"In Search of the 'Great American Opera'" (eBook)

Buchtitel 1
Inhalt 5
Vorwort 7
Größe als Erhabenheit. Einführende Gedanken zu Bernard Herrmann (Gregor Herzfeld) 9
Das Paradigma „Moby-Dick“ 9
Erhabene Musik in Bernard Herrmanns „Moby-Dick“ (1938) 10
Herrmanns „Wuthering Heights“ (1951) als „Great American Opera“ 13
Literatur 17
Crafting the Soundworld of American Opera, 1910–1912 (Aaron Ziegel) 19
Introduction 19
Early background 21
Components of an American idiom 24
The perpetual state of »not yet« 39
Appendix: Premiere Production Details 41
Published Scores and Librettos 43
References 43
„Recognizably American“. Aaron Coplands „The Second Hurricane“ (1936/37) als musikalische Theatralisierung des Politischen im „New Deal“ (Marcus Gräser) 45
Operatic Conventions on Broadway, 1935–1960 (Christopher Lynch) 65
»Seriousness« in the Musical Comedy 69
Ensembles 72
Recitative 74
The Fate of Operatic Conventions on Broadway 77
References 78
Toward an American Folk Opera. Performing Primitivism and Negro Folk Culture in Hall Johnson’s „Run, Little Chillun!“ (1933) (Micah Wittmer) 81
Portraying Africanisms in Negro Folk Culture 83
Portraying the Black Church of Negro Folk Culture 90
Conclusion 97
References 98
Oper als Strategie der kompositorischen Selbstinszenierung und Wertbegriff: „Street Scene“ (1946) und „West Side Story“ (1957) (Nils Grosch) 101
The Sound of Music (1959) – »A Great American Opera«? (Marie Louise Herzfeld-Schild) 113
Glass avec Fukuyama oder Philip Glass’ „The Voyage“ (1992) und das Ende der Geschichte (Mauro Fosco Bertola) 131
„The End of History“ oder von der (bitteren) Wahrheit des Übertreibens 133
Analogien: Fukuyama at the Opera 136
Glass avec de Maistre: Reisen bis ans Ende der Geschichte 141
Kundrys Schmach, Columbus’ Tod: Reisen als Kreisen 144
Literatur 145
About the Task of Adapting a Movie Classic for the Opera Stage: On André Previn’s „A Streetcar Named Desire“ (1998) and „Brief Encounter“ (2009) (Frédéric Döhl) 147
A Three-Step-Adaptation-Formula 147
All Eyes and Ears on Blanche: On „A Streetcar Named Desire“ 161
Longing in Close-up: On „Brief Encounter“ 163
An Opera Composer of Desire 167
References 168
Sense and Sensibility: Music on Stage in „What Next“? (John Link) 177
Libby Larsen’s „Barnum’s Bird“. The „Great American Opera“ (Sharon Mirchandani) 199
Introduction 199
Genre 199
Subject, Structure, Origins, and Performance History 200
Dramatic Themes 202
The Music 204
A Hybrid 204
Larsen’s Music and Motives 205
Diagetic Music 210
Two Ensemble Scenes 212
Summary 215
References 215
„The Mysteries of Selma, Alabama“. Re-telling and Remembrance in David Lang’s „The Difficulty of Crossing a Field“ (Amy Bauer) 219
Introduction 219
The First Re-telling: Bierce the Bitter, Quixotic Crusader 220
The Second Re-telling: The Theater of Subversion 222
The Third Re-telling: A Fractal Journey 224
The Fourth Re-telling: A Noble Music 225
The Fifth Re-telling: A Field in Long Beach 230
The Sixth Re-telling: A History of the »Disappeared« 231
The Seventh Re-telling: Go Forth and Multiply 232
References 232
Autorinnen und Autoren / Authors 235