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Relevant bibliographies by topics / Wagner, Tristan und Isolde, Alba

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Academic literature on the topic 'Wagner, Tristan und Isolde, Alba'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Wagner, Tristan und Isolde, Alba"

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Hamilton, David. "Tristan und Isolde. Richard Wagner." Opera Quarterly 9, no. 3 (1993): 162–67. http://dx.doi.org/10.1093/oq/9.3.162.

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Ashbrook, W. "Tristan und Isolde. Richard Wagner." Opera Quarterly 20, no. 2 (April 1, 2004): 331–32. http://dx.doi.org/10.1093/oq/kbh047.

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Prag, R. "Tristan und Isolde. Richard Wagner." Opera Quarterly 12, no. 4 (January 1, 1996): 114–17. http://dx.doi.org/10.1093/oq/12.4.114.

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Lee, M. O. "Tristan und Isolde. Richard Wagner." Opera Quarterly 13, no. 1 (January 1, 1996): 130–33. http://dx.doi.org/10.1093/oq/13.1.130.

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Downes, Edward. "Tristan und Isolde. Richard Wagner." Opera Quarterly 3, no. 1 (1985): 153–57. http://dx.doi.org/10.1093/oq/3.1.153.

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Pines, Roger. "Tristan und Isolde. Richard Wagner." Opera Quarterly 7, no. 4 (1990): 198–200. http://dx.doi.org/10.1093/oq/7.4.198.

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Kleis, John Christopher. "Tristan und Isolde by Richard Wagner." Arthuriana 10, no. 2 (2000): 116–18. http://dx.doi.org/10.1353/art.2000.0024.

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McKee, David. "Two Recordings of Tristan und Isolde. Richard Wagner." Opera Quarterly 8, no. 4 (1991): 151–55. http://dx.doi.org/10.1093/oq/8.4.151.

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Magee, Bryan. "The Secret of Tristan and Isolde." Philosophy 82, no. 2 (April 2007): 339–46. http://dx.doi.org/10.1017/s0031819107320068.

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In his autobiography, Mein Leben, Wagner tells us that it was partly his reading of Schopenhauer's The World as Will and Representation (Die Welt als Wille und Vorstellung), and the need to give ‘rapturous expression’ to the ‘frame of mind produced’ by that reading, that gave him the initial conception of Tristan and Isolde.

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Berry, M. "Richard Wagner: Tristan und Isolde. Ed. by Arthur Groos." Music and Letters 93, no. 2 (May 1, 2012): 247–50. http://dx.doi.org/10.1093/ml/gcs024.

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Dissertations / Theses on the topic "Wagner, Tristan und Isolde, Alba"

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Urmoneit, Sebastian. "Tristan und Isolde - Eros und Thanatos zur "dichterischen Deutlichkeit" der Harmonik von Richard Wagners "Handlung" Tristan und Isolde." Sinzig Studio-Verl, 2001. http://deposit.ddb.de/cgi-bin/dokserv?id=2707678&prov=M&dok_var=1&dok_ext=htm.

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Trémolières, Guillaume. "L'intériorité dans Tristan et Isolde de Richard Wagner." Lille 3, 2009. http://www.theses.fr/2009LIL30005.

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Tristan et Isolde est une œuvre charnière dans l'histoire de la musique, pourtant, ce n'est pas du seul point de vue harmonique et musical qu'elle marque une étape vers le XXème siècle et la "modernité". La profonde intériorité qui caractérise l'action et les personnages s'inscrit, certes, dans la tradition romantique allemande, mais elle se distingue de ce que l'opéra romantique proposait jusqu'alors. Avec Tristan, l'intériorité trouve une place inédite dans un cadre, l'opéra, qui ne semblait pas la favoriser, et elle relie aussi les conceptions romantiques de l'intériorité et les futures théories psychanalytiques. Le second monologue de Tristan du dernier acte en est la parfaite illustration car le héros, au lieu de simplement exprimer la souffrance de son agonie et de la séparation avec Isolde, se livre à une véritable analyse. Il tente de se comprendre et va jusqu'à remonter à sa naissance traumatisante pour saisir les causes de ses tourments. La crise que traverse Wagner lors de la création de Tristan et sa fascination pour les théories de Schopenhauer sont en partie à l'origine du besoin qu'il a ressenti de se tourner vers l'extérieur, mais pour mieux entrevoir l'intériorité de l'̈œuvre, il est aussi nécessaire de prendre en compte son contexte historique et esthétique. Tout comme les Fleurs du Mal et Madame Bovary, publiés lorsque Wagner entame la composition de l'œuvre, elle est un "regard" sur le romantisme, le désir, l'ivresse amoureuse, la sensualité ; un regard qui non seulement fait le lien entre le premier romantisme et l'esthétisme fin-de-siècle, mais aussi avec la vision nouvelle de l'intériorité qui sera celle de Freud et ses disciples
Tristan und Isolde is a pivotal work in music history, not only because of his innovative harmony and his "modernity", but also because of the deep interiority of both actions and characters - which is close to the German romanticism, and at the same time apart from romantic opera and clearly anticipating the psychoanalytic theories. Thereby, during his second monologue in the third act, Tristan, in a real psychoanalytic way, tries to understand himself and the process that brought him so much suffering, gathering the pieces of his own story and returning to his dramatic birth. After explaining in a first part the notion of interiority, its importance in romantic art and its singularity in Opera, the inner dimensions of Tristan and Isolde's music, text, action and characters will be examined separately, before a more detailed analyse of Tristan's second monologue of the third act. Then, a look on Wagner's life, crisis and fascination for Schopenhauer's philosophy will allow us to understand his need, at the very moment, to turn into the inner life. But to fully understand the nature and place of interiority in Tristan and Isolde, a study of the historic and aesthetic contexts - from 1848's revolutions to the publication of literary masterpieces as Les Fleurs du Mal and Madame Bovary - is necessary, and will precede the last part where links between Tristan and psychoanalysis will be questioned and discussed

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Stauffer, Kristen K. "Mahler's Tristan, A Documentary Study of Reception." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935778/.

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Conductors are oftern associated with a specific body of work in their repertoy. Gustav Mahler's conducting repertory contained some major Wagnerian works, including Tristan und Isolde. Mahler's first performance of Tristan took place during his tenure at the Stadttheater in Hamburg (1891-1897). It remained an integral part of his repertory through his tenure at the Vienna Hofoper (1897-1907), and was one of eight works he conducted at New York's Metropolitan Opera (1907-1910). This study includes a brief history of Mahler's education and a description of his conducting style characteristics. It traces the reception of Mahler's production of Tristan from Hamburg to New York, and focuses on his performances at the Hofoper and at the Metropolitan Opera. Sources used to determine performance changes he made include letters, personal reminiscences of friends and critics, and newspaper and journal reviews.

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Compton, Regina F. "He Do the Police to the Tune of a Valkyrie." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275918014.

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Harris, Christiaan. "Spiegel im Spiegel : interpreting and Reflecting on the Stage Designs of Johan Engels with Special Reference to Tristan und Isolde (1985)." Diss., University of Pretoria, 2018. http://hdl.handle.net/2263/64021.

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Plante, Cyril. "L'échec de la passion tristanienne dans Terrains à vendre au bord de la mer d'Henry Ceard et The trepasser de David Herbert Lawrence." Toulouse 2, 2008. http://www.theses.fr/2008TOU20091.

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Le wagnérisme s'est développé à travers le roman de la fin du XIXème siècle, notamment dans l'interprétation du Tristan et Isolde de Wagner. Henry Céard et D. H. Lawrence ont utilisé le référent wagnérien afin de montrer les limites de l'art face à la réalité. Les deux romans détournent la passion amoureuse et démontrent l'aspect sacré et mythique de l'amour platonicien de Tristan, totalement chimérique dans la réalité. Cela mène à évaluer l'impact du mouvement wagnérien dans le roman naturaliste, symboliste et décadent, en France et en Europe. Les écrivains tentent l'usage de technique musicale comme le leitmotiv dans le roman
The wagnerism is developped in the novel of the end of the XIXth century, especially in the interpretation of Wagner's Tristan and Isolde. Henry Céard and D. H Lawrence used the wagnerian referent so as to show the limits of the art faced with reality. The two novel get away the loving passion et demonstrate the mythic and sacred aspect of the Platonic love of Tristan, completely chimerical in the reality. This is getting to evaluate the impact of the wagnerian movement in the naturalit, symbolist and decadent novel, in France et in Europe. The writers try to use the musical technic like the leitmotiv in the novel

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Gagneux, Frédéric. "André Suarès et Richard Wagner : (les années de formation)." Paris 4, 2006. http://ezproxy.normandie-univ.fr/login?url=https://www.classiques-garnier.com/numerique-bases/garnier?filename=FgxMS01.

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André Suarès est profondément marqué par l’œuvre de Richard Wagner dès sa jeunesse. Musicien dans l’âme, il lit les partitions et les livrets du compositeur mais aussi ses nombreux écrits théoriques sur l’art. Ses années d’Ecole normale supérieure (1886-1889) correspondent sensiblement à la parution de la Revue wagnérienne (1885-1888) qui se donnait pour but de faire connaître Wagner musicien mais aussi théoricien de l’art. Le wagnérisme est alors une question littéraire autant que musicale et se trouve lié de près au mouvement symboliste. A travers l’œuvre de Wagner, on s’interroge sur la place de l’artiste dans la société, sur la nature de l’art. A l’instar de Wagner, on cherche à lier musique et littérature dans une œuvre totale. Dans ce contexte, le jeune André Suarès s’engage dans une profusion de projets restés pour la plupart inédits : poésie, romans, théâtre, textes théoriques. Cette période se termine avec la parution de Wagner, en 1899. C’est le premier des portraits qu’il consacre aux grandes figures de l’Art et de l’Histoire. Cette thèse se propose d’éclairer par le wagnérisme cette période de formation, riche d’essais et de tentatives avortées. Le plan générique permet de présenter de nombreux textes inédits de l’écrivain et met en valeur sa tentative de mêler les différentes formes littéraires
From his early years, André Suarès was profoundly influenced by Richard Wagner’s work. A musician at heart, he read not only the composer’s scores and librettos but also his numerous theoretical texts on art. His university years at the Ecole normale (1886-1889) correspond more or less with the publication of the Wagnerian Review (1885-1888) the aim of which was to introduce not only the musician Wagner but also the art theoretician. Wagnerism is then as much a question of literature as of music, being closely linked with the symbolist movement. Through Wagner’s work the question of the artist’s place in society and the nature of art itself are raised. Following the example of Wagner, attempts to create a fusion of music and literature in a complete work are made. In this context, the young André Suarès engaged in a profusion of projects, most of which remained unpublished: poetry, novels, theatre, and theoretical texts. This period ends with the publication of Wagner in 1899. It was the first of a number of portraits consecrated to eminent figures of Art and History. The aim of this thesis is to clarify through Wagnerism this training period, rich in attempts and abortive endeavours. The general plan allows the presentation of numerous unpublished texts by the writer and brings to the fore his attempt at combining different literary forms

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Lebiez, Judith. "'Sie rief mich aus der Nacht' : the birth complex in Nietzsche and Wagner." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278675.

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This thesis addresses the role of the birth complex in Friedrich Nietzsche’s philosophy and in Richard Wagner’s operas. I see the birth complex as characterised by a dialectical relation between flesh and light, which is itself polarised by the tension between desire and anxiety. A structural determinant of the human relation to the world, this complex in my argument is of special importance for understanding the roles given to and assumed by women. Wagner gave the birth complex its first comprehensive elaboration through his operas. This, I contend, is the aspect of Wagner’s work that Nietzsche in his writings particularly reacted to through the ambivalent fascination it awakened in him. I argue that, even after Nietzsche’s break from Wagner, the birth complex remains central in his philosophy. The primary reference I build on here is Otto Rank’s theory of birth trauma, as set out in Das Trauma der Geburt (1924). To me, Rank’s theorisation of the trauma of birth is a translation into psychoanalytic language of Nietzsche’s philosophy, which itself arose with a translation into philosophical language of Wagner’s operas. In this thesis I build especially on Rank’s formulation of the tension between desire and anxiety and on his suggestions concerning the causes of the undoing of women. However, Rank did not take into account what I contend is a key aspect of both Nietzsche’s and Wagner’s work: the role of light in its dialectical relation with the flesh. By flesh I mean the interiority of the mother’s body and, by extension, the human body insofar as it is conceived through its relation to the maternal body. In the first main section of my PhD, I propose a theoretical understanding of the birth complex through an analysis of Nietzsche’s philosophy. I start with his writings pro and contra Wagner, showing that what Nietzsche primarily sees in Wagner’s operas is the birth complex. I then go on to argue that Nietzsche’s philosophy of life and of creativity is an exploration of the ways in which birth could be overcome. The second main section of my PhD is dedicated to Wagner, with largely text-based readings of three operas. I first discuss the extent to which death in Der fliegende Holländer and in the Freudian conception of the death drive is a mask for birth. I then tackle Tristan und Isolde and its famous celebration of night and death, in order to investigate whether love can be reduced to the birth complex. The last chapter of this section presents a close analysis of Das Rheingold and especially of its first scene and of Wagner’s indications on lighting. In a third and shorter section, I show that Hugo von Hofmannsthal’s and Richard Strauss’s Elektra pursued and reviewed this fundamental preoccupation of Nietzsche’s and Wagner’s work in proposing a further formulation of the birth complex that incorporates the scene of matricide. Finally, as a coda to the thesis, I explore the extent to which the uses of stage lighting pioneered by Adolphe Appia have been coming to terms with the birth complex.

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Wolanski, Andrzej. "Das Phänomen der Alba Brangänes aus Tristan und Isolde von Richard Wagner." 2006. https://ul.qucosa.de/id/qucosa%3A16148.

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Richard Wagner war von der mittelalterlichen Welt des Minnesangs fasziniert. In der Szene des zweiten Aktes des durch das Poem von Gottfried von Straßburg inspirierten Dramas Tristan und Isolde befindet sich ein wunderschönes Lied, die Alba, das von Brangäne gesungen wird, als sie über die 'in der Liebesumarmung' Tristans 'verharrende' Isolde wachte.

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Heikel, Julie Anne. "Constructing chivalry: the symbolism of King Mark in Wagner's "Tristan und Isolde"." Thesis, 2010. http://hdl.handle.net/1828/3148.

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Despite Tristan’s place as a cornerstone of the operatic repertory, there has been surprisingly little scholarship on King Mark, whom scholars often overlook in favour of the title characters. This study examines Wagner’s adaptation of his source, the Tristan of Gottfried von Strassburg, to construct a character that represents the courtly chivalric society of the opera in opposition to the new order represented in Tristan’s passionate pursuit of love and, ultimately, of death. Building on literary scholarship of the Tristan tradition, this study explores issues of duality and decline in Mark’s character and the elements of his chivalric friendship with Tristan within the homosocial constructs of the courts. Through his use of traditional operatic lament form, associative orchestration, and text expression, Wagner constructs a king who is more nuanced that any of his predecessors: one cleansed by tragedy and capable of forgiveness.

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Books on the topic "Wagner, Tristan und Isolde, Alba"

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Wagner, Tristan und Isolde. Kassel: Bärenreiter, 2013.

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Richard Wagner: Tristan und Isolde. New York: Cambridge University Press, 2011.

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Richard, Wagner. Tristan und Isolde. Brussel: Koninklijke Muntschouwburg, 1997.

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Richard, Wagner. Tristan und Isolde. Brussel: Impresor, 1994.

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Richard, Wagner. Tristan und Isolde. Wuppertal: Wuppertaler Bühnen, 1989.

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Heldt, Brigitte. Richard Wagner, Tristan und Isolde: Das Werk und seine Inszenierung. Laaber: Laaber-Verlag, 1994.

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Richard, Wagner. Tristan und Isolde: Oper in drei Akten. Amsterdam: De Nederlandse Opera, 1987.

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Richard, Wagner. Tristan und Isolde: Textbuch mit Varianten der Partitur. Stuttgart: P. Reclam, 2003.

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Rhein, Deutsche Oper am. Tristan und Isolde: Handlung in drei Aufzügen : Dichtung vom Komponisten : Musik von Richard Wagner. Düsseldorf]: Deutsche Oper am Rhein, 1998.

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The tragic and the ecstatic: The musical revolution of Wagner's Tristan und Isolde. New York: Oxford University Press, 2004.

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Book chapters on the topic "Wagner, Tristan und Isolde, Alba"

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Friedrich, Sven. "Wagner, Richard: Tristan und Isolde." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_19495-1.

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Kröplin, Eckart. "Ein Leben im Exil – »Ring des Nibelungen« und »Tristan und Isolde« 1849–1860." In Richard Wagner-Chronik, 163–296. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05405-0_6.

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von Roth, Dominik, and Ulrike Roesler. "Nr. 155 | J.[Johann] J.[Joseph] Abert, „Tristan und Isolde von Richard Wagner“, in: Niederrheinische Musik-Zeitung 13 (1865), Nr. 28 (15. Juli), S. 220–223." In Die Neudeutsche Schule – Phänomen und Geschichte, 1866–72. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-04923-0_155.

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"6. Tristan und Isolde." In Wagner Nights, 106–24. University of California Press, 1994. http://dx.doi.org/10.1525/9780520323049-010.

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Berger, Karol. "Tristan und Isolde." In Beyond Reason. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520292758.003.0004.

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Tristan und Isolde (1857-59) put this revolutionary optimism of the Ring into question. Prompted in part by his disillusionment with the failed revolution and in part by his enthusiastic reading of Schopenhauer, Wagner now realized that the erotic love that was supposed to provide the foundations of the new post-revolutionary society was singularly unsuited for this role. Eros turned out to be a cruel deity inexorably driving its devotees to transcend the finite daily realm of customary social rights and obligations and ecstatically enter the infinite metaphysical night of nothingness.

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Daverio, John. "Tristan und Isolde: essence and appearance." In The Cambridge Companion to Wagner, 115–33. Cambridge University Press, 2008. http://dx.doi.org/10.1017/ccol9780521642996.008.

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Stowell, Robin. "Case study: Richard Wagner,Tristan und Isolde." In The Cambridge History of Musical Performance, 696–722. Cambridge University Press, 2012. http://dx.doi.org/10.1017/chol9780521896115.028.

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Bärtsch, Manuel. "Wagner on Welte: Tristan und Isolde around 1905." In Studies in the Arts - Neue Perspektiven auf Forschung über, in und durch Kunst und Design, 155–76. transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839457368-011.

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Riemer, Anatol Stefan. "1 Zum Verhältnis Offenbach – Wagner." In „Die Rheinnixen“ contra „Tristan und Isolde“ an der Wiener Hofoper, 1–38. Tectum – ein Verlag in der Nomos Verlagsgesellschaft, 2020. http://dx.doi.org/10.5771/9783828875845-1.

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Cruz, Gabriela. "The Poetics of Sensation in L’Africaine and Tristan und Isolde." In Grand Illusion, 142–71. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915056.003.0006.

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Chapter 5 investigates Meyerbeer’s and Wagner’s treatments of operatic perception and sensation in L’Africaine, Lohengrin, and Tristan und Isolde. The discussion highlights the preoccupation with pleasure and innervation that the two composers shared during the late 1850s and 60s. The music dramaturgies of Wagner and Meyerbeer centered on exotic tress and poisonous blossoms are discussed in parallel, not to show, as others have done, what Wagner learned from Meyerbeer and improved upon, but rather to draw attention to the works’ shared preoccupation with enhanced perception and the role of dreamlike experience in the theater. This shared preoccupation is considered in light of Charles Baudelaire’s poetics of modernity.

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