Reading Opera between the Lines - Morris, Christopher
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A characteristic feature of Wagnerian and post-Wagnerian opera is the tendency to link scenes with numerous and often surprisingly lengthy orchestral interludes, frequently performed with the curtain closed. Often taken for granted or treated as a filler by audiences and critics, these interludes can take on very prominent roles, representing dream sequences, journeys and sexual encounters, and in some cases becoming a highlight of the opera. Christopher Morris investigates the implications of these important but strangely overlooked passages. Combining close readings of individual musical…mehr

Produktbeschreibung
A characteristic feature of Wagnerian and post-Wagnerian opera is the tendency to link scenes with numerous and often surprisingly lengthy orchestral interludes, frequently performed with the curtain closed. Often taken for granted or treated as a filler by audiences and critics, these interludes can take on very prominent roles, representing dream sequences, journeys and sexual encounters, and in some cases becoming a highlight of the opera. Christopher Morris investigates the implications of these important but strangely overlooked passages. Combining close readings of individual musical texts with an investigation of the critical discourse surrounding the operas, Morris shows how the interludes shed light not only on the representational and narrative capacities of the orchestra, but also on the supposed 'absolute' realm of instrumental music, a concept to which many critics appealed when they associated the interludes with 'purely musical' and 'symphonic' qualities.

Table of contents:
Prelude; 1. A walk on the wild side: musical narrative and pleasure in A Village Romeo and Juliet; 2. What the conductor saw: orchestral love scenes in Esclarmonde and Feuersnot; 3. Lost in the forest: music, mystery, and the unconscious in Pelléas et Mélisande; 4. 'Sympathy with Death': nostalgia and narcissism in post-Wagnerian opera; 5. 'A Torrent of Unsettling Sounds': Der Schatzgräber and the twilight of music drama; 6. Wagner and 'Invisible Theatre'; Postlude.

A characteristic feature of Wagnerian and post-Wagnerian opera is the use of substantial orchestral links between scenes and before a closed curtain. These interludes often take on very prominent roles, representing dream sequences, journeys and sexual encounters. Christopher Morris investigates the implications of these important but strangely overlooked passages.

Investigates the use of orchestral interludes to link scenes in Wagnerian and post-Wagnerian opera.
  • Produktdetails
  • Verlag: Cambridge University Press
  • Seitenzahl: 232
  • Erscheinungstermin: 2. Februar 2015
  • Englisch
  • Abmessung: 229mm x 152mm x 18mm
  • Gewicht: 515g
  • ISBN-13: 9780521807388
  • ISBN-10: 0521807387
  • Artikelnr.: 22701761
Autorenporträt
Christopher Morris is Lecturer in Music at University College Cork. His articles have appeared in The Journal of Musicological Research, Musical Quarterly and The Journal of the Royal Musical Society.
Inhaltsangabe
Acknowledgements
Introduction
1. A walk on the wild side
2. What the conductor saw
3. Lost in the forest
4. 'Sympathy with death'
5. 'A torrent of unsettling sounds'
6. Wagner and 'invisible theatre'
Conclusion: 'innocence among opposites'
Bibliography
Index.