected to the coastal landscape, for which it is a privileged point of view also in relation to the city and the port.
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Eklics, Kata, Eszter Kárpáti, Robin Valerie Cathey, Andrew J. Lee, and Ágnes Koppán. "Interdisciplinary Medical Communication Training at the University of Pécs." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9443.

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Medical communication training is being challenged to meet the demands of a more internationalized world. As a result, interdisciplinary simulation-based education is designed to advance clinical skill development, specifically in doctor-patient interactions. The Standardized Patient Program has been applied in American Medical Schools since the 1960s, implementing patient profiles based on authentic cases. At the University of Pécs, Medical School in Hungary, this model is being adapted to facilitate improving patient-interviewing, problem-solving, and medical reporting skills. The interdisciplinary program operates in Hungarian, German and English languages, utilizing actors to perform as simulated patients under the close observation of medical specialists and linguists. This innovative course is designed to train students to successfully collect patient histories while navigating medical, linguistic, emotional, and socio-cultural complexities of patients. Experts in medicine and language assess student performance, offering feedback and providing individualized training that students might improve their professional and communicative competencies. This paper examines how this interdisciplinary course provides valuable opportunities for more efficient patient-oriented communication practices. Through responding to medical emergencies, miscommunications, and conflicts in a safe environment, medical students prepare to deal with a diverse patient context, that more qualified and empathetic health personnel may be employed throughout clinics worldwide. Keywords: interdisciplinary simulation-based education, doctor-patient interaction, MediSkillsLab, medical history taking, language for specific purposes competencies
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Bannasch, Rudolf, Konstantin Kebkal, Sergey Yakovlev, and Alexej Kebkal. "Fast and Reliable Underwater Communication: Successful Applications of Biologically Inspired Techniques." In 25th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/omae2006-92550.

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The capability of the Sweep Spread Carrier (S2C) technology to overcome even the most crucial problems occurring in noisy ultra-shallow water channels could be shown in a wide range of technical applications. A milestone was the first real time transmission of side-scan sonar data while sea-floor mapping carried out by the AUV HUGIN 1000 running several hundred meters in front of the supply ship at a depth of 100–200 m (water depth ca. 400 m). Data speed was between 20 and 33 kBit/s in this trial. Based on this experience a new protocol providing two communication layers has been developed which allows to interpose high priority messages into an ongoing data stream when ever appropriate. So the S2C modems can be used for the transmission of large data files (measurements, digital images etc.) while serving as a fast and reliable control or command link, simultaneously. Current developments include integrated communication, tracking and positioning (combination with an USBL module) and enhanced networking capability. Various models ranging from high-speed S2C modems for short distance application (up to 72 kBit/s over several hundred metres) to efficient long-range modems became available. One of our latest models, the S2C M 7/17, is currently tested in the German Tsunami warning system in the Indian Ocean. The two directional acoustic link between the ocean bottom unit (OBU in 5000–6000 m depth) and the satellite buoy at the surface will be fast enough to transmit not only pressure data but also the records of 4 high-resolution seismic channels including the pre-history of a given Tsunami event. Via satellite scientists have permanent access to the OBU and can thus analyse any event of interest. This new technology opens many possibilities also for applications in Offshore Mechanics and Arctic engineering. Worthwhile to be mentioned, just the other day also the acoustic data transfer via the mud inside of a drill pipe was managed by using the S2C technique.
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Ings, Welby. "Beyond the Ivory Tower: Practice-led inquiry and post-disciplinary research." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.171.

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This address considers relationships between professional and postdisciplinary practices as they relate to practice-led design research. When viewed through territorial lenses, the artefacts and systems that many designers in universities develop can be argued as hybrids because they draw into their composition and contexts, diverse disciplinary fields. Procedurally, the address moves outwards from a discussion of the manner in which disciplinary designations, that originated in the secularisation of German universities during the beginning of the nineteenth century, became the template for how much knowledge is currently processed inside the academy. The paper then examines how these demarcations of thought, that included non-classical languages and literatures, social and natural sciences and technology, were disrupted in the 1970s and 1980s, by identity-based disciplines that grew inside universities. These included women’s, lesbian and gay, and ethnic studies. However, of equal importance during this period was the arrival of professional disciplines like design, journalism, nursing, business management, and hospitality. Significantly, many of these professions brought with them values and processes associated with user-centred research. Shaped by the need to respond quickly and effectively to opportunity, practitioners were accustomed to drawing on and integrating knowledge unfettered by disciplinary or professional demarcation. For instance, if a design studio required the input of a government policymaker, a patent attorney and an engineer, it was accustomed to working flexibly with diverse realms of knowledge in the pursuit of an effective outcome. In addition, these professions also employed diverse forms of practice-led inquiry. Based on high levels of situated experimentation, active reflection, and applied professional knowing, these approaches challenged many research and disciplinary conventions within the academy. Although practice-led inquiry, argued as a form of postdisciplinarity practice, is a relatively new concept (Ings, 2019), it may be associated with Wright, Embrick and Henke’s (2015, p. 271) observation that “post-disciplinary studies emerge when scholars forget about disciplines and whether ideas can be identified with any particular one: they identify with learning rather than with disciplines”. Darbellay takes this further. He sees postdisciplinarity as an essential rethinking of the concept of a discipline. He suggests that when scholars position themselves outside of the idea of disciplines, they are able to “construct a new cognitive space, in which it is no longer merely a question of opening up disciplinary borders through degrees of interaction/integration, but of fundamentally challenging the obvious fact of disciplinarity” (2016, p. 367). These authors argue that, postdisciplinarity proposes a profound rethinking of not only knowledge, but also the structures that surround and support it in universities. In the field of design, such approaches are not unfamiliar. To illustrate how practice-led research in design may operate as a postdisciplinary inquiry, this paper employs a case study of the short film Sparrow (2017). In so doing, it unpacks the way in which knowledge from within and beyond conventionally demarcated disciplinary fields, was gathered, interpreted and creatively synthesised. Here, unconstrained by disciplinary demarcations, a designed artefact surfaced through a research fusion that integrated history, medicine, software development, public policy, poetry, typography, illustration, and film production.
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