Opera after 1900

Margaret Notley, University of North Texas, Denton, USA

Contents: Introduction; Part I Operas by Viennese Composers, ca. 1910-1935: Expressive principle and orchestral polyphony in Schoenberg's Erwartung, Carl Dahlhaus; 'Die Frauenfrage' in Erwartung: Schoenberg's collaboration with Marie Pappenheim, Elizabeth L. Keathley; A Florentine Tragedy, or woman as mirror, Sherry D. Lee; Schoenberg as Moses and Aron, Joseph Auner; Berg's Propaganda pieces: the 'Platonic idea' of Lulu, Margaret Notley. Part II Operas from Other European Contexts: The Verbunkos and Bartók's modern style: the case of Duke Bluebeard's Castle, Judit Frigyesi; Hans Pfitzner's Palestrina and the impotence of early lateness, Stephen McClatchie; Ariadne, Daphne and the problem of Verwandlung, Bryan Gilliam; The concept of epic opera: theoretical anomalies in the Brecht-Weill partnership, Stephen Hinton; French identity in flux: the triumph of Honegger's Antigone, Jane F. Fulcher; Back to the future: Shostakovich's revision of Leskov's 'Lady Macbeth of Mtsensk District', Caryl Emerson. Part III Operas by Britten and Birtwistle: 'Peter Grimes': the growth of the libretto, Philip Brett; 'Twisted relations': method and meaning in Britten's Billy Budd, Arnold Whittall; Why does Miles die? A study of Britten's The Turn of the Screw, Clifford Hindley; The shadow of opera: dramatic narrative and musical discourse in Gawain, David Beard. Part IV Operas Composed in the United States: Porgy and Bess: 'an American Wozzeck', Christopher Reynolds; Kurt Weill, modernism, and popular culture: Öffentlichkeit als Stil, Kim H. Kowalke; The best of all possible worlds: the Eldorado episode in Leonard Bernstein's Candide, Elizabeth B. Crist; The great American opera: Klinghoffer, Streetcar, and the exception, Lawrence Kramer; Instrumental dramaturgy as humane comedy: What Next? by Elliott Carter and Paul Griffiths, Anne C. Shreffler; Name Index.