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Journal articles on the topic 'Opera; Germany'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2024

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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 (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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6

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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7

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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8

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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9

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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10

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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Hutcheon, Linda, and Michael Hutcheon. "Opera and National Identity: New Canadian Opera." Canadian Theatre Review 96 (September 1998): 5–8. http://dx.doi.org/10.3138/ctr.96.001.

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Much has changed on the Canadian stage since 1969, when composer Barbara Pentland lamented to Musicanada that “[w]hat comes from outside the country must de facto be superior. Prime example: the opening of our multi-million-dollar ‘National’ Arts Centre with an imported French ballet company dancing to a score by a Greek composer conducted by an American born in Germany” (qtd. in Kallmann and Potvin 1033). In fact, by 1969 things were already changing – at least on the operatic stage. The centennial year 1967 had made government money available for commissions, and as a result there was an exp

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12

Berg, Gregory. "The Media Gallery." Journal of Singing 80, no. 3 (2024): 365–70. http://dx.doi.org/10.53830/sing.00017.

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Abstract: In this installment of “The Media Gallery,” there are reviews of two audio recordings featuring the music of Herschel Garfein and Gwyneth Walker, respectively. The third review is of “The State Opera,” a documentary film about the Bavarian State Opera in Munich, Germany, one of the world’s oldest and most renowned opera companies.

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Epstein, Louis. "The German Connection." Journal of Musicology 37, no. 1 (2020): 94–121. http://dx.doi.org/10.1525/jm.2020.37.1.94.

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In 1930 the French composer Darius Milhaud achieved a major career milestone: his ambitious opera Christophe Colomb received its premiere at Berlin’s Staatsoper Unter den Linden. The premiere was the most prestigious of a surprisingly large number of performances of Milhaud’s music in Germany in the late 1920s and early 1930s. Even as he found success in Germany, many French critics dismissed Milhaud’s music as frivolous or incomprehensible, and in 1930 the Paris Opéra had yet to stage one of Milhaud’s works. In the wake of the Berlin premiere, however, the specter of German cultural dominance

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Reuband, Karl-Heinz. "soziale Neustrukturierung des Opernpublikums." Die Musikforschung 72, no. 3 (2021): 214–42. http://dx.doi.org/10.52412/mf.2019.h3.45.

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This article focuses on the changes in opera attendance based on representative population surveys in the German cities of Hannover and Nurnberg from the 1970s onwards. It can be demonstrated that the relationship between age and opera attendance has reversed over time: whereas in the 1970s attendance decreased with increasing age, it nowadays increases with increasing age. The reversal is the result of a decrease in opera attendance on the part of younger audiences and an increase on the part of older audiences. Due to the latter development the increase of the average age of opera audiences

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15

Risi, Clemens. "Performing Wagner for the Twenty-First Century." New Theatre Quarterly 29, no. 4 (2013): 349–59. http://dx.doi.org/10.1017/s0266464x13000675.

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Richard Wagner's works have repeatedly been the focus of questions concerning the possibilities, limits, and nature of the director's role in opera productions, especially in Germany, and prominently at the Bayreuther Festspiele. In this article Clemens Risi discusses some recent developments in staging Wagner's operas at the Festspiele, including Katharina Wagner's production of Die Meistersinger von Nürnberg (2007), Hans Neuenfels's production of Lohengrin (2010), and Sebastian Baumgarten's production of Tannhäuser (2011). While all these productions could be categorized as ‘director's theat

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Mellēna-Bartkeviča, Lauma. "No kora Liepājā uz galvenajām lomām Berlīnē: latviešu tenora Artūra Priednieka-Kavaras starptautiskā karjera starpkaru periodā." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 28 (March 24, 2023): 205–14. http://dx.doi.org/10.37384/aplkp.2023.28.205.

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The article brings to the spotlight Latvian tenor Arthur Cavara (Artūrs Priednieks-Kavara, 1901–1979), one of the most outstanding Latvian operatic tenors of the 20th century in the context of his international career successfully developed in Germany in the 1930s. In both the recently established Latvian Republic and Europe, the interwar period was a very intensive and, at the same time, very contradictory time due to the historical conditions, social processes and political regimes, but it was also the time of opportunities when one of the centres of art life longed for by Baltic musicians w

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17

Haney, Joel. "Slaying the Wagnerian Monster: Hindemith, Das Nusch-Nuschi, and Musical Germanness after the Great War." Journal of Musicology 25, no. 4 (2008): 339–93. http://dx.doi.org/10.1525/jm.2008.25.4.339.

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Abstract With the devastation of the First World War, Germany experienced a traumatic loss of identification with values that had been central to its prewar culture, and these emphatically included musical values. In postwar German art music, this resulted in heavy irony toward the lofty philosophical claims and musical expressiveness that the later nineteenth century had bequeathed to prewar modernism. But it also occasioned bitter attempts to reassert those values, as exemplified by the polemics of Hans Pfitzner. Prominent on both sides of this debate, which found a medium in musical composi

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18

Notley, Margaret. "Berg's Propaganda Pieces: The ““Platonic Idea”” of Lulu." Journal of Musicology 25, no. 2 (2008): 95–142. http://dx.doi.org/10.1525/jm.2008.25.2.95.

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Abstract After finishing the short score of Lulu and starting to orchestrate it in the spring of 1934, Berg began to realize that his opera might not be staged in Berlin, long planned as the site for the premiere. In late May he decided to make a concert arrangement that he referred to as ““a Propaganda selection,”” which became the Symphonische Stüücke aus ““Lulu.”” In contemporary usage the German word ““Propaganda”” typically denoted advertising or publicity. Acting on advice from his editor, Hans Heinsheimer, and supported by the efforts of his student Willi Reich, Berg sought to create a

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KREUZER, GUNDULA. "“Oper im Kirchengewande”? Verdi's Requiem and the Anxieties of the Young German Empire." Journal of the American Musicological Society 58, no. 2 (2005): 399–450. http://dx.doi.org/10.1525/jams.2005.58.2.399.

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Abstract When, in 1874, Hans von Bülow denounced Verdi's Requiem as an “opera in ecclesiastical robes,” he perpetuated the view (previously common among German critics) that Italian music amounted to little more than Italian opera, a genre thought inferior to German music. However, this article shows that Bülow's polemic was motivated by personal resentment and far from typical of German-language responses. Partly because of Verdi's 1875 tour—during which he conducted the work in Vienna to sensational acclaim—the Requiem was widely disseminated, triggering a multifaceted discourse about genre

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Haryati, Isti. "Providing Space to the Marginalized: Bertolt Brecht’s Reception of John Gay’s The Beggar’s Opera." Poetika 10, no. 2 (2022): 99. http://dx.doi.org/10.22146/poetika.v10i2.76100.

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The popularity of John Gay’s political satire play The Beggar’s Opera in the English literary world prompted a German writer, Bertolt Brecht, to respond to the work. The purpose of this study is to describe Bertolt Brecht's reception of Gay’s Play The Beggar’s Opera in Brecht’s Play Die Dreigroschenoper. The data sources in this study are the text of Brecht’s play entitled Die Drei Groschenoper and the text of Gay’s play The Beggar's Opera. This research is based on the theory of Reception Aesthetics by Hans Robert Jauss. The results show that Brecht’s reception was influenced by his horizon o

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Da Silva Cortez, Alexandre. "MUSIC IN NAZIST GERMANY." Revista Gênero e Interdisciplinaridade 3, no. 05 (2022): 09–39. http://dx.doi.org/10.51249/gei.v3i05.963.

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The present work seeks, through the publications of research by authors from different areas of knowledge, such as the area of Arts and Human Sciences, to bring elucidations and debates on the relationship between the arts, in particular music and the Nazi regime, from the beginning. of the party until the collapse of Germany at the end of the war. Through the bibliographic review, we try to bring notes here on the relations between music, Wagner’s opera, with the Nazi regime, passing through the relations of the German people itself with the arts, as well as the members of the Nazi high dom

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22

Turchak, Lesia. "The cultural potential of Modest Mentsinsky's work in the context of the development of the musical culture of the early twentieth century." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 62–68. http://dx.doi.org/10.32461/2226-0285.1.2021.238543.

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The purpose of the article is to establish the contribution of the opera singer and famous tenor Modest Omelianovych Mentsynskyi to Ukrainian and world music art. The methodology is based on using historical, biographical, and analytical methods, which allows distinguishing and reviewing the special features of the Ukrainian singer‘s ―internationally universal‖ performance style as well as tracking the stages of his creative evolution. The scientific novelty of the research is in the affirmation that the artist‘s work within the mentioned period, on the one hand, led to the ―Europeanization‖ o

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23

Dell'Antonio, Andrew. "Il divino Claudio: Monteverdi and lyric nostalgia in fascist Italy." Cambridge Opera Journal 8, no. 3 (1996): 271–84. http://dx.doi.org/10.1017/s0954586700004754.

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In the early part of this century Italian musical critics were bemoaning the decadence of the national lyric stage. No inspired figure had come forth to claim the mande of Verdi; new Italian opera was becoming artistically irrelevant. In an effort to reclaim a ‘lyric spirit’ from Wagnerian Germany, Gabriele D'Annunzio ‘rediscovered’ the early seventeenth century as the birthplace of opera. Specifically, he fashioned Monteverdi – ‘il divino Claudio’ – as visionary proto-lyricist, a nostalgic move seconded by many other Italian authors through the 1920s and 30s.

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Anderton, Abby. "Hearing Democracy in the Ruins of Hitler's Reich: American Musicians in Postwar Germany." Comparative Critical Studies 13, no. 2 (2016): 215–31. http://dx.doi.org/10.3366/ccs.2016.0200.

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During his 1947 visit to Berlin, American pianist Webster Aitken was shocked to find the Kroll Opera reduced to ‘tangles of twisted girders, resembling empty bird cages. Beyond the Brandenburger Tor, the blocks seem to be made of brown sugar that has gone hard in lumps and streaks’. 1 Aitken was one of dozens of artists invited by the American Military Government to concertize throughout postwar Germany to demonstrate the strength of American musical achievement. Between 1945 and 1949, American musicians visited the ruins of the Third Reich to perform for German audiences, and this article exp

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Kant, Marion. "Approaches to Dance (2): Influences." Dance Research 29, no. 2 (2011): 246–50. http://dx.doi.org/10.3366/drs.2011.0015.

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This statement is an attempt to reflect on my intellectual formation and how certain influences, both from home (a place suspended between Germany with the remnants of its Weimar culture and Britain as the place of exile) and from subsequent experiences, led me to adopt an historical approach to dance studies and to emphasise the context in which artistic activity unfolds. My education at Berlin's Humboldt University and the Comic Opera shaped my perspectives on theatre and performance. The East German milieu in general forced me to confront the immediate past and think about the political and

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Aikin, Judith P. "Creating a Language for German Opera The Struggle to Adapt Madrigal Versification in Seventeenth-Century Germany." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 62, no. 2 (1988): 266–89. http://dx.doi.org/10.1007/bf03375993.

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Golubnychy, Serhiy. "Specificity of Conductor's ApproachesIn Untypical Conditions of Implementation of Opera Performances." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(58) (March 28, 2023): 129–40. http://dx.doi.org/10.31318/2414-052x.1(58).2023.284762.

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The author analyzes the content of conducting practice in traditional and atypical locations where opera performances are staged. The relevance of the study of the principles in the conductor's work in modern realities is proven from the standpoint of the fact that productions are realized in different conditions: natural landscape, architectural ensembles, festival projects "in the open air". The basis of the article is the analysis of literary sources on various aspects of conducting activity in traditional and atypical solutions of opera performances. The nature of cooperation between the c

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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 (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

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Rubanova, Larisa G. "Soul of the dance. To the anniversary of Olga Tarasova." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2022): 209–19. http://dx.doi.org/10.35852/2588-0144-2022-4-209-219.

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The article is devoted to the creative biography of the outstanding choreographer, ballet dancer and professor of GITIS Olga Tarasova, who celebrated her 95th birthday in 2022.Olga Georgievna graduated from the Moscow Choreography School (nowadays – Moscow State Choreography Academy) in 1946. Then she began her professional career in the ballet troupe of the Bolshoi Theatre, and in 1957 received second education at GITIS as a choreographer. During twenty years at the Bolshoi Theatre, Olga Tarasova gained a reliable experience as a dancer and ballet soloist in numerous classical productions Ray

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Ajzenstadt, Michael. "Jerusalem The Israel Festival, 1992." Canadian Theatre Review 73 (December 1992): 77–78. http://dx.doi.org/10.3138/ctr.73.020.

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There was not much straightforward theatre in the 1992 Israel Festival, Jerusalem, which took place last spring in the country’s capital. And in a way theatrical influences were more prominent in dance and opera than in a rather disappointing theatre bill. Festival director Omry Nitzan, a theatre director himself, selected companies from Israel, Romania, Germany, France, Hungary, and Canada for last year’s event which was on a rather small scale compared to past events.

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Kift, Roy. "Comedy in the Holocaust: the Theresienstadt Cabaret." New Theatre Quarterly 12, no. 48 (1996): 299–308. http://dx.doi.org/10.1017/s0266464x00010496.

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The concentration camp in Theresienstadt in the Czech Republic was unique, in that it was used by the Nazis as a ‘flagship’ ghetto to deceive the world about the real fate of the Jews. It contained an extraordinarily high proportion of VIPs – so-called Prominenten, well-known international personalities from the worlds of academia, medicine, politics, and the military, as well as leading composers, musicians, opera singers, actors, and cabarettists, most of whom were eventually murdered in Auschwitz. The author, Roy Kift, who first presented this paper at a conference on ‘The Shoah and Perform

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Nedbal, Martin. "Wenzel Mihule and the Reception of Don Giovanni in Central Europe." Journal of Musicology 39, no. 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

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KELLY, ELAINE. "Music for International Solidarity: Performances of Race and Otherness in the German Democratic Republic." Twentieth-Century Music 16, no. 1 (2019): 123–39. http://dx.doi.org/10.1017/s1478572219000124.

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AbstractCentral to the official identity of the German Democratic Republic (GDR) was the state's positioning of itself as the antifascist and anti-colonial other to West Germany. This claim was supported by the GDR's extensive programme of international solidarity, which was targeted at causes such as the anti-apartheid movement in South Africa. A paradox existed, however, between the vision of a universal proletariat that underpinned the discourse of solidarity and the decidedly more exclusive construct of socialist identity that was fostered in the GDR itself. In this article, I explore some

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Hsieh, Amanda. "Lyrical Tension, Collective Voices: Masculinity in Alban Berg's Wozzeck." Journal of the Royal Musical Association 144, no. 2 (2019): 323–62. http://dx.doi.org/10.1080/02690403.2019.1651496.

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AbstractThe voice of Berg's Wozzeck has been characterized by his Sprechgesang, heard as manifestation of his abnormality or even ‘hysteria’. However, Wozzeck often sounds more lyrical and emotive in relation to his oppressors, whose sense of authority is undermined by their caricatured vocal lines and vocal types. Rather than representing a ‘broken’ voice, Wozzeck's Sprechgesang is reserved for moments shared with his fellow low-ranking comrades, suggesting that it served as a voice of solidarity and empathy. In this article, I historicize the première of the opera at the Berlin State Opera;

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GRONOW, PEKKA, and BJÖRN ENGLUND. "Inventing recorded music: the recorded repertoire in Scandinavia 1899–1925." Popular Music 26, no. 2 (2007): 281–304. http://dx.doi.org/10.1017/s0261143007001298.

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AbstractThe first Scandinavian records appeared in 1899. By 1925, over 27,000 sides had been made in the region, and recordings had become an established part of musical life. Half of the recordings were made by the Gramophone Company, the market leader, but there were at least a dozen competing firms. The companies had to find out by trial and error what types of music would be attractive to customers. Early recording artists were mostly well-known personalities from opera, theatre or music halls, and their repertoire had already been tried on the stage.Most Scandinavian records were pressed

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Kovalenko, Yeva. "The Premiere of the Ballet «Dante» on the National Opera of Ukraine` Stage." Folk art and ethnology, no. 3 (September 30, 2023): 84–93. http://dx.doi.org/10.15407/nte2023.03.084.

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The article describes the premiere of the ballet «Dante», which was performed at the National Opera of Ukraine in June 2021. The director of the ballet, dedicated to the 700th anniversary of the death of the outstanding Italian Renaissance humanist poet Dante Alighieri, was Yaroslav Ivanenko, a graduate of the Kyiv State Choreographic School who began his dancing career at the National Opera and has worked abroad since 1996, including as a soloist with the Hamburg Ballet under the direction of John Neumayer in 1998-2010. Yaroslav Ivanenko has extensive experience in ballet mastery, his choreog

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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 Gr

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Gray Atha, Marisa. "Reflections: Valborg Werbeck-Svärdström’s Uncovering the Voice." Journal of Singing 79, no. 1 (2022): 95–103. http://dx.doi.org/10.53830/hjvo2228.

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Born in Gäyle, Sweden, in 1879, Valborg Werbeck-Svärdström studied and performed opera before moving to Germany, where she met Rudolph Steiner, proponent of anthroposophy and founder of Waldorf education. Through her own internal work, and her ongoing collaboration with Steiner, Werbeck came to an understanding of the voice that inspired her to found Schule der Stimmenthüllung (School for Uncovering the Voice), the first anthroposophical singing school, in 1924. She published Uncovering the Voice: The Cleansing Power of Song in 1938. The School for Uncovering the Voice still continues today wo

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Binder, Beate. "Performing and Constructing." Budkavlen 84, no. 2 (2023): 8–20. http://dx.doi.org/10.37447/bk.130558.

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On 3rd October 2002, the youngest German national holiday was celebrated in Berlin: the day of German unity. This newly established national holiday (having begun in 1991) is meant to commemorate the reunification of Germany which took place on 3rd October 1990. A state-ceremony took place in the opera house and a street was held at the Pariser Platz and around the Brandenburg Gate. The most important symbolic center of the re-unified city turned into the grounds for a huge open-air festival. Like every year, German counties were encouraged to present their regional or local specialties, in th

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Hughes, Lesley. "“A German Artwork for the German People”." Journal of Musicology 40, no. 2 (2023): 131–58. http://dx.doi.org/10.1525/jm.2023.40.2.131.

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The opera Mathis der Maler (1935), based on the sixteenth-century German painter Matthias Grünewald, is Paul Hindemith’s most iconic work. Because of its artist protagonist, scholarship on Mathis has traditionally focused on how Hindemith may have used the figure of Grünewald to express his views on aesthetics, the position of the artist in society, and/or his position under the Nazi regime. Little attention has been paid, however, to the cultural significance of Grünewald as a factor behind Hindemith’s choice of topic. This article examines the reception history of Grünewald from his rediscov

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Kuzborska, Alina. "Das Bild von Herkus Monte in der deutschen und litauischen Literatur und Kultur." Przegląd Wschodnioeuropejski 11, no. 2 (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

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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 (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

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Ivaniuk, O., and Y. Bilodid. "WHILE SAILING ALONG THE RHINE, I HELD IN MY HANDS THE 'RHENISH SAGAS' BOUGHT IN COLOGNE AND READ THEM, CHECKING THE PLACES MENTIONED IN THEM IN NATURE ITSELF." THE VIEWS OF TRAVELLERS FROM THE NADDNIPRIANS ON GERMAN LANDS IN THE NINETEENTH AND EARLY TWENTIETH CENTURIES." Bulletin of Mariupol State University Series History Political Studies 13, no. 35-36 (2023): 34–49. http://dx.doi.org/10.34079/2226-2830-2023-13-35-36-34-49.

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The article considers a range of issues related to travel to Germany in the 19 th – the beginning of the 20th century. Attention is drawn to the purpose of travel, routes, choice of objects for review, interethnic cultural contacts. It was established that the purpose of the trips to Germany were rest, treatment and education. Travelers got to Germany in different ways: by steamboat from Saint Petersburg through Sweden or overland through Radzivyliv, Lemberg and the Czech or Polish lands. Guidebooks printed in Germany became useful for travelers. They helped to develop of the travel route, cho

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Kravitt, Edward F. "Mahler, Victim of the ‘New’ Anti-Semitism." Journal of the Royal Musical Association 127, no. 1 (2002): 72–94. http://dx.doi.org/10.1093/jrma/127.1.72.

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An abyss separates the research of Mahler from that of social historians on anti-Semitism in fin-de-siècle Austria and Germany. Mahler specialists tend to study the assaults he endured in terms of the centuries-old intolerance. Social historians, however, have pursued a different tack. They trace the liberal thought of the mid-nineteenth century, the legal emancipation of the Jews and its aftermath to the rise of ‘new’ anti-Semitism in the 1870s, centred in Vienna. The reasons why Mahler resigned as director of the Vienna Court Opera involve many more factors and subtleties, even concerning th

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Zadek, Peter. "Hoping for the Unexpected: the Theatre of Peter Zadek." New Theatre Quarterly 1, no. 4 (1985): 323–37. http://dx.doi.org/10.1017/s0266464x00001743.

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Over the last three decades the work of Peter Zadek in Germany has consistently aroused strong reactions, whether of lavish enthusiasm or disdainful rejection (Peter Stein is supposed to have commented that Zadek's productions of Shakespeare were ‘Shakespeare with his trousers down’). Whatever the critical reception, Zadek's work demands close attention for its free-wheeling, unpredictable, and dangerous qualities, as well as for the remarkably sensitive interplay he achieves between his actors. If Stein's productions at the Schaubühne and elsewhere are masterpieces of formal perfection, Zadek

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REHDING, ALEXANDER. "On the record." Cambridge Opera Journal 18, no. 1 (2006): 59–82. http://dx.doi.org/10.1017/s0954586706002102.

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The score of Kurt Weill's Zeitoper, Der Zar läßt sich photographieren (1928), is void at its centre: the musical and dramatic climax, the ‘Tango Angèle’, only exists as a gramophone recording, played on stage, while the orchestra falls silent. Just as the perennial themes of love and death are relentlessly updated in this farcical opera into their anti-metaphysical modern-day equivalents – sex and political assassination – so the music avails itself of modern media to bring across its McLuhanesque point: the medium is the message. The sound medium matters in two ways: first, the gramophone emp

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Mankov, Andrey V. "ACTIVITIES CARRIED OUT BY THE CAST OF LENINGRAD OPERA AND BALLET THEATER NAMED AFTER S.M. KIROV IN THE FIRST HALF OF 1941." Historical Search 2, no. 2 (2021): 21–29. http://dx.doi.org/10.47026/2712-9454-2021-2-2-21-29.

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The relevance of the research topic is due to the fact that 80 years ago – on June 22, 1941, the Great Patriotic War of the Soviet people began. In the second half of 1941, millions of Soviet people unexpectedly became defenders of the Fatherland: commanders and political workers of the Red Army, ordinary Red Army soldiers and Red Navy men, partisans and members of the underground, some of them were captured and turned into prisoners of nazi concentration camps. The author focuses on the most interesting episodes from the creative and social life of the world-famous Leningrad State AcademicOpe

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Pilipenko, Nina V. "Franz Schubert’s Alfonso and Estrella: Concerning the Origins of the Plotline." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (July 2023): 90–102. http://dx.doi.org/10.56620/2782-3598.2023.2.090-102.

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Alfonso und Estrella, the only opera composed by Franz Schubert without spoken dialogue, was created in collaboration with one of the composer’s closest friends, Franz von Schober. Despite the fact that a significant amount is known about the circumstances of the libretto’s origin, we can only surmise regarding the sources on which its creator relied. In the literature about Schubert, a number of assumptions are made about these sources — two books on the history of Spain published in Germany in the late 18th and early 19th centuries, as well as a number of works by German romantic writers. Th

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Nedbal, Martin. "Mozart's Figaro and Don Giovanni, Operatic Canon, and National Politics in Nineteenth-Century Prague." 19th-Century Music 41, no. 3 (2018): 183–205. http://dx.doi.org/10.1525/ncm.2018.41.3.183.

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After the enormous success of Le nozze di Figaro at Prague's Nostitz Theater in 1786 and the world premiere of Don Giovanni there in 1787, Mozart's operas became canonic works in the Bohemian capital, with numerous performances every season throughout the nineteenth century. These nineteenth-century Prague Mozart productions are particularly well documented in the previously overlooked collection of theater posters from the Czech National Museum and the mid-nineteenth-century manuscript scores of Le nozze di Figaro. Much sooner than elsewhere in Europe, Prague's critics, audiences, and opera i

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Giovanis, Eleftherios, Sacit Hadi Akdede, and Oznur Ozdamar. "Impact of the EU Blue Card programme on cultural participation and subjective well-being of migrants in Germany." PLOS ONE 16, no. 7 (2021): e0253952. http://dx.doi.org/10.1371/journal.pone.0253952.

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The first aim of this study is to investigate the role of the EU Blue Card programme implemented in 2012 in Germany. In particular, we aim to explore the impact on the participation in cultural activities of first-generation non-European Union (EU) and non-European Economic Area (EEA) migrants, such as attendance to cinema, concerts and theatre. The second aim is to examine the impact of cultural activities on subjective well-being (SWB), measured by life satisfaction. We compare the cultural participation and life satisfaction between the treatment group that is the non-EU/EEA first-generatio

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