By Thomas S. Grey
Richard Wagner (1813-1883) aimed to be greater than only a composer. He got down to redefine opera as a "total murals" combining the top aspirations of drama, poetry, the symphony, the visible arts, even faith and philosophy. both celebrated and vilified in his personal time, Wagner keeps to impress debate this day relating to his political legacy in addition to his track and aesthetic theories. Wagner and His global examines his works of their highbrow and cultural contexts. Seven unique essays examine such themes as track drama in gentle of rituals of naming within the composer's works and the politics of style; the position of leitmotif in Wagner's reception; the urge for extinction in Tristan und Isolde as psychology and image; Wagner as his personal degree director; his conflicted courting with pianist-composer Franz Liszt; the anti-French satire Eine Kapitulation within the context of the Franco-Prussian struggle; and responses of Jewish writers and musicians to Wagner's anti-Semitism. as well as the editor, the individuals are Karol Berger, Leon Botstein, Lydia Goehr, Kenneth Hamilton, Katherine Syer, and Christian Thorau. This publication additionally contains translations of essays, reports, and memoirs by way of champions and detractors of Wagner; glimpses into his household sphere in Tribschen and Bayreuth; and all of Wagner's application notes to his personal works. Introductions and annotations are supplied via the editor and David Breckbill, Mary A. Cicora, James Deaville, Annegret Fauser, Steven Huebner, David Trippett, and Nicholas Vazsonyi.
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Additional info for Richard Wagner and His World (Bard Music Festival)
Jahrhundert (Frankfurt am Main, 1997). Arnold Jacobshagen’s reassessment • 23 • Notes to FROM PAGE TO STAGE: WAGNER AS REGISSEUR of the dating of production books shows how they reflect different moments in evolving production practices. See his article “Staging at the Opéra-Comique in Nineteenth-century Paris: Auber’s Fra Diavolo and the livrets de mise-en-scène,” Cambridge Opera Journal 13/3 (November 2001): 239–60. 4. Patrick Carnegy traces Wagner’s evolving ideas about the theater and their impact on his operatic activities in Part 1 of his Wagner and the Art of the Theatre (New Haven and London, 2006); see esp.
He continued to harp on the topic so insistently that his views were soon common knowledge. But if the stage setting was so essential for understanding Wagner’s music, where did that leave piano transcriptions, or the concert performance of excerpts from his dramas? Not only did Wagner often conduct the latter, he also wrote concert endings for those that would have trailed off a little too indeterminately in their original incarnation. The point was not lost on a skeptical Eduard Hanslick when he reviewed an 1862 Wagner concert in Vienna.
By this time, Fuchs had devoted himself to stage direction. From November 1903 until December 1904 he acted as director for twelve productions at the Met, including a new Ring with the conducting split between Felix Mottl, who assisted Richter in Bayreuth for the premiere of the Ring and was at this time a guest at the Met, and Hertz, as well as new productions of Tannhäuser and Meistersinger. Fuchs also directed the 1914 premiere of Parsifal at Munich’s Prinzregententheater, • 21 • FROM PAGE TO STAGE: WAGNER AS REGISSEUR Figure 5.
Richard Wagner and His World (Bard Music Festival) by Thomas S. Grey