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Dissertations / Theses on the topic 'Opera; Germany'

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Published: 4 June 2021

Last updated: 27 July 2024

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1

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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2

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 KuÌˆnstleropern 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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6

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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7

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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10

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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11

Carpena, Lucia Becker. "Caracterização e uso da flauta doce nas operas de Reinhard Keiser (1674-1739)." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284322.

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Orientadores: Helena Jank, Paulo Mugayar Kuhl<br>Acompanha anexos I-IV (308p., il. publicados separadamente) e Anexo V em CD-ROM<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-09T09:53:29Z (GMT). No. of bitstreams: 1 Carpena_LuciaBecker_D.pdf: 28904081 bytes, checksum: 2b59739db096e3ab52bf504eb62fd4e4 (MD5) Previous issue date: 2007<br>Resumo: A tese trata da maneira como Reinhard Keiser (1674-1739) utilizou a flauta doce nas árias de suas óperas, e teve como objetivo principal ampliar o repertório orquestral e vocal com fla

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Le, Bar Ann Catherine. "Musical culture and the origins of the Enlightenment in Hamburg /." Thesis, Connect to this title online; UW restricted, 1993. http://hdl.handle.net/1773/10377.

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13

Cailliez, Matthieu. "La diffusion du comique en Europe à travers les productions d’opere buffe, d’opéras-comiques et de komische Opern (France - Allemagne - Italie, 1800-1850)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040110/document.

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Cette étude de la diffusion du comique en Europe, à travers les productions d’opere buffe, d’opéras-comiques et de komische Opern dans la première moitié du XIXe siècle, porte dans un premier temps sur les livrets et leur circulation, puis sur la diffusion des œuvres, enfin sur les modèles structurels musicaux du comique et leurs transferts. Entré le premier dans l’ère de la « littérature industrielle », le théâtre français s’impose à l’échelle du continent et les librettistes français bénéficient du système avantageux du droit d’auteur. Déconsidérés et mal rémunérés, les librettistes italiens

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Kresge, Kristine Helene. "Paul Hindemith and Neue Sachlichkeit: Zeitoper in the Weimar Republic." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279374/.

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The focus of this study will be the impact of Neue Sachlichkeit on Zeitoper, specifically its influence upon Hindemith's operatic output. The purpose of this paper is not to.subject these works to detailed musical analysis, but rather to place Hindemith's Zeitopern in historical perspective, examining how they were influenced by and mirrored the aesthetic atmosphere of the Weimar Republic.

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Burke, Kevin R. "Propagating a National Genre: German Writers on German Opera, 1798-1830." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277145931.

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Shoaff, Adam. "The Aesthetic Foundations of German Opera in Leipzig, 1766-1775." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1460444532.

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Rue, Robert A. ""Mixed Taste," Cosmopolitanism, and Intertextuality in Georg Philipp Telemann's Opera Orpheus." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1483456936606681.

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Mendenhall, Margaret Ann. "Vox Eurydice| The Ascent of Female Rescuers in German-Language Opera." Thesis, Pacifica Graduate Institute, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10792387.

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<p> This dissertation is a mythological analysis written from a feminist perspective, on the emergence of the theme of rescue stories, and specifically plots where a female heroine saves a male character, which arose in German-language opera during the roughly one hundred years that spanned the lifetimes of Wolfgang Amadeus Mozart, Ludwig van Beethoven and Richard Wagner. </p><p> This paper begins with a survey of the origins of the Orpheus and Eurydice myth, in which Orpheus descends to Hades in an effort to bring his beloved back to the world of the living. It then describes the creation o

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Meyer, Stephen Conrad. "Performing identity : the search for a German opera in Dresden, 1798-1832 /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40042869z.

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Förster, Michael A. "Kulturpolitik im Dienst der Legitimation Oper, Theater und Volkslied als Mittel der Politik Kaiser Wilhelms II. /." Frankfurt am Main : Lang, 2009. http://catalog.hathitrust.org/api/volumes/oclc/326466535.html.

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Cochran, Keith Harris. "The genesis of Gaspare Spontini's Agnes von Hohenstaufen : a chapter in the history of German opera /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb400412034.

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Kertesz, Elizabeth Jane. "Issues in the critical reception of Ethel Smyth's Mass and first four operas in England and Germany /." Connect to thesis, 2000. http://eprints.unimelb.edu.au/archive/00002241.

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Carpena, Lucia Becker. "Caracterização e uso da flauta doce nas óperas de Reinhard Keiser (1674-1739)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10571.

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A tese trata da maneira como Reinhard Keiser (1674-1739) utilizou a flauta doce nas árias de suas óperas, e teve como objetivo principal ampliar o repertório orquestral e vocal com flauta doce. Para tanto, foram estudadas características da ópera no norte da Alemanha, a partir de suas origens, até o início das atividades do Theater am Gänsemarkt, em Hamburgo, onde Keiser trabalhou durante quase toda sua vida. Além disso, são apresentadas considerações a respeito do uso da flauta doce na música dramática dos séculos XVII e XVIII, de modo a compreenderem-se as especificidades propostas por Keise

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Albrecht, Carol Padgham. "Music in Public Life: Viennese Reports from the Allgemeine musikalische Zeitung, 1798-1804." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1207754056.

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Thesis (Ph.D.)--Kent State University, 2008.<br>Title from PDF t.p. (viewed July 15, 2009). Advisor: Kazadi wa Mukuna. Keywords: Allgemeine musikalische Zeitung, music journalism, 19th-century Vienna, concert life, Viennese opera. Includes bibliographical references (p. 236-243).

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Furlong, Alison Marie. "Georg Wildhagen's Figaros Hochzeit: How an Italian Opera Based on a French Play Became a German Socialist Film." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1269535387.

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Chew, Ellen C. "Goethe’s "Gretchentragodie" in Song: A Multidimensional Woman, not Victim." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1458893328.

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Sefton, Fredrik. "Wie fang ich nach der Regel an? : Schwierigkeiten und Übersetzungsstrategien beim Übersetzen von Wagners "Die Meistersinger von Nürnberg"." Thesis, Karlstad University, Faculty of Arts and Education, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1642.

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<p>Diese Arbeit beschäftigt sich mit dem Übersetzen von literarischen Texten, und zwar Operntexten. Die Frage wird gestellt, in welchem Ausmaß die Form, Stilistik und der Inhalt des Originals in eine Übersetzung übertragen werden können, und auch wie kultur- und spracheigene Wörter und Ausdrücke übersetzt werden können. Der Gegenstand der Untersuchung sind zwei Übersetzungen von Richard Wagners Oper Die Meistersinger von Nürnberg, die mit dem Originaltext und auch mit einander verglichen werden.</p><p>Das Ergebnis zeigt, dass die Übersetzungen sehr formtreu sind, und dass sehr wenig vom Inhalt

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Cohn, Maurice E. "Finding Music’s Words: Moses und Aron and Viennese Jewish Modernism." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1521740116488967.

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Jacob, Adrienne. "L'opéra de Strasbourg, une architecture au service de la vie sociale et artistique à Strasbourg (XIXe-XXe siècles)." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG028.

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Créée sous l’Ancien Régime sous le nom de 'Comédie Françoise', l’institution qui fait aujourd’hui partie de l’Opéra National du Rhin a une histoire mouvementée au XIXe siècle. Elle reflète la spécificité culturelle de la ville, dont une partie de la population est germanophone au XIXe siècle. Deux théâtres vont cohabiter dans la ville pendant près d’un siècle, jusqu’à l’interdiction de celui en langue allemande. L’histoire architecturale de l’institution a une vie propre, marquée par d’autres événements, mais toujours liée à la présence de la culture française. Au XVIIIe siècle, le théâtre de

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Fritz, Rebekka. "Text and music in German operas of the 1920s : a study of the relationship between compositional style and text-setting in Richard Strauss's Die Ägyptische Helena, Alban Berg's Wozzeck and Arnold Schoenberg's Von Heute auf Morgen /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1998. http://catalogue.bnf.fr/ark:/12148/cb36970888n.

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Quesney, Cécile. "Compositeurs français à l’heure allemande (1940-1944) : le cas de Marcel Delannoy." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040029.

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Si la vie musicale en France sous l’Occupation est aujourd’hui un champ de recherche bien balisé, le parcours de l’un des compositeurs majeurs de cette période, Marcel Delannoy (1898-1962), n’a encore fait l’objet d’aucune étude approfondie. Appuyé sur un large éventail de sources, dont le riche fonds Delannoy conservé à la BnF, ce travail vise à combler cette lacune en situant Delannoy dans le contexte plus large d’une génération particulièrement exposée sous Vichy. Dans ce contexte coercitif mais favorable à la création musicale, plusieurs compositeurs de cette génération (notamment Poulenc

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Tsampa, Anatoli. "Wort Ton Bild Welt." Doctoral thesis, Humboldt-Universität zu Berlin, 2017. http://dx.doi.org/10.18452/18053.

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Die Dissertation untersucht die Entwicklung des Gesamtkunstwerk-Konzeptes und seine Aktualität, Möglichkeit und Notwendigkeit in Bezug auf ein modernes filmisches Gesamtkunstwerk. Ausgegangen wird von der ästhetischen Theorie und Praxis der deutschen Frühromantik, in der das Konzept wurzelt. In einer umfassenden Betrachtung und Analyse der ästhetischen und gesellschaftspolitischen Dimension des Konzeptes in den Schriften und dem Werk Richard Wagners sollen wesentliche Strukturmerkmale erkundet und soll ein Maßstab für ein ‚positives‘ zeit-genössisches Gesamtkunstwerk gebildet werden, das sich

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Shichijo, Megumi. "Les suites instrumentales issues des opéras de Lully publiées à Amsterdam : études historique, philologique et musicale sur l’éditeur Estienne Roger (1665/66 - 1722)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040109.

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Les opéras de Jean-Baptiste de Lully (1632-1687) ont joui d’une diffusion européenne tant de son vivant que de manière posthume. Parmi les pays où ses opéras suscitèrent un véritable engouement, la Hollande bénéficiait d’une situation particulière. En effet, les opéras ont paru aussi bien dans les théâtres que dans l’édition musicale. Concernant l’édition musicale, la ville d’Amsterdam occupa un rôle primordial, où les opéras de Lully furent publiés non seulement en partitions générales et réduites, mais aussi en extraits vocaux et instrumentaux, dont les derniers ont pu être considérés comme

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Landmann, Ortrun. "Über das Musikerbe der Sächsischen Staatskapelle." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-25559.

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Bis auf wenige, kurze Zeitabschnitte gehört die Dresdner Hof- (heute Staats-)kapelle seit Jahrhunderten zur Spitzengruppe bezüglich der europäischen Orchesterentwicklung. Ihr Repertoire und dessen Überlieferung sind somit von musikhistorischer Relevanz, dabei aber bislang nicht vollständig erschlossen und infolgedessen von Forschung und Praxis unzureichend wahrgenommen. Hier Lücken zu schließen, ist das Ziel der vorliegenden Publikation. Die als „Drei Studien“ bezeichneten Arbeiten widmen sich der Entstehungs- und Sammlungsgeschichte einer Auswahl von historischem Musiziergut der Kapelle, das

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Landmann, Ortrun. "Über das Musikerbe der Sächsischen Staatskapelle." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-38515.

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Bis auf wenige, kurze Zeitabschnitte gehört die Dresdner Hof- (heute Staats-)kapelle seit Jahrhunderten zur Spitzengruppe bezüglich der europäischen Orchesterentwicklung. Ihr Repertoire und dessen Überlieferung sind somit von musikhistorischer Relevanz, dabei aber bislang nicht vollständig erschlossen und infolgedessen von Forschung und Praxis unzureichend wahrgenommen. Hier Lücken zu schließen, ist das Ziel der vorliegenden Publikation. Die als „Drei Studien“ bezeichneten Arbeiten widmen sich der Entstehungs- und Sammlungsgeschichte einer Auswahl von historischem Musiziergut der Kapelle, das

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"Interrogating opera: two "meta-productions" of Regieoper." 2013. http://library.cuhk.edu.hk/record=b5549292.

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二戰後，歐洲歌劇院（尤其是德國歌劇院）興起了一場歌劇製作的革命。新一代歌劇導演往往不再遵循作曲家的原意, 而以當下的視角重新審視並闡釋作曲家的文本。人們因而將此類歌劇製作稱為“導演制歌劇(Regieoper)。筆者認為，導演制歌劇脫胎于民主德國的先鋒派戲劇製作。在導演制歌劇中，歌劇導演不僅顛覆了歌劇文本的原意，更試圖通過歌劇製作來反思整個西方歌劇的傳統。<br>本文以哈瑞·庫普夫(Harry Kupfer)1989 執導的格魯克(Christoph WillibaldGluck)歌劇《奧菲歐與尤麗蒂契》(Orfeo ed Euridice)與卡特琳娜·瓦格納(Katharina Wagner)2007 年執導的瓦格納(Richard Wagner)歌劇《紐倫堡的名歌手》(Die Meistersinger von Nürnberg)為例，展示“導演制歌劇“導演對當代歌劇運作機制(operatic institution)的質疑。《奧菲歐與尤麗蒂契》與《紐倫堡的名歌手》的原作皆為“元歌劇“ (“meta-operas“)，兩位作曲家格魯克與理查·瓦格納通過劇中的人物和情節，探索音樂與歌劇創作的美學本質。兩位導演沒有因循原作者的觀點。相反，他們的製作類似於“元製作“(“meta-productions“)，籍由大量改動作曲家的文本，反思當代歌劇運作機制的美學屬性和政治功能。哈瑞·庫普夫

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KOTKINA, Irina. "Classical opera under authoritarian rule : a comparative study of cultural policy in the USSR, Italy and Germany." Doctoral thesis, 2008. http://hdl.handle.net/1814/10401.

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Defence date: 15 December 2008<br>Examining Board: Prof. Edward Arfon Rees (EUI, and European Research Institute, University of Birmingham) - supervisor Prof. Heinz-Gerhard Haupt (EUI) Prof. Svetlana Savenko (Moscow State P.I. Tchaikovsky Conservatory, and Russian State Institute for Art Studies) Prof. Hans Erich Bödeker (Max Planck Institute for History, Göttingen, and Max Planck Institute for the History of Science, Berlin)<br>PDF of thesis uploaded from the Library digital archive of EUI PhD theses<br>The aim of this thesis is to analyze and compare the operatic culture of Stalinist USSR, N

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Huang, Ching-Yuan, and 黃清淵. "Research on Opera Development in 18th Century and Aesthetics Discussion in Italy, France and Germany-Austrian Area." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/87160290947785623080.

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碩士<br>輔仁大學<br>音樂研究所<br>96<br>Abstract Italy is the origin of opera; we must acknowledge the developments of Italian opera in order to study it. The 18th century was a critical stage in the developments of Italian opera. The art of opera had reached to a more mature form at this stage. In this study, the writer considers opera in the 18th century and its aesthetic perspective as the main core. First, the study discusses thoroughly on the basic elements from the aesthetic perspective of opera. Second, it goes back to the eras before the 18th century and analyzes their connections. Then,

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CAILLIEZ, MATTHIEU. "La Diffusion du comique en Europe à travers les productions d'opere buffe, d'opéras-comiques et de komische Opern (France - Allemagne - Italie, 1800-1850)." Doctoral thesis, 2014. http://hdl.handle.net/2158/940194.

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This study of the diffusion of comic in Europe, through the productions of opere buffe, opéras-comiques and komische Opern during the first half of the 19th century, firstly examines the libretti and their circulation, then the diffusion of comic operas, and lastly the musical structural models of comic and their transfers. The French theatre inaugurates the age of « industrial literature » imposing itself on the whole continent, and the French librettists benefit from the profitable system of royalties. Discredited and badly payed, the Italian and German librettists translate and adapt a grea

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Alba, Ernest Isaiah. "Unbuckling the German belt : the history of opera audiences in San Antonio." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-2693.

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Opera is unique among forms of Western classical music and performing arts in that it has always been a popular and accessible form of “cultured” entertainment. As a city with one of the longest and richest histories of opera performance in Texas, San Antonio provides a significant opportunity to survey the relationship between this popular art form and discourses of identity, power, and difference across ethnic, class, and gender divisions. This paper has two aims. First, it investigates the history of opera reception in San Antonio in order to examine changes in the traditional values of its

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Buckton, Mindy Elicia. "Re-Contextualizing Viktor Ullmann's "Der Kaiser von Atlantis" within Twentieth-Century German Opera." Thesis, 2013. http://hdl.handle.net/1828/5158.

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Viktor Ullmann’s opera Der Kaiser von Atlantis, composed in the Theresienstadt concentration camp in 1943-44, has received regular performances since its belated first performance in 1975. Research on this opera has largely been restricted to the confines of Theresienstadt, with limited connections made to the outside world. Nevertheless, when Ullmann’s work is viewed within the artistically evolving context of the interwar period – a formative era in Ullmann’s life – new light is shed on his artistic achievements. This era of change between 1919 and 1930 gave rise to new artistic movements su

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Ernst, Anthony. ""Durch kleine ritze nimmt man abgründe wahr": an examination of Max Brod's German performing versions of the works of Leoš Janáček." Thesis, 2003. http://hdl.handle.net/1959.13/1312483.

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Research Doctorate - Doctor of Philosophy (PhD)<br>This thesis presents a complete survey of the German translations and adaptations by Max Brod of the works of Leoš Janáček. Although there have been thorough studies of Janáček's work, and mention made of Brod's contribution, there has been no historically researched musico-dramatic analysis. This thesis presents an overview of Brod's and Janáček's historical context, and a survey of Brod and his philosophy. It then examines the following Janáček works: the operas <i>Junůfa</i>, <i>Kát'a Kabanová</i>, <i>Přihodý Lišky Bystroušky</i>, <i>Vĕc Ma

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Babcock, Renee Elizabeth 1963. "The operas of Hindemith, Krenek, and Weill : cultural trends in the Weimar Republic, 1918-1933." Thesis, 1996. http://hdl.handle.net/2152/24415.

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Princ, Břetislav. "První verze d'Albertovy opery Tiefland a její pražská premiéra." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-310430.

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This thesis reconstructs the Prague premiere of the opera Tiefland by Eugen d'Albert and describes how this performance differed from earlier ones. The sources cited are original materials from the archives of the National Theatre including musical scores and references from the contemporary press. The thesis also provides an overview of opera premieres and the repertory of the Neues Deutsches Theater in the period 1888-1910 and details of d'Albert's visit to Prague before the time of the Tiefland premiere.

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Moss, Patricia Josette. "Richard Strauss's Friedenstag: a political statement of peace in Nazi Germany." Thesis, 2010. http://hdl.handle.net/1828/2977.

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After the conclusion of World War II, Richard Strauss’s activities and compositions came under intense scrutiny as scholars tried to understand his position with respect to the National Socialist regime. Their conclusions varied, some describing Strauss as a Nazi sympathizer, some as a victim of Nazism, with others concluding that Strauss was neither a sympathizer nor a victim, merely politically naïve. Among the latter was Strauss’s friend and biographer, Willi Schuh, who ardently defended the composer’s activities during the Nazi period. While Schuh asserted that Strauss’s music had no dire

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(9193619), Jinsong Chen. "MOZART AS INTERTEXT AND GENDER DISCOURSE IN AUSTRIAN POSTMODERNIST DRAMA." Thesis, 2020.

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<p>As a representative of the Viennese classical music tradition, Wolfgang Amadeus Mozart (1756-1791) embodies not only an artistic inspiration but also an aesthetic, social, and national expression for musicians, writers, and scholars from diverse fields over the past two and a half centuries. The legend of this genius, together with his timeless music, remains a popular subject in the fields of contemporary textuality, including drama.</p><p>Thomas Bernhard (1931-1989) and Elfriede Jelinek (1946-), two controversial and highly acclaimed writers in the German-speaking world, have much in comm

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Leška, Rudolf. "Recepce české a slovenské opery v Německu se zřetelem k Bavorské státní opeře v Mnichově." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-324088.

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This thesis examines from theatrical point of view the Janáčkian dramaturgy in German speaking countries within the context of local reception of Czech and Slovak opera and with special consideration of the Bavarian State Opera in Munich. The main referential base of research is German daily critique through which the Author presents an overview of more important productions of Leoš Janáček's operas. The Author then discusses the historical context of these productions, the stage history, German Janáčkian programme and roots of modern-day social-critical expressive staging of Janáček in German

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