Journal articles on the topic 'Operas – Germany – History'
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1
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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Grempler, Martina. "Deutsche Nationalidole in der italienischen Oper des 19. Jahrhunderts." Studia Musicologica 52, no. 1-4 (March 1, 2011): 351–61. http://dx.doi.org/10.1556/smus.52.2011.1-4.25.
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Freedom fighters and national heroes frequently appeared on the operatic stage of the 19th century. Rossini used the story of Wilhem Tell, Verdi composed an opera about Jeanne D’Arc, the national heroine of France, and in La battaglia di Legnano Emperor Barbarossa figures as the incarnation of the menace for the Italians’ longing for freedom, exerted through centuries by the sovereigns of German-speaking countries. The article deals with Italian operas about personalities of German history who had special importance in the national discourse of their own country. In particular it focuses on the historical characters of Arminius and Charlemagne, already present on the operatic stage in the 17th century. Their representation underwent essential modifications in the age of the Risorgimento.
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Edwards, Paul J. "The Circumstances of Colour: The Jim Crow Translation of Jonny spielt auf." Modern Drama 64, no. 2 (June 2021): 151–72. http://dx.doi.org/10.3138/md.64.2.1112.
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This article examines the American premiere of the German opera Jonny spielt auf as a form of what I call Jim Crow translation. As originally written and composed by Ernst Krenek, the opera centres on Jonny, a Black jazz musician, who disorders the logic of European cultural superiority. Although thoroughly modern in its original German staging, using stereophonic radios and film projectors, Krenek’s appropriation of Blackness relied on blackface baritones to play Jonny. When the opera came to New York’s Metropolitan Opera, the history of minstrelsy and the legal system of Jim Crow haunted the production. While Jonny was depicted as thoroughly cosmopolitan and modern in Krenek’s conception of the opera, the American production, under the management of Giulio Gatti-Casazza, attempted to turn Jonny into a white vaudevillian in blackface, a publicity stunt that brought the opera further attention under the guise of protecting American morals against a narrative of interracial sexual desire. Though Krenek created an opera based on the value of Black modernity, Gatti-Casazza displayed American racial anxieties through the opera’s promotion. The proposed revisions to the text, through which racialist regimes demonstrated their power over cultural production, reflect the role that translation can play in reinforcing the colour line.
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Brooks, Marc. "Strauss and Hofmannsthal's Arabella and the Resacralization of the Operatic Tradition." 19th-Century Music 38, no. 3 (2015): 272–301. http://dx.doi.org/10.1525/ncm.2015.38.3.272.
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Abstract The obvious debt that Strauss's operas owe to Wagner often led early critics to view their conspicuous lack of spiritual depth as an unintentional failure. Recent commentators such as Charles Youmans, Leon Botstein, and Michael Walter have rightly characterized this feature as a conscious Nietzschean strategy calculated to avoid or ironize metaphysical tropes. Following the critique of the concept of “secularization” by Jürgen Habermas and Charles Taylor, however, I wish to complicate this newer interpretation by arguing that Strauss's operas do not represent the point in music history when German music threw off its pretentions to Kunstreligion, but mark yet another point of “re-sacralization”—a term I borrow from Simon Critchley's Faith of the Faithless (2012). The Wagner-indebted music in Arabella (1933)—an opera given much less critical attention than it deserves—certainly never gestures toward any transcendent truth beyond the physical confines of what is presented. Nevertheless, I argue, a sacred economy still operates in the opera whereby certain aspects of the immanent stage-world are figured as “sacred” and others as “profane.” It is possible to trace the influence of the operas Tannhäuser and Parsifal on Arabella, specifically in the harmonic, rhythmic, and timbral techniques Wagner used to mark certain suprahuman forces as possessing a transcendent aura. The music of Arabella uses moderated versions of these techniques to redistribute the same sacred status onto different aspects of material and psychological reality.
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Mykhailova, O. V. "Woman in art: a breath of beauty in the men’s world." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.
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Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and their influence on its development has become of special relevance. The purpose of the article is to summarize segmental of information that highlights the contribution of women to the treasury of world art, their creative and inspiring power. Analytical, historical-biographical and comparative studying methods were applied to reveal the gender relationships in art and the role of woman in them as well as in the sociocultural space in general. The results from this study present a panorama of gifted women from the world of art and music who paved the way for future generations. Among them are: A. Gentileschi (1593–1653), who was the first woman admitted to The Florence Academy of Art; M. Vigee Le Brun (1755–1842), who painted portraits of the French aristocracy and later became a confidant of Marie-Antoinette; B. Morisot (1841–1895), who was accepted by the impressionists in their circle and repeatedly exhibited her works in the Paris Salon; F. Caccini (1587–1640), who went down in history as an Italian composer, teacher, harpsichordist, author of ballets and music for court theater performances; J. Kinkel (1810–1858) – the first female choral director in Germany, who published books about musical education, composed songs on poems of famous poets, as well as on her own texts; F. Mendelssohn (1805–1847) – German singer, pianist and composer, author of cantatas, vocal miniatures of organ preludes, piano pieces; R. Clark (1886–1979) – British viola player and composer who created trio, quartets, compositions for solo instruments, songs on poems of English poets; L. Boulanger (1893–1918) became the first woman to receive Grand Prix de Rome; R. Tsekhlin (1926–2007) – German harpsichordist, composer and teacher who successfully combined the composition of symphonies, concerts, choral and vocal opuses, operas, ballets, music for theatrical productions and cinema with active performing and teaching activities, and many others. The article emphasise the contribution of women-composers, writers, poetesses to the treasury of world literature and art. Among the composers in this row is S. Gubaidulina (1931), who has about 30 prizes and awards. She wrote music for 17 films and her works are being performed by famous musicians around the world. The glory of Ukrainian music is L. Dychko (1939) – the author of operas, oratorios, cantatas, symphonies, choral concertos, ballets, piano works, romances, film music. The broad famous are the French writers: S.-G. Colette (1873–1954), to which the films were devoted, the performances based on her novels are going all over the world, her lyrics are being studied in the literature departments. She was the President of the Goncourt Academy, Chevalier of the Legion of Honour, a square in the center of Paris is named after her. Also, creativity by her compatriot, L. de Vilmorin (1902–1969), on whose poems С. Arrieu, G. Auric, F. Poulenc wrote vocal miniatures, is beloved and recognized as in France as and widely abroad. The article denotes a circle of women who combined the position of a selfsufficient creator and a muse for their companion. M. Verevkina (1860–1938) – a Russian artist, a representative of expressionism in painting, not only helped shape the aesthetic views of her husband A. Yavlensky, contributing to his art education, but for a long time “left the stage” for to not compete with him and help him develop his talent fully. Furthermore, she managed to anticipate many of the discoveries as for the use of light that are associated with the names of H. Matisse, A. Derain and other French fauvist. F. Kahlo (1907–1954), a Mexican artist, was a strict critic and supporter for her husband D. Rivera, led his business, was frequently depicted in his frescoes. C. Schumann (1819–1896) was a committed promoter of R. Schumann’s creativity. She performed his music even when he was not yet recognized by public. She included his compositions in the repertoire of her students after the composer lost his ability to play due to the illness of the hands. She herself performed his works, making R. Schumann famous across Europe. In addition, Clara took care of the welfare of the family – the main source of finance was income from her concerts. The article indicates the growing interest of the twentieth century composers to the poems of female poets. Among them M. Debord-Valmore (1786–1859) – a French poetess, about whom S. Zweig, P. Verlaine and L. Aragon wrote their essays, and her poems were set to music by C. Franck, G. Bizet and R. Ahn; R. Auslender (1901–1988) is a German poetess, a native of Ukraine (Chernovtsy city), author of more than 20 collections, her lyrics were used by an American woman-composer E. Alexander to write “Three Songs” and by German composer G. Grosse-Schware who wrote four pieces for the choir; I. Bachmann (1926–1973) – the winner of three major Austrian awards, author of the libretto for the ballet “Idiot” and opera “The Prince of Hombur”. The composer H. W. Henze, in turn, created music for the play “Cicadas” by I. Bachmann. On this basis, we conclude that women not only successfully engaged in painting, wrote poems and novels, composed music, opened «locked doors», destroyed established stereotypes but were a powerful source of inspiration. Combining the roles of the creator and muse, they helped men reach the greatest heights. Toward the twentieth century, the role of the fair sex representatives in the world of art increased and strengthened significantly, which led Western European culture to a new round of its evolution.
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GOEHRING, EDMUND J. "MUCH ADO ABOUT SOMETHING; OR, COSÌ FAN TUTTE IN THE ROMANTIC IMAGINATION: A COMMENTARY ON AND TRANSLATION OF AN EARLY NINETEENTH-CENTURY EPISTOLARY EXCHANGE." Eighteenth Century Music 5, no. 1 (March 2008): 75–105. http://dx.doi.org/10.1017/s1478570608001206.
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ABSTRACTAmong the gems buried in Johann Friedrich Reichardt’s short-lived Berlinische musikalische Zeitung is a ‘Musikalischer Briefwechsel’ that appeared over three volumes in September 1805. The text, cast as an epistolary exchange between the fictional characters Arithmos and Phantasus, argues the merits of Mozart’s Così fan tutte. (The opera had recently returned to the Berlin stage after a thirteen-year absence.) The exchange has received little scholarly attention, and yet it is a remarkable document for the glimpse it gives both into Berlin’s musical politics and, most of all, the reception history of Mozart’s opera.The authorship of the ‘Briefwechsel’, which appeared pseudonymously, has been attributed to Georg Christian Schlimbach, a frequent contributor to the journal. This article, in contrast, argues that Reichardt himself makes the more likely author: the correspondence more closely reflects his personality, his ambitions for the advancement of opera in the Prussian capital and his theory of art. Indeed, arising from his defence of Mozart’s opera is an extraordinary claim in the history of Così’s reception: that the work exemplifies romantic irony. E. T. A. Hoffmann is famous for his terse praise of the opera’s ‘ergötzlichste Ironie’. Reichardt, however, goes further by showing how the opera amalgamates, in quintessentially romantic fashion, the opposing forces of the comic and serious. Employing a Shakespearean conceit, he argues that Mozart’s music amounts to more than ‘much ado about nothing’.Reichardt’s move is the more significant given that he builds his reading not on Da Ponte’s libretto but on German adaptations by Bretzner and Treitschke, translations that modern scholarship has widely faulted for lacking the original’s subtlety. Thus, although Così fan tutte has generally been viewed as a work that runs counter to romantic tastes, Reichardt’s ‘Briefwechsel’, along with some newly discovered material, provides a basis for revisiting that claim about the opera’s place in nineteenth-century thought.
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Horowitz, Joseph. "Music and the Gilded Age: Social Control and Sacralization Revisited." Journal of the Gilded Age and Progressive Era 3, no. 3 (July 2004): 227–45. http://dx.doi.org/10.1017/s1537781400003418.
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Edith Wharton's The Age of Innocence, set in Manhattan in the “early 1870s,” begins with Christine Nilsson singing at the Academy of Music. The opera is Gounod's Faust. The “world of fashion” has assembled in the boxes. In their own eyes the embodiment of “New York,” the fashionables are prisoners of convention: Newland Archer arrives late because “it was ‘not the thing’ to arrive early at the opera; and what was or was not ‘the thing’ played a part as important in Newland Archer's New York as the inscrutable totem terrors that had ruled the destinies of his forefathers thousands of years ago.” Newland takes his place among “all the carefully-brushed, white-waist coated, buttonhole-flowered gentlemen who succeeded each other in the club box, exchanged friendly greetings with him, and turned their opera glasses critically on the circle of ladies who were the product of the system.” That “the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences” seems “as natural to Newland Archer as all the other conventions on which his life was moulded: such as the duty of using two silver-baked brushes with his monogram in blue enamel to part his hair, and of never appearing in society without a flower (preferably a gardenia) in his buttonhole.” The box opposite belongs to “old Mrs. Manson Mingott, whose monstrous obesity had long since made it impossible for her to attend the Opera.” It contains a surprise: the Countess Olenska. This finding is assessed by Laurence Lefferts; the “foremost authority of ‘form’ in New York,” he has devoted long hours to such questions as when to wear a black tie with evening clothes and the matter of pumps versus Oxfords for the feet. The countess is next appraised by Sillerton Jackson, as great an expert on “family” as Leffert is on form.
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Nedbal, Martin. "Wenzel Mihule and the Reception of Don Giovanni in Central Europe." Journal of Musicology 39, no. 1 (January 1, 2022): 66–108. http://dx.doi.org/10.1525/jm.2022.39.1.66.
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This article traces the previously overlooked transmission of a German Singspiel adaptation of Mozart’s Don Giovanni in central Europe in the late eighteenth and early nineteenth centuries. Titled Don Juan, oder Die redende Statue, the adaptation originated with the troupe of Wenzel Mihule at the Patriotic Theater in Prague in the early 1790s and, initially at least, took fewer liberties with the opera than other German reworkings, possibly because it was created in an environment sensitive to Mozart’s Italian original. The adaptation was picked up by Emauel Schikaneder’s company in Vienna, by companies across Moravia, and by Joseph Seconda’s troupe in Leipzig and Dresden, and it traveled with Mihule from Prague to southern Germany and Slovakia. Newly discovered archival documents associated with Mihule’s Don Juan shed light on the early German-language history of Don Giovanni, illustrating, in particular, its reception outside of large urban centers—in smaller towns, aristocratic palaces, and a monastery. This article argues, moreover, that the lack of scholarly attention to the adaptation is to a large extent connected to national politics in central Europe in the nineteenth and twentieth centuries, specifically to Czech-German ethnic tensions and conflicts.
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Fahrholz, Merle. "„Ein unglückselig Doppelwesen“. Heinrich August Marschners Hans Heiling in der Debatte zur deutschen Oper." Studia Musicologica 52, no. 1-4 (March 1, 2011): 323–39. http://dx.doi.org/10.1556/smus.52.2011.1-4.23.
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In most opera manuals Heinrich A. Marschner receives but common-place epitheta like German composer — intermediary between Weber and Wagner — advocate of a national opera. To which extend does this point of view originate in consciously launched and passed-on notions? Regarding the opera Hans Heiling (1833), Marschner’s history of reception will be examined exemplarily.
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Reimers, Theresia E., and John Warrack. "German Opera: From the Beginnings to Wagner." Sixteenth Century Journal 33, no. 4 (2002): 1119. http://dx.doi.org/10.2307/4144151.
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Liu, Yawei. "XIX century in the history of European and Russian opera: points of intersection and differences." Философия и культура, no. 1 (January 2021): 54–64. http://dx.doi.org/10.7256/2454-0757.2021.1.34984.
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The development of opera genre in Europe and Russia in the XIX century is of particular interest for the Chinese and Russian art historians. The subject of this article is the history of European and Russian opera in the XIX century. The object of this research is the works of the leading opera composers and the novelties introduced by each of them into the opera genre. The goal consists in examination of the following aspects of the topic: specificity of emergence of opera in Russia in the XVIII century, establishment of the national opera schools – Italian, French, German and their prominent representatives, as well as peculiarities of the Russian opera tradition of the XIX century. The novelty lies in determination of similarities and differences between the European and Russian opera in the XIX century from the perspective of of Chinese art history. The author's special contribution consists in the attempt to discuss the subject matter in the context of Chinese art historians who take interest in the peculiarities of opera of the XIX century. The acquired results demonstrate that the development of opera within the framework of the vocal and musical performance in the XIX century is a unique sociocultural phenomenon, which manifested through the system of spiritual values and spiritual life of the Russian and European nations.
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Векслер, Ю. С. "The History of Russian Publications by Alban Berg." Научный вестник Московской консерватории, no. 1(28) (March 20, 2017): 112–23. http://dx.doi.org/10.26176/mosconsv.2017.28.1.07.
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Статья посвящена истории возникновения двух публикаций Альбана Берга об опере «Воццек» и проблемах оперного театра в целом, инспирированных ленинградской премьерой оперы 13 июня 1927 года: «Альбан Берг о своей опере “Воццек”» (опубликована в журнале «Жизнь искусства») и ответ на анкету журнала «Музыка и революция» (в журнале не опубликована). Привлекаемые в статье неизвестные архивные материалы: письма Бергу В. М. Беляева, А. И. Дзимитровского, М. М. Гринберга, Э. Штайна, а также письмо М. М. Гринберга А. А. Луначарскому по поводу конфликта в журнале «Музыка и революция», позволяют прийти к выводу о том, что названные статьи писались Бергом как эксклюзивный материал для российских изданий. Уточняется история последующих публикаций названных текстов на русском, немецком и английском языках. Попутно затрагиваются некоторые аспекты общеевропейской дискуссии 1920-х годов о проблемах оперного театра, а также другие статьи Берга об опере. The article is devoted to the history of the two publications by Alban Berg about the opera “Wozzeck” and the problems of opera in general, inspired by the Leningrad premiere on 13 June 1927: “Alban Berg about His Opera Wozzeck” (published in the magazine “Zhizn’ iskusstva”) and the response to the questionnaire of the magazine “Muzyka i revoljucija” (not published). The unknown archive materials: letters to Berg from V. M. Belyaev, A. I. Dzimitrovski, M. M. Grinberg, E. Stein, and also a letter from M. Grinberg to A. Lunacharsky about the conflict in the journal “Muzyka i revoljucija”, allow to conclude that the mentioned articles were written by Berg as the exclusive material for Russian magazines. The author specifies the history of the further publications of these texts in Russian, German and English. Along the way, some aspects of the European debate of the 1920s on the problems of the opera theater, as well as other articles about Berg’s opera are considered.
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Campioni, Giuliano. "Nietzche, Wagner y el Renacimiento italiano." Theoría. Revista del Colegio de Filosofía, no. 10 (June 1, 2001): 85–106. http://dx.doi.org/10.22201/ffyl.16656415p.2000.10.252.
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The purpose of this essay is to redefine Nietzsche’s relationship with the Renaissance, beyond some outstanding and terrible simplifications, and the literary and aesthetic creations of myths focused on the constellation superman, Renaissance-will-of-power, and Antichrist. Richard Wagner strongly conditions Nietzsche’s ideas with his valuations of the Renaissance. There is, in the young author of The Birth of Tragedy, a strong diffidence on the footsteps of the German ideology of the musician and of his rooted aversion to the Renaissance. The Italian Opera seems to be a false revival of the Greek Opera in its paradigmatic model of the artifice, and of the luxury of a selfish aristocracy, far from the feeling of the Volk. As a philologist and a promoter of a revival of the Greek world in Germany, Nietzsche had in the Italian Renaissance a necessary model of comparison. After an initial hostility followed a freer and more open evaluation that can be read in his posthumous documents, regardig the complexity of its experimental movement. The influence of Burckhardt in particular shows a progressive turning point, considerable for bringing a new definition of his relationship with the musician. The essay pauses on Nietzsche’s notes to the lessons dedicated to The Discovery of the Antiquity among the Italians, which turned out to be a mosaic of quotations from The Civilization of the Renaissance in Italy. It is certainly the most important document, largely ignored throughout history, of the close relationship between Nietzsche and Burckhardt. On the search for complexity and plurality that characterizes the superior culture, Nietzsche discovers and enhances the value of the Latin Renaissance in direct opposition to the German Renaissance impressed by Wagner’s illusion. With Burckhardt, he discovers the individual man and the poet-philologist, a prototype of the free spirit, putting into practice the detachment from the German myth of the Volk and opening the way to the culture of Romanticism.
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Seta, Fabrizio Della. "Some difficulties in the historiography of Italian opera." Cambridge Opera Journal 10, no. 1 (March 1998): 3–13. http://dx.doi.org/10.1017/s0954586700005309.
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The historiography of Italian opera is particularly well suited to illustrate some problems in the general field of music history and musicology. On the one hand, there is little doubt that Italian opera belongs to the canon, not to say the museum, of learned western music; indeed, today's opera houses surpass concert halls in projecting the ‘museum character’ in which musical tradition seems ‘frozen’. On the other hand, it is also true that only in recent years has international musicology accepted Italian opera as unquestionably deserving of attention. The reasons for this delay are clear enough. Some were easily overcome, connected to the very history of our discipline: since the beginning of the nineteenth century, the musical language of Italian operatic composers diverged from the mainstream Austro-German tradition; the dramaturgy of Italian opera was difficult to understand in a cultural context moulded by Wagnerian theory and practice (in part also by Shakespeare, Schiller, etc.). Other factors, however, are more deeply embedded, and continue to have an effect even in intellectual conditions very different from those of traditional musicology. These include: the manner in which extra-artistic factors determine the operatic work; the various creative competencies that take part in operatic production; the considerable importance accorded to performers, particularly singers; the possibility that parts of an opera may be moved from one work to another, or from one author to another; the fact that in die history of Italian operatic conventions, shared codes and repetition of formulas often prevailed over the search for novelty.
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Różycki, Bartłomiej. "Renaming urban toponomy as a mean of redefining local identity: the case of street decommunization in Poland." Open Political Science 1, no. 1 (May 31, 2018): 20–31. http://dx.doi.org/10.1515/openps-2017-0004.
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AbstractDuring and after democratic transition in Poland, the decommunization of urban toponomy became an important aspect of symbolic changes. Although the general course of street renaming was similar in the whole country, the pace of these changes as well as scope of tolerance towards the symbols of the past varied. In this article, the cases of three major Polish cities are analyzed. In Kraków, its long and rich history constituted a background of local identity and certain level of autonomy in defining the symbolic landscape. Warsaw on the other hand was a city whose extraordinary experiences related to the World War II resulted in commemoration of a whole new set of myths and figures through the street names. What is more, its status of the country’s capital caused its identity to influence the canon of Polish history as a whole. This affected the third analyzed case, Wrocław, whose long history of links with German culture resulted in very little symbolic capital which would be compatible with this new patriotic canon. As a result, Wrocław accepted in its urban toponomy a vast number of symbols unrelated to its own memory, in the same time suppressing symbols linked to its local identity. Accepting external heritage turned out to be a strategy of avoiding conflict with the dominant narrative.1
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Cohen, Mitchell. "Wagner as a Problem." German Politics and Society 16, no. 2 (June 1, 1998): 94–130. http://dx.doi.org/10.3167/104503098782173886.
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Der Fliegende Holländer by Richard Wagner, at the Teatro delle Opera di Roma (April 1997).Der Ring des Nibelungen by Richard Wagner, at the Metropolitan Opera (New York, April-May 1997).Der Ring des Nibelungen by Richard Wagner, at the Festspielhaus (Bayreuth, July-August 1995).Tristan und Isolde by Richard Wagner, at the Festspielhaus (Bayreuth, July 1995).Barry Millington, “Nuremberg Trial: Is there Anti-Semitism in DieMeistersinger?” Cambridge Opera Journal 3 (3 November 1991), pp. 247-260.Cecelia Hopkins Porter, The Rhine as a Musical Metaphor: Cultural Identity in German Romantic Music (Boston: Northeastern University Press, 1996).Frederic Spotts, Bayreuth: A History of the Wagner Festival (New Haven and London: Yale University Press, 1994).Michael Tanner, Wagner (Princeton: Princeton University Press, 1996). Marc A. Weiner, Richard Wagner and the Anti-Semitic Imagination (Lincoln and London: University of Nebraska Press, 1995).
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Gilman, Todd S. "Augustan Criticism and Changing Conceptions of English Opera." Theatre Survey 36, no. 2 (November 1995): 1–35. http://dx.doi.org/10.1017/s0040557400001186.
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The love-hate nature of the relations between England and Italy in the seventeenth and eighteenth centuries is well known. Ever since Henry VIII broke with Rome after Pope Clement VII refused to allow his divorce, things Italian were a popular object of satire and general disdain. An ever-increasing British nationalism founded on political, religious, and aesthetic principles during the seventeenth century fanned the flames of anti-Italian sentiment. This nationalism, newly consolidated in the seventeenth century by the ambitions of the Stuart monarchs to destroy Parliament, was intimately connected with English Protestantism. As Samuel Kliger has argued, the triumph of the Goths—Protestant Englishmen's Germanic ancestors—over Roman tyranny in antiquity became for seventeenth-century England a symbol of democratic success. Moreover, observes Kliger, an influential theory rooted in the Reformation, the “translatio imperii ad Teutonicos,” emphasized traditional German racial qualities—youth, vigor, manliness, and moral purity—over those of Latin culture—torpor, decadence, effeminacy, and immorality—and contributed to the modern constitution of the supreme role of the Goths in history. The German translatio implied an analogy between the conquest of the Roman Empire by the Goths (under Charlemagne) and the rallying of the humanist-reformers of northern Europe (e.g., Luther) for religious freedom, understood as liberation from Roman priestcraft; that is, “the translatio crystallized the idea that humanity was twice ransomed from Roman tyranny and depravity—in antiquity by the Goths, in modern times by their descendants, the German reformers…the epithet ‘Gothic’ became not only a polar term in political discussion, a trope for the ‘free,’ but also in religious discussion a trope for all those spiritual, moral, and cultural values contained for the eighteenth century in the single word ‘enlightenment.’”
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Sheil, Áine. "Displacement, Repetition and Repression: Die Meistersinger von Nürnberg on Stage in the Weimar Republic." Cambridge Opera Journal 29, no. 2 (July 2017): 117–51. http://dx.doi.org/10.1017/s095458671700012x.
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AbstractRelatively little scholarly attention has been paid to the performance and reception history of Die Meistersinger von Nürnberg during the Weimar Republic (1919–33), but as this article will demonstrate, the opera played an indispensable role in the repertories of Weimar-era opera houses. Despite an evident desire on the part of some Weimar Republic directors and designers of Die Meistersinger to draw on staging innovations of the time, productions of the work from this period are characterised by scenic conservatism and repetition of familiar naturalistic imagery. This was not coincidental, I will argue, since Die Meistersinger served as a comforting rite for many opera-going members of the Weimar-era middle classes, at least some of whom felt economically or socially beleaguered in the aftermath of World War I. But no matter how secure the conservative theatrical conventions surrounding the Weimar Republic Meistersinger appeared, the repressed turmoil of the period seeped into ideas about the work, haunting the performance and reception of constructed German stability.
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Strohm, Reinhard. "'Italian Opera' in 'Central Europe', 1600–1780: Research Trends and the Geographic Imagination." Musicological Annual 40, no. 1-2 (December 17, 2021): 103–12. http://dx.doi.org/10.4312/mz.40.1-2.103-112.
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This brief survey of literature, provided with a bibliography, proposes to critically inform about research carried out over the last 30 years, and to identify research trends regarding subject definition, methodology and epistemology of the apparent duality, 'Italian Opera' and 'Central Europe'. A main question is how researchers have imagined their subject as a geographical space, and what their changing priorities had to do with developing regional concepts in music history. It is shown how, in the 1960s and 70s, the reception of Italian Opera in Europe was conceptualised as a national and European, not a regional question; how specialisation on mechanisms of production and consumption in the 1980s instigated more socially-oriented research, and how in this context both a nationalist and a universalist direction were being undermined. A renewed focus in the 1990s on small-scale production units such as individual cities, opera companies and travelling indivduals enabled researchers to recategorise Italian opera as a regional and diverse phenomenon. The contribution of such projects as the Storia dell'Opera Italiana (ed. Bianconi), the various Hofkultur researches in Germany, and the ESF programme Music in Europe, 1600-1900, with its study group on Italian Opera in Central Europe (Dubowy et al.) have now become influential. International collaboration also beyond 'central' Europe has seemed the most appropriate means of achieving good research results. Central Europe was, at least in opera, typified by its interest for the music of 'non-central' Italy. The concept of Central Europe in music (as in other matters) is a concept without borders.
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Kuzborska, Alina. "Das Bild von Herkus Monte in der deutschen und litauischen Literatur und Kultur." Przegląd Wschodnioeuropejski 11, no. 2 (December 30, 2020): 251–64. http://dx.doi.org/10.31648/pw.6508.
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This article focuses on the historical figure of the leader of the second uprising of the colonized Prussians against the Teutonic Order, Herkus Monte, who is presented here primarily as a literary figure. The increasing interest in Prussian history changed the written media, so that the order chronicle of the 13th century later turned into literary works, primarily historical novels and historical dramas in Germany. Because of the geographical proximity and linguistic relationship, the Lithuanians feel a strong affinity for the Prussians and their heroes. In the following, we analyze literary works by Lithuanian authors on the basis of which a feature film and an opera were created.
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Senelick, Laurence. "Offenbach, Wagner, Nietzsche: the Polemics of Opera." New Theatre Quarterly 32, no. 1 (January 7, 2016): 3–18. http://dx.doi.org/10.1017/s0266464x15000822.
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By the early 1870s, the term ‘filth’ had become Wagner’s shorthand for Offenbach. He attacked his fellow composer both publicly and privately and sought to establish a polarity between the two, confining Offenbach to the realm of frivolous and materialistic popular folk culture while casting his own work as exemplary of the new German spirit. Laurence Senelick’s close analysis of Wagner’s writings, including his notorious 1869 essay ‘Jewishness in Music’, shows this critique to be fuelled by jealousy, cultural imperialism, and his growing anti-Semitism. Nietzsche is included here as a counterpoint, challenging his former mentor and celebrating Offenbach as the exemplar of Jewish genius. Laurence Senelick is Fletcher Professor of Drama and Oratory at Tufts University and Fellow of the American Academy of Arts and Sciences. His most recent books include Soviet Theater: A Documentary History (2014, with Sergei Ostrovsky) and the second, enlarged edition of A Historical Dictionary of Russian Theatre (2015). This article is taken from his forthcoming The Offenbach Century: His Influence on Modern Culture (Cambridge University Press).
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Robertson, R. "Richard Wagner and the Anti-Semitic Imagination; Opera and Drama; Judaism in Music and Other Essays; The Jews and Germany. From the 'Judeo-German Symbiosis' to the Memory of Auschwitz." German History 14, no. 2 (April 1, 1996): 251–54. http://dx.doi.org/10.1093/gh/14.2.251.
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Burri, Michael. "Austrian Festival Missions after 1918: The Vienna Music Festival and the Long Shadow of Salzburg." Austrian History Yearbook 47 (April 2016): 147–66. http://dx.doi.org/10.1017/s0067237816000114.
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Rising from the ruins of a post-1918 Austria shed of its monarchical leadership and much of its former territory, the Salzburg Festival acquired a symbolic authority during the First Austrian Republic that continues to ensure its privileged place in Austrian politics and culture to this day. At the core of this privileged place are two signature legacies that, while grounded in the festival's prewar history, fortified a particular agenda of the Second Austrian Republic in defining Austrian history and national identity in the decades following World War II. The first, as expressed in 1919 by the festival's most articulate cofounder, Hugo von Hofmannsthal, is that with its Salzburg setting, the festival should be understood as situated in the “heart of the heart of Europe,” a place where the antitheses of Central European geography (German and Slavic, German and Italian), social class (commoner and elite), and aesthetic genre (dramatic theater and opera) encounter one another only to be dissolved through transcendence in an “organic unity.”
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Gmys, Marcin. "Archives and blank spots: scholarly perspectives for recovering Polish music (1794–1945)." Interdisciplinary Studies in Musicology, no. 19 (December 31, 2019): 95–105. http://dx.doi.org/10.14746/ism.2019.19.6.
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In this article, the author tries to present the issue of blank spots in the history of Polishmusic since 1794 (the world premiere of Cud mniemany, czyli Krakowiacy i Górale [The supposedmirtacle, or Cracovians and highlanders] composed by Jan Stefani to the libretto of Wojciech Bogusławski is regarded as a symbolic beginning of national style in Polish music) up to the end of the SecondWorld War. It was a great period in history when Poland twice did not exist as a state (between1795 and 1918 and between 1939 and 1945).At the beginning the attention is drawn to the Polish music in the nineteenth century. Author describes new discoveries such as the Second Piano Quintet in E flat Major (with double bassinstead of second cello) by Józef Nowakowski (Chopin’s friend), and String Quartets op. 1 and monumentaloratorio Passio Domini Nostri Jesu Christi by Józef Elsner who was Chopin’s teacher in the Conservatory of Music in Warsaw (Elsner’s Passio discovered at the end of the twentieth century isregarded now as the most outstanding religious piece in the history of Polish music in the nineteenth century). Among other works author also mentions romantic opera Monbar (1838) by Ignacy Feliks Dobrzyński and first opera of Stanisław Moniuszko Die Schweitzerhütte (about 1839) written to the German libretto during composer’s studies at Singakademie Berlin. Addressing the issue of Polish music of the first half of the twentieth century author draws attention to the composer Eugeniusz Morawski regarded as the leading Polish author of programme music next to Mieczysław Karłowicz (unfortunately Morawski is still forgotten figure in the Polish musical life). Among others the importance of symphonic heritage of Feliks Nowowiejski, an author ofextremely popular in Europe during the second decade of twentieth century oratorio Quo vadis, is mentioned. At the end of article, the author takes up the problem of the enigmatic figure of Adolf Gużewski.The whole musical output of Gużewski, whose opera Dziewica lodowców [The Ice Maiden] was applauded in Warsaw and Russian opera houses in the second decade of the twentieth century, is now considered lost.
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Laslavíková, Jana. "Between province and metropolis. The opera repertoire of the Pressburger Stadttheater in the late nineteenth century." Studia Musicologica 58, no. 3-4 (December 2017): 363–77. http://dx.doi.org/10.1556/6.2017.58.3-4.5.
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The establishment and development of the Municipal Theater in Pressburg in the period 1886–1920 was closely linked with the cultural and social development of the city in the period following the Austrian-Hungarian Compromise in 1867. The theater was built by the rising stratum of Pressburg townsmen, based on a requirement of the Hungarian government. The theater was in the possession of the town that rented it to theater directors and their German and Hungarian companies. The theater had a primacy among provincial theaters in Hungary. This was mainly due to the vicinity of Vienna and the efforts to resemble the metropolis, notably by the local patriotism of Pressburg inhabitants who wanted their locality to be regarded as a leading Hungarian town. The opera performances and their reception in the newspapers demonstrate the history of culture of the town, mentalities and collective identifications of its citizens, and last but not least the history of culture of Central Europe.
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Glatthorn, Austin. "In the Name of the Emperor." Journal of Musicology 35, no. 1 (January 1, 2018): 1–41. http://dx.doi.org/10.1525/jm.2018.35.1.1.
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In July 1786 Prince Carl Anselm of Thurn und Taxis concluded that he had no choice but to dissolve his Italian court opera. This owed in part to the success of the German theater, which had been established in 1784 to rival the Prince’s Hoftheater and contest his position as the Holy Roman Emperor’s representative to the Reichstag in Regensburg. New evidence challenges the prevailing view that the dissolution of the Taxis’s court opera marked the end of the family’s musical patronage and involvement in Regensburg’s cultural life. In the face of opposition from other Reichstag officials, the Thurn und Taxis continued their investment in music and theatrics, appropriating outdoor spectacles of a kind popular earlier in the century to project imperial power. The prince affirmed his position as the emperor’s representative in such older displays of affluence and standing but updated them to suit contemporary tastes. Carl Anselm’s musico-political theatrics around 1789 demonstrate that although Italian opera failed to articulate the legitimacy he intended to project, his culture of political representation conducted in the name of the emperor endured well into the twilight years of the eighteenth century. To understand the continued musical patronage of this contested and middling prince is to appreciate more fully the methods by which music, spectacle, and politics were negotiated during a transformative period in European history.
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Papaeti, Anna. "Humour and the Representation of Fascism in Schweyk im zweiten Weltkrieg: Adorno contra Brecht and Hanns Eisler." New Theatre Quarterly 30, no. 4 (October 21, 2014): 318–32. http://dx.doi.org/10.1017/s0266464x14000669.
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Bertolt Brecht and Hanns Eisler's Schweyk im zweiten Weltkrieg occupies a key but under-recognized place in debates about humour in anti-fascist art in the late 1950s and early 1960s – debates largely dominated by Theodor W. Adorno's critique of Brecht's satirical plays on the Third Reich. In this article Anna Papaeti examines the artistic strategies and reception history of Schweyk im zweiten Weltkrieg in the context of such debates. Focusing in particular on Eisler's musical additions for the parodic ‘higher regions’ interludes, as well as on the controversies sparked by the 1959 West German premiere, she analyzes the play's role in stimulating key debates, showing how Brecht's play and Eisler's music attain a more complex and defensible position of resistance to fascism than was allowed in Adorno's critique. Anna Papaeti has a doctorate from King's College London, has worked at the Royal Opera House, London, and as Associate Dramaturg at the Greek National Opera, Athens. Her postdoctoral research includes a DAAD fellowship on Hanns Eisler (Universität der Künste, Berlin, 2010) and a Marie Curie Intra-European Fellowship (University of Göttingen, 2011–14) on the use of music by the Greek military junta. She has previously published in such journals as Opera Quarterly, Music and Politics, and The World of Music, and in edited scholarly volumes.
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Kellermann, Jonas. "A breach of silence: affective soundscapes in Sasha Waltz’s Roméo et Juliette." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (April 13, 2020): 38–53. http://dx.doi.org/10.1177/0184767820914847.
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This article analyses Roméo’s silent solo dance in German choreographer Sasha Waltz’s staging of Hector Berlioz’s dramatic symphony Roméo et Juliette for the Paris Opera Ballet. The musicless scene, which imagines Roméo’s reaction to the news of Juliette’s ‘death’, exposes the dancer’s physicality through various acoustic means, creating a soundscape that makes the character’s despair accessible to the audience as affective intensities. The solo thus not only brings together competing stances towards emotionalism from classical and non-classical theatre dance, but also builds upon the philosophical interrogation of artistic expression both in Shakespeare’s play and in its musical adaptation by Berlioz.
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Bakhmet, Tetiana. "Archive fund of the composer Mark Karminsky." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 10–28. http://dx.doi.org/10.34064/khnum2-19.01.
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Mark Veniaminovich Karminskyi (1930–1995) is a composer who, already during his lifetime, was appreciated by his contemporaries as the brightest figure in musical art, in particular, musical theater. Well-known in the country and his native Kharkiv, he was also the constant reader of the Kharkiv ‘K. Stanislavskyi’ Music and Theater Library for many years, taking part in many events that took place within its walls. An excellent lecturer and interlocutor, benevolent and affable person, he found an attentive audience and ardent admirers of his musical talent among the library’s readers and stuff. Perhaps, this is why M. Karminskyi chose the Library as the main curator of his archive. What is better than studying the artist’s personal archive to give an idea of his personality, creative methods and worldview? Even a cursory glance at the collection of documents classified on the shelves of the archive, illustrating particular biographical episodes, helps the researcher to form a holistic impression of the artist’s creative personality, as well as to orient, if necessary, for further more depth studying of his heritage. The purpose of this article is a brief review of the general content of the archival fund of M. V. Karminskyi, with the materials of which the author had the honor to conduct research and bibliographic work, as of a documentary sources base for future research of the composer’s work and the history of the musical culture of Kharkiv in 1950–2000 years. Statement of the main positions of the publication. The composer began to transfer his archive to the library during his lifetime: he arranged folders with manuscripts, gave explanations about the time of writing and purpose of individual works. It was this archive that was the first to get into the library as a full-fledged array of documents about the life of a creative person. The condition for its transfer was the possibility of unimpeded viewing of the archive and its copying for the purpose of training and concert performance of the composer’s works. The full description of M. Karminskyi’s archive was completed in 1996, but the fund was supplemented several times thanks to new materials that came to the archival collection after its formation. It contains a variety of documents, including musical manuscripts, newspaper clippings, photographic documents, sound recordings on various media, posters, booklets, programs, manuscripts by other authors related to the activities of the composer. Thus, for the theater – opera, drama – the composer has been actively working since a young age. He wrote music for performances of Kharkiv theaters – Puppet Theater, Young Audience Theater, Ukrainian Drama Theater named after Taras Shevchenko, Jewish Theater, even for student amateur theaters. Four operas by M. Karminskyi, among them – “Ten days that shook the world”, “Irkutsk story” – were successfully staged in many theaters in Ukraine, Russia, the Czech Republic and Germany. Particular attention was drawn to the opera “Ten Days That Shook the World” based on John Reed’s book about the events in Petrograd in 1917, which was published as the separate piano reduction and received a large number of reviews in periodicals. The typewritten copies of reviews by famous Ukrainian musicologists K. Heivandova and I. Zolotovytska have been preserved in the archive. The collection of the archive also includes the published piano score of the opera “Irkutsk story”, the known “Waltz” from which served as a call sign of the Kharkiv Regional Radio for many years. One of the most interesting manuscripts of the archive is the music for the unfinished ballet “Rembrandt” on the libretto by V. Dubrovskyi. The musical “Robin Hood”, which was performed not only in Kharkiv, but also in Moscow, brought the composer national fame. The sound recording of the Moscow play was distributed thanks to the release of gramophone records created with the participation of stars of Soviet stage – the singers Joseph Kobzon, Lev Leshchenko, Valentina Tolkunova and the famous actor Eugene Leonov. The popularity of this musical was phenomenal; excerpts from it were performed even in children’s music schools, as evidenced by the archival documents. During the composer’s life and after his death, his vocal and choral works, works for various instruments were mostly published. The array of these musical editions and manuscripts of M. Karminskyi is arranged in the archive by musical genres. These are piano pieces and other instrumental works, among them is one of the most popular opuses of the composer – “Jewish Prayer” for solo violin (the first performer – Honored Artist of Ukraine Hryhoriy Kuperman). Number a large of publications about the life and career of M. Karminskyi published in books and periodicals are collected, among them are K. Heivandova’s book (1981) “Mark Karminskyi”, the brief collection of memoirs about the composer (compiler – H. Hansburg, 2000) and the congregation of booklets of various festivals and competitions, for example, the booklets of the International Music Festival “Kharkiv Assemblies”, in which the composer has participated since the day of their founding. The booklet of the M. Karminskyi Choral Music Festival testifies to a unique phenomenon in the musical life of the city: never before or since has such a large-scale event dedicated to the work of a single person taken place attracting so many choirs from all Ukraine. A separate array of documents is the photo archive, which includes 136 portraits, photos from various events; 41 of them were donated by a famous Kharkiv photographer Yu. L. Shcherbinin. The audio-video archive of M. V. Karminskyi consists of records of his works, released by the company “Melody”: staging of performances “Robin Hood”, “There are musketeers!” (based on the play by M. Svetlov “20 years later”), various songs, video and tape cassettes with recordings of concerts. Other interesting documents have been preserved, for example, a typewritten script for the Kharkiv TV program about M. Karminskyi with his own participation or the library form, which can be used to trace his preferences as a reader. M. Karminskyi also compiled reviews of publications on the performance of his works and short bibliographic descriptions of their print editions. Conclusions. M. Karminskyi’s personal archive founded by him own in Kharkiv ‘K. S. Stanislavskyi’ Music and Theater Library has been functioning as an independent library fund since 1996 and today it is an unique comprehensive ordered collection, which is freely available and stores documents of various types: music publications and manuscripts, newspaper and magazine fragments, announces, photos, sound and video documents. M. Karminskyi’s archival fund is used as a documentary source for scientific researches (the Candidate’s dissertations of art critics Yu. Ivanova (2001) and E. Kushchova (2004) were defended using the materials of the archive) and as a basic congregation of works by the composer for their performance. The use of digital technologies is part of the necessary modern perspective of the fund’s development, the value of which as a primary source of historical and cultural information only grows over time.
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Ganani, U. "The Politics of Arabella: Post-Wagnerian Opera and the German-Jewish Quest for Lyrical Individualism, 1928-1933." Leo Baeck Institute Yearbook 59, no. 1 (January 1, 2014): 163–77. http://dx.doi.org/10.1093/leobaeck/ybt032.
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Książek, Paulina. "W okowach mitów – "Medeamaterial" Heinera Müllera, Pascala Dusapina i Sashy Waltz." Res Facta Nova. Teksty o muzyce współczesnej, no. 21 (30) (December 15, 2020): 78–90. http://dx.doi.org/10.14746/rfn.2020.21.6.
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Pascal Dusapin is regarded as one of the outstanding contemporary French composers. The opera genre seems to have a special place among his creative achievements. Medeamaterial is the composer’s second work for the stage, and one of many where myth becomes the subject. As the text of the libretto, he chose a text by a German dramatist, Heiner Müller. Both authors decide to reinterpret an antique history and deconstruct it using the means available to them. As does Sasha Waltz, who in 2007 staged Dusapin’s work. All three, while initiating a dialogue with the past, set the work firmly in the present. In this article the author attempts to answer the question how the devices used by these creative artists shape the psychological portrait of the drama’s heroine.
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Kuvshynova, Nataliia M., and Liudmyla A. Vozniuk. "ASSIMILATION OF BORROWINGS IN THE LANGUAGE-RECIPIENT." Scientific Journal of National Pedagogical Dragomanov University. Series 9. Current Trends in Language Development, no. 22 (January 12, 2022): 43–57. http://dx.doi.org/10.31392/npu-nc.series9.2021.22.04.
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In the Russian language of the XVIIth and XVIIIth centuries, the significant part of foreign words were German lexical borrowings. According to the degree of development of the language loanwords recipient traditionally distinguish two main groups of words - assimilated and unassimilated. One of the main bits of foreign words, allocated according to the degree of assimilation, are actually borrowing assimilated words about the skill that scientists have no disagreements. The only problem in this sense is to hold the line between borrowing and internationalism. Internationalism represented, first of all, in the terminological lexicon. By the terms-internationalism: a) socio-political lexicon: congress, constitution, minister, meeting, party, politics, revolution, republic, resolution, senate, etc.; b) scientific terminology: biology, geography, geodesy, geology, zoology, history, linguistics, mathematics, physics, etc.; c) the technical name: unit, antenna, apparatus, harvester, monoplane, tank, tractor; d) art criticism lexicon: aria, ballet, drama, genre, novella, opera, poetry, tenor, etc. When classifying loanwords must be considered the formal features (assimilation of words in the borrowing language) and functionality (use of words in the borrowing language). According to the degree of adaptation of lexical units in the system of the Russian language-recipient, both full and partial assimilation of the German-language vocabulary is possible. Partially assimilated vocabulary can be divided into the following groups: 1) German vocabulary assimilated at the graphic and grammatical levels; 2) German- language vocabulary assimilated at the grammatical level; 3) German-language vocabulary assimilated at the word-formation level; 4) German-language blotches with preceding and following Russian equivalents. The research is based on actual data obtained by different linguists, and on the results of the author's own observations.
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Schmidt, Dörte. "Models of identification in the Opera of the German democratic republic: On the functional change of an aesthetic category." European Legacy 2, no. 1 (March 1997): 143–48. http://dx.doi.org/10.1080/10848779708579705.
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Kleinert, Andreas. "Leonhardi Euleri Opera omnia: Editing the works and correspondence of Leonhard Euler." Studia Historiae Scientiarum 14 (May 27, 2015): 13–35. http://dx.doi.org/10.4467/23921749pkhn_pau.16.002.5258.
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The paper gives an overview on the history and present state of the edition of the complete works of Leonhard Euler (1707–1783). After several failed initiatives in the 19th century, the project began in 1907 with the edition of Euler’s printed works. The works were divided into three series: I. Mathematics (29 volumes); II. Mechanics and Astronomy (31 volumes); and III. Physics and Miscellaneous (12 volumes). After several ups and downs due to two World Wars and economic problems, the publication of the printed works with a total of 72 volumes is nearly finished. Only two volumes on perturbation theory in astronomy are still missing. The publication of series IV (manuscripts and correspondence) started in 1967 as a joint project of the Swiss and the Soviet academies of sciences. The manuscript edition was postponed, and the project focussed on Euler’s correspondence which contains approximately 3000 letters, 1000 of them written by Euler. The correspondents include famous mathematicians of the 18th century like d’Alembert, Clairaut and the Bernoullis, but also many less-known people with whom Euler corresponded on a great variety of subjects. A major problem is to find and to finance appropriate editors who are able to read French, Latin, and the old German handwriting, and who are acquainted with history, culture and science of the 18th century. During the last 50 years, the editors gathered copies or scans of most of the preserved Euler’s letters. The original letters addressed to Euler were made available to the editorial group in Switzerland by the Russian Academy of Sciences before World War I, and before their restitution in 1947 the editors made fairly good photographs that are now an important part of the material basis of the edition. Each volume of the letter series (VIA) contains Euler’s correspondence with one or more of his contemporaries, presented in a chronological order. Up to the present day, four volumes of the correspondence have been published, in addition to an inventory of all known letters to and from Euler, including short summaries and useful information about the date, language and location of the existing copies, and former publication. Four more volumes are in progress and will be published in 2016 or 2017. The remaining letters that are not intended for publication in the printed volumes are planned to be made available in an online edition.
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Fredrikzon, Johan. "1. Abstract Machines." Sensorium Journal 3 (March 26, 2021): 18–27. http://dx.doi.org/10.3384/sens.2002-3030.2021.3.18-27.
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Johan Fredrikzon spent one and a half years as a visiting research assistant at the Film and Media Studies Program at Yale University 2018/2019. Some months before he arrived, a two-day workshop on Simondon was held by the Yale-Düsseldorf Working Group on Philosophy and Media, titled Modes of Technical Objects, with scholars from the US and Germany. Fredrikzon decided to engage a few of the workshop participants for this special issue of Sensorium, with the purpose to discuss perspectives on Simondon as a theoretical instrument for thinking technology, how the French philosopher matters in their work, and why there seems to be a revival in the interest in the writing of Simondon these days.
About Gary Tomlinson:
Gary Tomlinson is John Hay Whitney Professor of Music and the Humanities and director of the Whitney Humanities Center at Yale University. Tomlinson has taught and written about the history of opera and early-modern musical thought and practice, but also on the philosophy of history and anthropological theory. In his current research, he combines humanistic theory with evolutionary science and archaeology to search for the role of culture in the evolution of man. Following A Million Years of Music: The Emergence of Human Modernity (MIT Press, 2015), his new book Culture and the Course of Human Evolution (Chicago, 2018) deepens the theoretical framework on how culture has shaped biology.
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Körner, Axel. "Beyond Nationaloper. For a critique of methodological nationalism in reading nineteenth-century Italian and German opera." Journal of Modern Italian Studies 25, no. 4 (June 30, 2020): 402–19. http://dx.doi.org/10.1080/1354571x.2020.1764244.
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Gilliam, Bryan. ""Friese im Innern": Strauss's Public and Private Worlds in the Mis 1930's." Journal of the American Musicological Society 57, no. 3 (2004): 565–98. http://dx.doi.org/10.1525/jams.2004.57.3.565.
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In the context of the most prolific and tumultuous decade in Strauss's life, the 1930s, this essay focuses on the years 1935-36, a time of significant change in the history of the Nazi regime. This period also saw significant changes in Strauss's life and worldview. Strauss lost a prized librettist (Stefan Zweig) in 1935, the same year that their opera, Die schweigsame Frau, was banned. Strauss was then fired from the presidency of the Reichsmusikkammer and within twenty-four hours was negotiating reluctantly with a new librettist of modest abilities (Joseph Gregor). On a broader level, this period saw the formation of the Nuremberg Race Laws, a reconfiguration of the Reichskulturkammer, and Hitler's four-year plan for war. As the Nazis expanded, Strauss grew inward, turning to his late nineteenth-century roots in German Romanticism and Innerlichkeit informed by Goethe and Nietzsche. The relationship between Strauss's public and private worlds is explored through discussions of his completed works as well as a fragmentary cello concerto and works for male chorus in a sketchbook from this time.
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Алпатов, Сергей Викторович. "The “sympathies of spectators” as a factor in the history of Russian theater." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (November 11, 2019): 71–81. http://dx.doi.org/10.26158/tk.2019.20.3.006.
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В настоящей статье рассматривается вопрос о роли зрительских предпочтений в формировании жанрового состава, тематики, образного мира и стиля русского театра Нового времени. Применительно к сфере фольклорного театра XVIII-XIX вв. трудно переоценить роль мемуарных свидетельств в реконструкции социальной среды, пространственно-временного контекста и самого содержания театральных представлений. Вместе с тем личные свидетельства зрителей профессиональных, любительских и собственно народных театральных постановок позволяют выявить и соотнести их идейные, эмоциональные и эстетические предпочтения, влиявшие, в свою очередь, на репертуар, художественную структуру и драматургическую технику активно развивавшегося отечественного театра. На материале «Журнала путешествия Никиты Акинфиевича Демидова 1771-1773 гг.» проводится исследование эстетических вкусов образованного русского путешественника второй половины XVIII в., наблюдавшего широкий спектр немецких, французских, итальянских и английских зрелищных и театральных форм: оперу, драму, театр марионеток, карнавал, цирк, конные бега, военные маневры, религиозные церемонии и др. Несмотря на очевидную склонность к итальянскому оперному и французскому драматическому искусству, Н. А. Демидов с интересом и благожелательно воспринимал повседневные формы английского городского досуга (от концертов на открытом воздухе до цирковых представлений). Зафиксированные в «Журнале путешествия…» театральные интересы и эстетические предпочтения Н. А. Демидова разделяли (в полной мере или отчасти) его спутники по странствиям, его секретарь и редактор травелога Н. И. Крымов, а также многочисленные читатели издания 1786 г., в том числе сын Николай Демидов, внесший существенный вклад в развитие отечественной театральной традиции. This article discusses the role of audience tastes, expectations and preferences in shaping the genre, themes, characters, and style of modern Russian theater. It is difficult to overestimate the role of memoirs in the reconstruction of the social environment, space-time context and the content of performances of folk theater of the 18th - 19th centuries. At the same time, the personal testimony of spectators of professional, amateur and folk theater allows us to identify and compare their ideological, emotional and aesthetic preferences, which in turn had an influence on the repertoire, poetic structure and dramatic technique of the actively evolving national theater. Based on the travel journal of N. A. Demidov (1771-1773) the article analyzes the preferences of this educated Russian traveler that covered a wide range of German, French, Italian and English entertainments and theatrical forms: opera, drama, puppet theater, carnival, circus, horse racing, military maneuvers, religious ceremonies, etc. Apart from his obvious preference for Italian opera and French drama, Demidov also observed everyday forms of urban leisure pursuits (from outdoor concerts to circus performances) with interest and sympathy. Demidov’s theatrical interests and aesthetic preferences were shared (fully or partially) by his traveling companions, his secretary and editor of the travelogue, N. I. Krymov, as well as with numerous readers of the 1786 edition of the travel memoir, including the author’s son Nikolay Demidov, a person of influence in the history of Russian theater.
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Vasic, Aleksandar. "Review of music: Forgotten musical magazine of inter-war Belgrade." Muzikologija, no. 19 (2015): 119–33. http://dx.doi.org/10.2298/muz1519119v.
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The monthly magazine Review of Music was published six times in Belgrade from January to June 1940. Each edition comprised thirty-two pages, half of which were devoted to a sheet-music supplement, popular compositions of the time for voice and piano. Review of Music published 222 articles and scores in total. The aim of the magazine was to popularise classical music, but it also encompassed jazz, films and film music, theatre, literature, fashion, and even sport. Review of Music was different from all other Serbian inter-war music magazines, not only because of its wide range of topics, but also because it published anonymous articles, probably taken from other sources, but it is not known from where. This study analyses the articles about classical music in Review of Music. In several short chapters the author presents the concept of the magazine, its genre structure, themes addressed, and the style of its music writers. Selected examples show that article authors tended to exploit elements of narrative (with an emphasis on impressive details), humour, and moral teaching. The authors also especially emphasized the neutral attitude of Review of Music towards contemporary music, although the magazine published different views of contemporary composers concerning the aesthetics of modern music. Review of Music started four months after Germany invaded Poland. However, in the journal references to social and political events are non-existant. The journal seems to have been interested only in culture and the arts. However, the author of this study presents examples in which the political circumstances of the time can be perceived. One of these examples is the visit of the Frankfurt Opera House to Belgrade in 1940. That extraordinary cultural event was attended by Prince Paul Karadjordjevic and Princess Olga, the Yugoslav Prime Minister, and almost all other government ministers. In this news, any authority on the political situation of the time could see that the Yugoslav government and the political elite took care of delicate relations with Germany at that time. This is the first study to analyse the concept and content of classical music in Review of Music. This magazine is certainly an interesting source, not only for the history of Serbian music periodicals, but also for cultural history.
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Ujvári, Hedvig. "Before The Wooden Prince: Károly Szabados's Ballet Vióra (1891) in the Context of the History of Hungarian Ballet." Studia Musicologica 63, no. 1-2 (December 9, 2022): 111–29. http://dx.doi.org/10.1556/6.2022.00004.
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AbstractFollowing the debut of Károly Szabados's ballet Vióra on March 14, 1891, the daily newspaper Pesti Hírlap called the date a glorious day not only for Hungarian music, but also for Hungarian genius and spirit in general, and treated the debut at the Hungarian Royal Opera House in Budapest as an allegory for spring: “It was as if the refreshing, revitalizing breaths of that traditional March breeze had blown across the hall of muses on Andrássy Road: such was the enthusiasm dominating the spectators' benches and the stage alike.”1 According to the newspaper, it was the long-anticipated victory of “the Hungarian genius, which some had begun to consider as almost alien to the Hungarian royal theater,” and it was all thanks to Géza Zichy (1849–1924), one of whose first acts as intendant was bringing this long neglected piece to the stage.2 In the context of Vióra's premiere, the “Hungarian genius” and the “Hungarian spirit” manifested on several levels, as it was the decision of a Hungarian intendant to present the evening-long ballet of a Hungarian author revolving around Hungarian themes; but this raises the question, why did a Hungarian ballet carry such significance at the time? What place does Károly Szabados, the author of the ballet, occupy in the history of Hungarian music, and how was the ballet and its music received by contemporaries in and out of the limelight? This study attempts to answer these questions by examining contemporary Hungarian and German news articles and music critiques published in Budapest.
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Weitz, Shaena B. "Propaganda and Reception in Nineteenth-Century Music Criticism: Maurice Schlesinger, Henri Herz, and the Gazette musicale." 19th-Century Music 43, no. 1 (2019): 38–60. http://dx.doi.org/10.1525/ncm.2019.43.1.38.
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In the mid-1830s, Henri Herz (1803–88) was an internationally renowned pianist, but his reputation today, for the most part, is that of a second-rate musician who wrote trivial variations on opera themes. This enduring picture of Herz was painted first in France in 1834 by the Gazette musicale. The Gazette’s campaign has been understood by modern scholars as a conspicuous moment in a broad aesthetic shift away from French salon music and toward high German Romanticism, and the Gazette has garnered praise for its prescience. But a closer examination of the Gazette’s articles, the events surrounding the coverage such as a pistol duel and a libel case, contemporary correspondence, and Herz’s publishing record indicate that the Gazette’s negative treatment of Herz was not an organic assessment of his output, but rather a revenge scheme orchestrated by the Gazette’s owner and Herz’s former publisher, Maurice Schlesinger (1798–1871). As a case study, the Gazette’s Herz campaign exposes the endemic corruption of the nineteenth-century press that has been portrayed as an unseemly rarity rather than a central component of historical criticism’s production. But taken more broadly, the Gazette’s articles on Herz highlight limitations in the history of reception. This article turns to media studies to explore the problematic relationship between propaganda and reception and shows how the Gazette, and other nineteenth-century journals, are still manipulating our cognition.