With nearly three thousand new entries, the revised edition of Operas in German: A Dictionary is the most current encyclopedic treatment of operas written specifically to a German text from the seventeenth century through 2016. Musicologist Margaret Ross Griffel details the operas’ composers, scores, librettos, first performances, and bibliographic sources. Four appendixes then list composers, librettists, authors whose works inspired or were adapted for the opera librettos, and a chronological listing of the entries in the A–Z section. The bibliography details other dictionaries and encyclopedias, performance studies, collections of plot summaries, general studies on operas, sources on locales where opera premieres took place, works on the history of operas in German, and selective volumes on individual opera composers, librettists, producers, directors, and designers. Finally, two indexes list the main characters in each opera and the names of singers, conductors, producers, composers, directors, choreographers, and arrangers. The revised edition of Operas in German provides opera historians, musicologists, performers, and opera lovers with an invaluable resource for continued study and enjoyment. As the most current encyclopedic collection of German opera from the seventeenth century through the twenty-first, Operas in German is an invaluable resource for opera historians, musicologists, performers, and opera lovers.
MÄRTEN : “ Barthel will never get her ! ” ANNE : “ Barthel will never leave her ! ” B. MÄRTEN : “ I don't want to hear any more about him . ” ANNE : “ Just wait , soon you'll have to ! ” MÄRTEN : “ I'll take that chance !
Weber was still less con®dent with her, uncertain how to portray a sympathetic, oppressed woman who nevertheless stands in the lovers' way. There is greater assurance with Rudolf, who is more introspective by nature than the general run ...
This book will also provide insight on the reception of medieval history and medieval music in nineteenth-century Germany, and will demonstrate how medievalism and nationalism were mutually reinforcing phenomena at this time and place in ...
Bringing the most recent scholarship into the public arena, this volume bridges the gap between scholarly and popular images of the composer, enhancing the readers' appreciation of Mozart and his extraordinary output, regardless of their ...
Operas and the libretti they were based on underwent a conscious return to German - Romantic fairy - tale motifs and events from German history . Exemplary for these tendencies are the fairy - tale operas Der Mond ( The Moon ...
In the first book to discuss all of Strauss' operas, Bryan Gilliam explores the composer's response to Wagner in his discussion of Strauss's stage works and their historical contexts.
Originally published in 1938, this book presents an account of the conversion of Italian operas into popular plays in the German language during the period 1675-1722.
This book shows nineteenth-century German opera’s entanglement with national identity formation, adding a significant perspective to discussions about Wagner’s relation to German nationalism by interpreting his esthetic endeavors as a ...
... und wie dort eine ungeschränkte Freiheit für die Befriedigung des tonischen Ausdruckes das zwischen zartesten Gesetzen schwankende Maass der Bewegung angab , wird hier durch die feste Rhythmik der figurativ geschmückten Begleitung ...
Written for singers, vocal students and their teachers this book steers its readers through the treacherous waters of the German operatic language.