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Books on the topic 'Operas – Germany – History'

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Author: Grafiati

Published: 10 March 2023

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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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8

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

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9

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

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10

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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11

Renato, Oniga, ed. Opera omnia. Torino: Einaudi, 2003.

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12

Brecht at the opera. Berkeley: University of California Press, 2008.

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13

Das Gärtnerplatztheater in München 1932-1944: Zur Operette im Nationalsozialismus. Frankfurt am Main: Peter Lang, 1991.

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14

Polifonie veneziane. Roma: Viella, 2013.

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15

Calico, Joy Haslam. Brecht at the opera. Berkeley: University of California Press, 2008.

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16

Aikin, Judith Popovich. A language for German opera: The development of forms and formulas for recitative and aria in seventeenth-century German libretti. Wiesbaden: Harrassowitz, 2002.

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17

Mämpel, Wulf. Vorhang auf!: 25 Jahre Aalto-Theater : die Essener Oper ist ein Gesamtkunstwerk und Botschafterin der Musik. Essen: Beleke, 2013.

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18

Verdi and the Germans: From unification to the Third Reich. Cambridge: Cambridge University Press, 2010.

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19

Hartwich, Wolf-Daniel. Deutsche Mythologie: Die Erfindung einer nationalen Kunstreligion. Berlin: Philo, 2000.

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20

Gregory. Sancti Gregorii nazianzeni opera. Turnhout: Brepols, 2006.

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21

Frigge, Sabine. Komischerweise spielen im Woyzeck immer Erbsen mit: Theatergeschichten und Theatergeschichte : 100 Jahre Theater Freiburg. Freiburg i. Br: Rombach Verlag, 2010.

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22

Colvin, Sarah. The rhetorical feminine: Gender and orient on the German stage, 1647-1742. Oxford: Clarendon Press, 1999.

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23

Shaping the new man: Youth training regimes in Fascist Italy and Nazi Germany. Madison, Wisconsin: The University of Wisconsin Press, 2015.

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24

Haken, Boris von. Der "Reichsdramaturg": Rainer Schlösser und die Musiktheater-Politik in der NS-Zeit. Hamburg: von Bockel, 2007.

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25

Cecca, Christiane Wolf Di. Die Frankfurter "Alte Oper": Baumonographie eines Opernhauses 1869-1880. Frankfurt am Main: W. Kramer, 1997.

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26

Hegemann, Carl, and Christian Mahlow. Christoph Schlingensief: Mea Culpa : eine ReadyMadeOper. Edited by Burgtheater (Vienna Austria). 2nd ed. Wien: Burgtheater, 2009.

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27

Fuhrimann, Daniel. Herzohren für die Tonkunst: Opern- und Konzertpublikum in der deutschen Literatur des langen 19. Jahrhunderts. Freiburg: Rombach, 2005.

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28

Gregory. Sancti Gregorii Nazianzeni Opera: Versio armeniaca. Turnhout [Belgium]: Brepols, 1999.

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29

Gregory. Sancti Gregorii Nazianzeni Opera: Versio iberica. Turnhout [Belgium]: Brepols, 1998.

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30

Gregory. Sancti Gregorii Nazianzeni Opera: Versio syriaca. Turnhout: Brepols, 2001.

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31

Gregory. Sancti Gregorii Nazianzeni Opera: Versio armeniaca. Turnhout [Belgium]: Brepols, 1994.

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32

Gregory. Sancti Gregorii Nazianzeni Opera: Versio armeniaca. Turnhout [Belgium]: Brepols, 1999.

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33

Gregory. Sancti Gregorii Nazianzeni Opera: Versio syriaca. Turnhout: Brepols, 2001.

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34

Gregory. Sancti Gregorii Nazianzeni Opera: Versio iberica. Turnhout, Belgium: Brepols, 2000.

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35

Haken, Boris von. Der "Reichsdramaturg": Rainer Schlösser und die Musiktheater-Politik in der NS-Zeit. Hamburg: von Bockel, 2007.

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36

Der gebrauchte Text: Studien zu den Libretti Boris Blachers. Stuttgart: J.B. Metzler, 2002.

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37

Weimar, Staatskapelle, ed. Wer ist so feig, der jetzt noch könnte zagen: Deutsches Nationaltheater und Staatskapelle Weimar : Intendanz Stephan Märki. Berlin: Theater der Zeit, 2012.

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38

Gregory. Sancti Gregorii Nazianzeni opera: Versio arabica antiqua. Turnhout [Belgium]: Brepols, 1996.

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39

Heinrich Manns Opernroman Die kleine Stadt: Korrespondenz der Künste im europäischen Kontext. München: Meidenbauer, 2009.

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40

Rees, Anke. Das Gebäude als Akteur: Architekturen und ihre Atmosphären. Zürich: Chronos, 2016.

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41

Vocal victories: Wagner's female characters from Senta to Kundry. Copenhagen: Museum Tusculanum Press, 2011.

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42

Gregory. Sancti Gregorii Nazianzeni opera: Versio iberica III : oratio XXXVIII. Turnhout: Brepols, 2004.

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43

Elene, Metreveli, and Bezarachvili Ketevan, eds. Sancti Gregorii Nazianzeni opera: Versio iberica III : oratio XXXVIII. Turnhout: Brepols, 2001.

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44

Eine wilhelminische Oper. Frankfurt am Main: Insel Verlag, 1985.

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45

Gregory. Sancti Gregorii Nazianzeni opera: Versio syriaca II : orationes XIII, XLI. Turnhout: Brepols, 2002.

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46

Wagner and Venice. Rochester: University of Rochester Press, 2008.

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47

Sadie, Stanley. Wagner and His Operas (New Grove Composers Series). St Martins Pr, 1999.

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48

Oper - o reiner Unsinn. Freiberg am Neckar, Germany: Edition Wuz, 2005.

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49

Pollock, Emily Richmond. Opera After the Zero Hour. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190063733.001.0001.

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Abstract:

Opera after the Zero Hour argues that newly composed opera in West Germany after World War II was a site for the renegotiation of musical traditions during an era in which tradition had become politically fraught. The idea of the “Zero Hour,” which put a rhetorical caesura between National Socialism and postwar occupied and divided Germany, was belied by significant continuities with earlier periods and by repeated efforts at conservative restoration. Opera’s social, aesthetic, and political value systems made it an essential piece of this cultural ethos. Its conservatism was creative and multifaceted, and composers who wrote new operas developed a range of strategies to make opera modern while still drawing on the conventions of the genre. Different historical reference points and approaches to operatic tradition are exemplified through five case studies of works premiered in the first two postwar decades on the stages of West Germany. For these operas, this book presents source studies, close reading, and reviews as constellations to illuminate the politicized artistic environment that influenced both their creation and their reception. The argument also draws on historical information and the archives of German opera houses to contextualize new opera within institutions. Works written for postwar West German opera companies could be nuanced in their conception of and relationship to historic and modern ideas of what opera should be, and the reception of these works reveals tensions between particular interpretations of tradition, operaticism, and the future of opera.

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50

Giuseppe, Verdi. Aida: Libretto (Italian/German). Schott, 2001.

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