The Cambridge Companion to Twentieth-Century OperaMervyn Cooke Cambridge University Press, 08.12.2005 This Companion celebrates the extraordinary riches of the twentieth-century operatic repertoire in a collection of specially commissioned essays written by a distinguished team of academics, critics and practitioners. Beginning with a discussion of the century's vital inheritance from late-romantic operatic traditions in Germany and Italy, the text embraces fresh investigations into various aspects of the genre in the modern age, with a comprehensive coverage of the work of individual composers from Debussy and Schoenberg to John Adams and Harrison Birtwistle. Traditional stylistic categorizations (including symbolism, expressionism, neo-classicism and minimalism) are reassessed from new critical perspectives, and the distinctive operatic traditions of Continental and Eastern Europe, Russia and the Soviet Union, the United Kingdom and United States are subjected to fresh scrutiny. The volume includes essays devoted to avant-garde music theatre, operettas and musicals, filmed opera, and ends with a discussion of the position of the genre in today's cultural marketplace. |
Inhalt
Opera in transition | 3 |
Wagner and beyond | 14 |
Puccini and the dissolution of the Italian tradition | 26 |
Trends | 45 |
Words and actions | 47 |
Symbolist opera trials triumphs tributaries | 60 |
Expression and construction the stage works of Schoenberg and Berg | 85 |
Neoclassical opera | 105 |
American opera innovation and tradition | 197 |
Opera in England taking the plunge | 209 |
Directions | 223 |
Music theatre since the 1960s | 225 |
Minimalist opera | 244 |
Opera and film | 267 |
Popular musical theatre and film | 291 |
Opera in the marketplace | 306 |
Topographies | 123 |
France and the Mediterranean | 125 |
Austria and Germany 19181960 | 146 |
Eastern Europe | 165 |
Russian opera between modernism and romanticism | 181 |
Technology and interpretation aspects of modernism | 321 |
341 | |
358 | |
368 | |
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