During the reconstruction of West Germany's cultural life after World War II, opera resumed its central place in civic life, but German cultural traditions were tainted by the horrors of National Socialism. Emily Richmond Pollock's Opera After the Zero Hour explores composers' experiments to find expressive strategies and traditional reference points could still work for new opera, and promotes a more nuanced understanding of the relationship between opera and modernism.
During the reconstruction of West Germany's cultural life after World War II, opera resumed its central place in civic life, but German cultural traditions were tainted by the horrors of National Socialism. Emily Richmond Pollock's Opera After the Zero Hour explores composers' experiments to find expressive strategies and traditional reference points could still work for new opera, and promotes a more nuanced understanding of the relationship between opera and modernism.
Emily Richmond Pollock is a member of the faculty in the Music and Theater Arts Section of the Massachusetts Institute of Technology. She earned her PhD in music history and literature from the University of California, Berkeley in 2012. Her articles and reviews have appeared in the Journal of Musicology, Journal of the American Musicological Society, Opera Quarterly , and Notes. Her research has been supported by the German Academic Exchange Service (DAAD), the Paul Sacher Stiftung, and the Class of 1947 at MIT.
Inhaltsangabe
* Introduction * Chapter One: Placement and Displacement * Rank and File: Opera's Everyday Biographies * The Situation of New Opera in the Post-War Repertoire * Chapter Two: The Significance of Nonsense: Boris Blacher's Abstrakte Oper Nr. 1 * Why Abstract an Opera? * Linguistic Abstraction in the Libretto * Making Music from Nonsense * Hearing Controversy and Politics in Abstraction * Chapter Three: Italy, Atonally: Hans Werner Henze's König Hirsch * The Bondage of bel canto * The Magic of König Hirsch * From Sketches to Songs * Melody, the "Renegade's Hara-kiri" * Chapter Four: The Opera Underneath: Carl Orff's Oedipus der Tyrann * Origin Stories I: Ancient Greece in Germany * Origin Stories II: Ancient Greece against the Opera * An Opera without Music? * Traces of the Opera Underneath * Chapter Five: Explosive Pluralisms: Bernd Alois Zimmermann's Die Soldaten * Wagner and Berg: Zimmermann's Operatic Pasts * A Spaceship of the Mind: Zimmermann's Operatic Futures * From Lenz to Literaturoper * The Structure of Pluralism * Serialism and Expression(ism) * In the End * Chapter Six: Rebuilding and Retrenchment: The Munich Nationaltheater and Werner Egk's Die Verlobung in San Domingo * Ideas of Reconstruction * The Reconstruction of the Munich Nationaltheater * November 1963: The Gala Reopening * Who Was Werner Egk? * Operaticism and Racial Stereotypes in Die Verlobung in San Domingo * Epilogue * Bibliography
* Introduction * Chapter One: Placement and Displacement * Rank and File: Opera's Everyday Biographies * The Situation of New Opera in the Post-War Repertoire * Chapter Two: The Significance of Nonsense: Boris Blacher's Abstrakte Oper Nr. 1 * Why Abstract an Opera? * Linguistic Abstraction in the Libretto * Making Music from Nonsense * Hearing Controversy and Politics in Abstraction * Chapter Three: Italy, Atonally: Hans Werner Henze's König Hirsch * The Bondage of bel canto * The Magic of König Hirsch * From Sketches to Songs * Melody, the "Renegade's Hara-kiri" * Chapter Four: The Opera Underneath: Carl Orff's Oedipus der Tyrann * Origin Stories I: Ancient Greece in Germany * Origin Stories II: Ancient Greece against the Opera * An Opera without Music? * Traces of the Opera Underneath * Chapter Five: Explosive Pluralisms: Bernd Alois Zimmermann's Die Soldaten * Wagner and Berg: Zimmermann's Operatic Pasts * A Spaceship of the Mind: Zimmermann's Operatic Futures * From Lenz to Literaturoper * The Structure of Pluralism * Serialism and Expression(ism) * In the End * Chapter Six: Rebuilding and Retrenchment: The Munich Nationaltheater and Werner Egk's Die Verlobung in San Domingo * Ideas of Reconstruction * The Reconstruction of the Munich Nationaltheater * November 1963: The Gala Reopening * Who Was Werner Egk? * Operaticism and Racial Stereotypes in Die Verlobung in San Domingo * Epilogue * Bibliography
Es gelten unsere Allgemeinen Geschäftsbedingungen: www.buecher.de/agb
Impressum
www.buecher.de ist ein Shop der buecher.de GmbH & Co. KG Bürgermeister-Wegele-Str. 12, 86167 Augsburg Amtsgericht Augsburg HRA 13309
