Search Results for operas-second-death

Opera's Second Death is a passionate exploration of opera - the genre, its masterpieces, and the nature of death.

Author: Slavoj Zizek

Publisher: Routledge

ISBN: 9781135207779

Category: Art

Page: 246

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Opera's Second Death is a passionate exploration of opera - the genre, its masterpieces, and the nature of death. Using a dazzling array of tools, Slavoj Zizek and coauthor Mladen Dolar explore the strange compulsions that overpower characters in Mozart and Wagner, as well as our own desires to die and to go to the opera.
2013-10-18 By Slavoj Zizek

Kafka died on June 3, 1924, in a sanatorium near Vienna. ... Dafne was also the first German opera, composed by Heinrich Schütz in 1627. Capriccio (1942), the last opera by Strauss, is another but all-too-obvious candidate.

Author: Slavoj Zizek

Publisher: Routledge

ISBN: 9781135207786

Category: Art

Page: 246

View: 156

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Opera's Second Death is a passionate exploration of opera - the genre, its masterpieces, and the nature of death. Using a dazzling array of tools, Slavoj Zizek and coauthor Mladen Dolar explore the strange compulsions that overpower characters in Mozart and Wagner, as well as our own desires to die and to go to the opera.
2013-10-18 By Slavoj Zizek

of opera, at least in its “traditional” form, with Berg's Lulu.12 Opera's obsession with the death of the heroine, ... 15 Their longing to die is not simply for their biological death but for the so-called second death: to die in piece ...

Author: Jeongwon Joe

Publisher: Routledge

ISBN: 9781317085485

Category: Music

Page: 224

View: 596

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Filmmakers' fascination with opera dates back to the silent era but it was not until the late 1980s that critical enquiries into the intersection of opera and cinema began to emerge. Jeongwon Joe focusses primarily on the role of opera as soundtrack by exploring the distinct effects opera produces in film, effects which differ from other types of soundtrack music, such as jazz or symphony. These effects are examined from three perspectives: peculiar qualities of the operatic voice; various properties commonly associated with opera, such as excess, otherness or death; and multifaceted tensions between opera and cinema - for instance, opera as live, embodied, high art and cinema as technologically mediated, popular entertainment. Joe argues that when opera excerpts are employed on soundtracks they tend to appear at critical moments of the film, usually associated with the protagonists, and the author explores why it is opera, not symphony or jazz, that accompanies poignant scenes like these. Joe's film analysis focuses on the time period of the post-1970s, which is distinguished by an increase of opera excerpts on soundtracks to blockbuster titles, the commercial recognition of which promoted the production of numerous opera soundtrack CDs in the following years. Joe incorporates an empirical methodology by examining primary sources such as production files, cue-sheets and unpublished interviews with film directors and composers to enhance the traditional hermeneutic approach. The films analysed in her book include Woody Allen’s Match Point, David Cronenberg’s M. Butterfly, and Wong Kar-wai’s 2046.
2016-05-13 By Jeongwon Joe

James McGlathery offers a detailed analysis of Wagner's principal operas in light of their focus on the erotic theme in Wagner's Operas and Desire ... Slavoj Žižek and Mladen Dolar, Opera's Second Death (New York: Routledge, 2002), 106.

Author: Mattia Acetoso

Publisher: Springer Nature

ISBN: 9783030460914

Category: Literary Criticism

Page: 276

View: 193

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Twentieth-century Italian poetry is haunted by countless ghosts and shadows from opera. Echoes of Opera in Modern Italian Poetry reveals their presence and sheds light on their role in shaping that great poetic tradition. This is the first work in English to analyze the influence of opera on modern Italian poetry, uncovering a fundamental but neglected relationship between the two art forms. A group of Italian poets, from Gabriele D’Annunzio to Giorgio Caproni, by way of Umberto Saba and Eugenio Montale, made opera a cornerstone of their artistic craft. More than an occasional stylistic influence, opera is rather analyzed as a fundamental facet of these poets’ intellectual quest to overcome the expressive limitations of lyrical poetry. This book reframes modern Italian poetry in a truly interdisciplinary perspective, broadening our understanding of its prominence within the humanities, in the twentieth century and beyond.
2020-06-24 By Mattia Acetoso

Zinovieff, Peter, The Mask of Orpheus: An Opera in Three Acts (London: Universal Edition, 1986). ... “The everlasting irony of the community', in Slavoj Zizek and Mladen Dolar, Opera's Second Death (New York and London: Routledge, ...

Author: David Beard

Publisher: Cambridge University Press

ISBN: 9781139789080

Category: Music

Page:

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David Beard presents the first definitive survey of Harrison Birtwistle's music for the opera house and theatre, from his smaller-scale works, such as Down by the Greenwood Side and Bow Down, to the full-length operas, such as Punch and Judy, The Mask of Orpheus and Gawain. Blending source study with both music analysis and cultural criticism, the book focuses on the sometimes tense but always revealing relationship between abstract musical processes and the practical demands of narrative drama, while touching on theories of parody, narrative, pastoral, film, the body and community. Each stage work is considered in terms of its own specific musico-dramatic themes, revealing how compositional scheme and dramatic conception are intertwined from the earliest stages of a project's genesis. The study draws on a substantial body of previously undocumented primary sources and goes beyond previous studies of the composer's output to include works unveiled from 2000 onwards.
2012-10-25 By David Beard

hand, Wagner on the other—really its final articulation of a symbolic death, its own Liebestod, as Slavoj ZiZek and Mladen Dolar suggest in their book of two halves, Opera 's Second Death? To speak of opera today seems to conjure up ...

Author: Dominic Symonds

Publisher: Rodopi

ISBN: 9789401209502

Category: Music

Page: 269

View: 346

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The Legacy of Opera: Reading Music Theatre as Experience and Performance is the first volume in a series of books compiled by the Music Theatre Working Group of the International Federation for Theatre Research. The series explores the widening of the meaning of the term “music theatre” to reflect new ways of thinking about this creative practice beyond the genres circumscribed by discourses of theatre studies and musicology. Specifically it interrogates the experience of music theatre and its performance energies for contemporary audiences who engage with the emergence of new expressive idioms, new performative paradigms, new technologies and new ways of thinking. The Legacy of Opera considers some of the ways in which opera’s influence has informed our understanding of and approach to the musical stage, from the multiple perspectives of the ideological, historical, corporeal and artistic. With contributions from international scholars in music theatre, its chapters explore both canonic and experimental examples of music theatre, spanning a period from the seventeenth century to the present day.
2013 By Dominic Symonds

Žižek returns to this idea in Opera's Second Death, arguing that the libertine's commitment to destruction becomes a categorical imperative of sorts, the seamy underside of Enlightenment ethics. He brings it to bear, however, ...

Author: Axel Englund

Publisher: Univ of California Press

ISBN: 9780520974708

Category: Music

Page: 280

View: 874

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Imagine Armida, Handel’s Saracen sorceress, performing her breakneck coloraturas in a black figure-hugging rubber dress, beating her insubordinate furies into submission with a cane, suspending a captive Rinaldo in chains from the ceiling of her dungeon. Mozart’s peasant girl Zerlina, meanwhile, is tying up and blindfolding her fiancé to seduce him out of his jealousy of Don Giovanni. And how about Wagner’s wizard, Klingsor, ensnaring his choir of flower maidens in elaborate Japanese rope bondage? Opera, it would appear, has developed a taste for sadomasochism. For decades now, radical stage directors have repeatedly dressed canonical operas—from Handel and Mozart to Wagner and Puccini, and beyond—in whips, chains, leather, and other regalia of SM and fetishism. Deviant Opera seeks to understand this phenomenon, approaching the contemporary visual code of perversion as a lens through which opera focuses and scrutinizes its own configurations of sex, gender, power, and violence. The emerging image is that of an art form that habitually plays with an eroticization of cruelty and humiliation, inviting its devotees to take sensual pleasure in the suffering of others. Ultimately, Deviant Opera argues that this species of opera fantasizes about breaking the boundaries of its own role-playing, and pushing its erotic power exchanges from the enacted to the actual.
2020-10-06 By Axel Englund

Metaphysical Song: an Essay on Opera. ... cSir Gawain at the fin de siècle: Novel and Opera', in A Companion to ... 'The Everlasting Irony of the Community', in Žižek and Dolar, Opera's Second Death, 151–80. Part IV Operas Composed in ...

Author: Margaret Notley

Publisher: Routledge

ISBN: 9781351555784

Category: Music

Page: 538

View: 894

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The articles reprinted in this volume treat operas as opera and from some sort of critical angle; none of the articles uses methodology appropriate for another kind of musical work. Additional criteria used in selecting the articles were that they should not have been reprinted widely before and that taken together they should cover an extended array of significant operas and critical questions about them. Trends in Anglophone scholarship on post-1900 opera then determined the structure of the volume. The anthologized articles are organized according to the place of origin of the opera discussed in each of them; the introduction, however, follows a thematic approach. Themes considered in the introduction include questions of genre and reception; perspectives on librettos and librettists; words, lyricism, and roles of the orchestra; and modernism and other political contexts.
2017-07-05 By Margaret Notley

Neither trusted themselves and neither trusted the other: he looks, she undergoes a second death. In some versions she is in the real human underworld of crooks and hoodlums (Jacques Offenbach, 1819-1880); in others they are reunited on ...

Author: Michael Trimble

Publisher: Cambridge Scholars Publishing

ISBN: 9781527575356

Category: Science

Page: 641

View: 587

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An aspect of dying in opera, rarely observed or commented on, is Sudden Unexpected Death. There are many deaths in this melodramatic genre: most follow expected causes like murder, suicide, or old age. This book explores those deaths which occur without obvious natural causes. These are often central to the overall drama of the opera, representing denouements forming the epiphany of the story and the apotheosis for the audience. The book identifies 50 operas where such events occur, exploring the role of the dramatis personae, the circumstances of their dying, and specific themes that emerge. These include a preponderance of females, especially in the 19th century, who die mainly at the end of the operas, often in the context of tragedy. It charts the growing awareness in the medical sciences of the unconscious forces driving human behaviour, including liminal mental states and trances, which influenced these operas and continue to affect human behaviour to the present day. In addition, the changing philosophies that are intertwined with operatic narratives, in particular stemming from Kant, Hegel, Schopenhauer and Nietzsche, are important in the book’s exegesis, as is the special role of Wagner’s compositions. This leads to the exploration of recurrent concepts such as the Liebestod, the ewig Weibliche and redemption itself.
2021-09-28 By Michael Trimble

corset”—no doubt contributes to the opera's enduring success, but it also made it difficult to repeat.41 The subtle tug between style and ... Slavoj Žižek and Mladen Dolar, Opera's Second Death (New York: Routledge, 2002), 2, 4. 9.

Author: Chandler Carter

Publisher: Indiana University Press

ISBN: 9780253041593

Category: Music

Page: 360

View: 756

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From the fall of 1947 through the summer of 1951 composer Igor Stravinsky and poet W. H. Auden collaborated on the opera The Rake’s Progress. At the time, their self-consciously conventional work seemed to appeal only to conservative audiences. Few perceived that Stravinsky and Auden were confronting the central crisis of the Modern age, for their story of a hapless eighteenth-century Everyman dramatizes the very limits of human will, a theme Auden insists underlies all opera. In The Last Opera, Chandler Carter weaves together three interlocking stories. The central and most detailed story explores the libretto and music of The Rake’s Progress. The second positions the opera as a focal point in Stravinsky's artistic journey and those who helped him realize it—his librettists, Auden and Chester Kallman; his protégé Robert Craft; and his compatriot, fellow composer, and close friend Nicolas Nabokov. By exploring the ominous cultural landscape in which these fascinating individuals lived and worked, the book captures a pivotal twenty-five-year span (from approximately 1945 to 1970) during which modernists like Stravinsky and Auden confronted a tectonic disruption to their artistic worldview. Ultimately, Carter reveals how these stories fit into a larger third narrative, the 400-year history of opera. This richly and lovingly contextualized study of The Rake’s Progress sheds new light on why, despite the hundreds of musical dramas and theater pieces that have been written since its premier in 1951, this work is still considered the "the last opera."
2019-05-31 By Chandler Carter