Relevant bibliographies by topics / Opera; Germany

Contents

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

Academic literature on the topic 'Opera; Germany'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Opera; Germany"

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Kallin, Britta. "Intertextualities in Elfriede Jelinek’s Rein Gold: Ein Bühnenessay." Seminar: A Journal of Germanic Studies 57, no. 2 (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-cri
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Wen, Cheng. "The Twin Styles in 19th Century: Stereotyping Rossini and Beethoven." Journal of Education, Humanities and Social Sciences 35 (July 4, 2024): 867–76. http://dx.doi.org/10.54097/n1ntm446.

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In the 19th century, Dahlhaus’s "twin styles" compared Rossini and Beethoven as representatives of Italy and Germany. He believes that the Italian opera represented by Rossini is superficial, while the German opera represented by Beethoven is profound. Over time, this contrasting relationship gave rise to stereotypes and gradually evolved into a broader contrast between the cultures and arts of Italy and Germany. This article aims to address this issue by examining Rossini's representative opera "L'italiana in Algeri," focusing on the aria "Languir per una bella," and analyzing the recitative
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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 (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
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Roll, Julia, and Sven-Ove Horst. "The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany." Baltic Screen Media Review 5, no. 1 (2017): 90–109. http://dx.doi.org/10.1515/bsmr-2017-0014.

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AbstractToday, opera houses are confronted by new (global) digital media offers that enable people to remain outside the opera house while attending a live-opera, e.g. via livestreamed opera performances in the cinema. This is a challenge for media managers in these fields because they need to find new ways to work with these new opportunities. Within a cultural marketing context, branding is highly relevant. Based on the brand image approach by Kevin Lane Keller (1993), we use a complex qualitative-quantitative study in order to investigate if, and how, the brand images of live-opera performa
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Rathey, Markus. "Setting the Stage: Drama, Libretti and the ‘Invention’ of Opera in Leipzig in the 1680s." Cambridge Opera Journal 29, no. 3 (2017): 287–311. http://dx.doi.org/10.1017/s0954586718000010.

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AbstractThe opera house in Leipzig opened its doors in 1693. Operas had been performed in central Germany for quite some time but they were primarily confined to courts. With the founding of the opera, Leipzig, home of an important trade fair, provided an additional musical attraction that could entertain merchants coming for the fair. While the year 1693 marks the beginning of regular opera performances in Leipzig, the preceding decades saw an increased interest in dramatic genres in the realms of both secular and sacred music. The connection between these dramatic works and the opera house a
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Park, Chang-min. "A Study of the Diversification of Materials of Korean New Operas: Focusing on selected works by the Creative Factory of Performing Arts." Academic Association of Global Cultural Contents 57 (November 30, 2023): 79–99. http://dx.doi.org/10.32611/jgcc.2023.11.57.79.

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Starting in 1950, Korean Opera, which has a history of 73 years to date in 2023, served as an motive to pave the way for the creation of Korean opera through the “MOM Creation Contest” organized by Korea National Opera in 2009. Since then, it has been changed to the Creative Factory of Performing Arts organized by the Arts Council Korea since 2014, and new operas have been discovered every year through continuous support until 2023, and 17 new operas have been finally selected. This study examined the diversified aspects of material utilization for new operas discovered through the Creative Fa
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Porfirieva, A. "The Middle of the Distance." Versus 2, no. 6 (2023): 6–19. http://dx.doi.org/10.58186/2782-3660-2022-2-6-6-19.

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In the perception of Richard Wagner's Lohengrin and in scholarly discourse on it, the legend associated with the tales of the Knights of the Grail prevails. But the romantic element in opera had a political and even revolutionary meaning for Wagner. The historical layer of the operatic action in Lohengrin draws on the Deeds of the Saxons by Widukind of Corvey and recounts the birth of the Yrst Germanic parish, united by Henry the Fowler, the “Father of the Fatherland” — and the Yrst Germanic emperor. The Romantic generation of German revolutionaries — Wagner's peers and associates — excavated
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JOUBERT, ESTELLE. "SONGS TO SHAPE A GERMAN NATION: HILLER’S COMIC OPERAS AND THE PUBLIC SPHERE." Eighteenth Century Music 3, no. 2 (2006): 213–30. http://dx.doi.org/10.1017/s1478570606000583.

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In this article I assert that our modern understanding of the singspiel as a genre has been shaped not by eighteenth-century principles but rather by nineteenth-century notions of ‘romantic’ German opera. In contrast to a later through-composed ideal, Johann Adam Hiller’s comic operas, often viewed as the prototype of the German comic genre, were designed precisely in order that the songs might easily be detached from the spoken dialogue, disseminated outside of the public opera house and sung by audiences in various other contexts. The express purpose of these songs, as articulated by librett
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Fulcher, Jane F. "French Identity in Flux: The Triumph of Honegger's Antigone." Journal of Interdisciplinary History 36, no. 4 (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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Pollock, Emily Richmond. "Opera by the Book." Journal of Musicology 35, no. 3 (2018): 295–335. http://dx.doi.org/10.1525/jm.2018.35.3.295.

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In 1944 with Nazi Germany just months from defeat, a curious and now little-known book was published in Regensburg: a collection of essays and biographies that strove to define the contemporary state of opera. Titled Die deutsche Oper der Gegenwart (German Opera of the Present Day), this substantial and lavishly produced volume documents the aesthetics of opera during the Third Reich through its profiles of sixty-two composers, more than 250 design drawings and photographs, prose essays on drama and staging, and an extensive works list. The National Socialist alignment of the book’s primary au
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Dissertations / Theses on the topic "Opera; Germany"

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Imhoof, David Michael. "Guns, opera, and movies : local culture in interwar Germany, Göttingen, 1919-1938 /." Digital version, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983241.

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Thompson, Abbey E. Fauser Annegret. "Revival, revision, rebirth Handel opera in Germany, 1920-1930 /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,442.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2006.<br>Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Master of Arts in the department of Musicology." Discipline: Music; Department/School: Music.
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Joubert, Estelle. "Opera, politics and the public sphere in enlightenment Germany." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491255.

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The most important aspect of my thesis lies in developing a new approach to Dthe public sphere in musicology. Using definitions of a public sphere developed by political and cultural historians, my workmg definition of the public sphere e is that of a specific historical development during the Enlightenment in which a conceptual space emerged between the state and private home where texts (including musical texts) were disseminated, discourse flourished, and institutions such as the public opera house were founded.
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Taylor-Jay, Claire Patricia. "Politics and the ideology of the artist in the Künstleropern of Pfitzner, Krenek and Hindemith". Thesis, University of Southampton, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313527.

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McDaniel, Jan (Pianist). "Die Opernprobe by Albert Lortzing: a Critical Edition." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc503969/.

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The purpose of the present edition of Albert Lortzing's Die Opernprobe is to restore and clarify the composer's original intentions, which were often obscured or altered by the first published version, which appeared in 1899. This thesis is divided into two parts. Part One contains an introduction which discusses Lortzing's place in the history of German opera, the details surrounding the composition of Die Opernprobe, the musical and dramatic structure of the opera, and the sources used in the preparation of this edition. Part Two consists of a critical edition of the orchestral score, with t
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Burke, Kevin Robert. "Opera, the Nation, and the Ideology of Genre in Early Nineteenth-Century Germany." Cincinnati, Ohio University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1100551588.

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Garnett, Elizabeth Ann. "Constructions of gender and musical style, 1790-1830." Thesis, University of Southampton, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296997.

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

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Ranan, David. "The management of public subsidies for opera : comparative study of decision-making and proposed model for public opera funding bodies in Britain and Germany." Thesis, City University London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393984.

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Lübbe, Dorothea. "Europera : innovation artistique et politique culturelle de théâtre musical contemporain en Allemagne et en France." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0315.

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Ce projet de recherche se concentre sur les conditions generales de politique culturelle sous lesquelles se créent les nouvelles formes artistiques du theatre musical contemporain en Allemagne et en France.Le travail de recherche sur le présent thème est dédié aux tentatives d'innover et n'a pas pour objet de mettre la crise en évidence. L'intérêt de ce domaine de recherche réside dans la recherche de solutions en discutants des reformes et innovations tout en s'appuyant sur des études de cas tirées de la pratique actuelle du theatre musical en Allemagne et en France. Les pressants travaux rep
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Books on the topic "Opera; Germany"

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D, Steakley James, ed. German opera libretti. Continuum, 1995.

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Zwischen Krieg, Liebe und Ehe: Studien zur Konstruktion von Geschlecht und Liebe in den Libretti der Hamburger Gänsemarkt-Oper (1678-1738). Centaurus, 2010.

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Knobel, Marita. Singing opera in Germany: A practical guide. Bärenreiter, 2005.

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Henzel, Christoph. Die italienische Hofoper in Berlin um 1800: Vincenzo Righini als preussischer Hofkapellmeister. J.B. Metzler, 1994.

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Gostomzyk, Swantje. Literaturoper am Ende des 20. Jahrhunderts: Eine interdisziplinäre Studie am Beispiel der Opern von Detlev Glanert. Lang, 2009.

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Strauss, Johann. Die Fledermaus or the bat's revenge. Viking, 1989.

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Strauss, Johann. Die Fledermaus or the Bat's revenge. Viking, 1989.

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

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Hendrik, Birus, and Harms Wolfgang, eds. Die Behandlung der antiken Mythologie in den Textbüchern der Hamburger Oper 1678-1738. P. Lang, 1994.

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

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Book chapters on the topic "Opera; Germany"

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van Boer, Bertil. "Opera in France, Germany, and Elsewhere." In Music in the Classical World. Routledge, 2019. http://dx.doi.org/10.4324/9781315145570-7.

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Burden, Michael. "Hints on the Italian Opera in Italy, France, Germany (1839)." In London Opera Observed 1711-1844, Volume V. Routledge, 2024. http://dx.doi.org/10.4324/9781003552123-22.

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Watanabe, Morimichi, Thomas M. Izbicki, and Gerald Christianson. "The Origins of Modern Cusanus Research in Germany and the Establishment of the Heidelberg Opera Omnia." In Concord and Reform. Routledge, 2023. http://dx.doi.org/10.4324/9781003418412-5.

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Golding, Rosemary. "Richard Edgcumbe, ‘German Opera, French Opera’." In Music in Nineteenth-Century Britain. Routledge, 2022. http://dx.doi.org/10.4324/9781003003915-31.

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Puffett, Derrick. "Berg and German Opera." In The Berg Companion. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-09056-3_9.

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Montgomery, Alan. "Richard Wagner, Richard Strauss, and the German School." In Opera Coaching. Routledge, 2019. http://dx.doi.org/10.4324/9780367809676-20.

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Fitzgerald, Gerald, and Robert Tuggle. "German Interlude 1884–91." In Annals of the Metropolitan Opera. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-11976-9_9.

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Langford, Jeffrey. "The rise of German Romantic opera." In Opera, a History of the Impossible Genre. Routledge, 2024. http://dx.doi.org/10.4324/9781003379546-9.

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Schlaffke, Markus. "The Indian Parsifal: Revisiting Felix Gotthelf’s Forgotten Opera Mahadeva." In Palgrave Series in Asian German Studies. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-40375-0_6.

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AbstractIn this chapter, Markus Schlaffke describes a listening experiment designed to re-access the music of Felix Gotthelf’s Indian opera Mahadeva and to analyse the sounds of what had clearly been a significant cultural phenomenon. He approaches the Gesamtkunstwerk (total work of art) as a listening space in which differing experiences of the modern world were brought into harmony at the turn of the twentieth century and clarifies how, in 1910, the success and failure of an Indian opera depended not only on whether it produced an aesthetic innovation but also on whether it succeeded to bring the sphere of the religious, the experience of alterity, and colonial knowledge into play.
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Xu, Lufan. "The “Oriental” Utopia: Postwar Orientalism and Ferruccio Busoni’s Opera Turandot." In Palgrave Series in Asian German Studies. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78209-2_5.

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Conference papers on the topic "Opera; Germany"

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Coroiu, Petruta Maria. "Aurel Stroe — outstanding personality of modern Romanian music." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.08.

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Being one of the most important Romanian composers, thinkers and teachers of the second half of the 20th century, illustrious representative of modern European and Romanian thought with spiritual amplitude, Aurel Stroe has reached — although passed to the eternal ones in 2008 — the anniversary moment when he would have completed 90 years since his birth (May 5, 2022). Member of the academic staff at the Bucharest National University of Music until he left for Germany, Aurel Stroe taught orchestration and composition, but also he held courses in the USA (1985–1986), France (1972), Germany (1986
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Girlea, Olesea. "Traducerea poeziei lui Eugen Coșeriu în limba germană." In Conferinta stiintifica nationala cu participare internationala „Lecturi in memoriam acad. Silviu Berejan”. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/lecturi.2021.05.11.

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Indiscutabil poeziile lui Eugen Coșeriu au intrat în vizorul criticii din perspectiva impunerii unei revizuiri riguroase a operei. Traducerea poeziilor lui E. Coșeriu în toate limbile, inclusiv limba germană e un subiect generat de un concurs de la Biblioteca „B. P.-Hasdeu”, derulat în anul 2021. Lingvist cu renume mondial și cadru didactic internațional de excepție, Eugen Coșeriu a evitat să-și scrie opera poetică în limba germană. Demararea acestui concurs de traducere readuce în discuție opera poetică a lui E. Coșeriu din perspectiva traducerilor în diverse limbi, de diferite categorii de t
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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.

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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Wi
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Scandarolli, Denise. "Transformação e consolidação do gênero opéra-comique a partir da Querelle des Bouffons." In Encontro da História da Arte. Universidade Estadual de Campinas, 2010. http://dx.doi.org/10.20396/eha.6.2010.3810.

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O gênero operístico denominado opéra-comique tem suas origens nos espetáculos teatrais e de divertimento que eram apresentados nas feiras sazonais de Paris. Por volta da segunda metade do século XVII, época em que esse tipo de espetáculo Forain ganha um caráter mais homogêneo, as principais feiras parisienses eram a Foire Saint-Germain e a Foire Saint-Laurent. A primeira se localizava entre a igreja de Saint Germain de Prés e a Saint Suplice (rive gauche) e funcionava entre o início de fevereiro até o domingo de páscoa; a segunda ficava nas proximidades do faubourg Saint Denis (rive droite) e
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Zunno, Antonio. "La fortezza e il suo giardino: uno sguardo dal mare." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11368.

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The fortress and its garden: a view from the seaThe Fortress was built from 1554, on the ruins of an ancient convent, at the behest of Philip of Austria, and it was completed in about 55 years under the direction of Giulio Cesare Falco, knight of the Order of Malta and Captain General against the Turks. The maine structure, called Forte a Mare, was joined with the Opera a Corno, a mighty rampart with the function of enclosure of the intermediate island, separated from the other island in 1598 by the construction of the Angevin canal: here were arranged the lodgings of the troops and garrisons.
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