Operatic Modernism
The profound modernist ruptures of the 20th Century questioned, displaced, and reconfigured the way humanity regards itself. Within the fine arts, literature, architecture, and music, artistic revolutions occurred at an unprecedented rate and, within the rubric of modernism, deliberately broke with the bases of Western art, culture and society. While working within the operatic institution, Strauss' Salome, Weill's Die Dreigroschenoper, and Berg's Wozzeck profoundly challenge the generic conventions of the operatic tradition. Through their careful combination of innovation in music, text, structure, and staging, their questioning of traditional morality, and pointed social and historical commentaries, these three operas facilitate criticism of the traditional operatic institution as well as society; they are exemplary of the tensions--painfully evident within operatic modernism--between the will to modernity, innovation, and progress and the past. Opera falls, despite efforts to the contrary, away from the tremendous potential of innovation and rupture back to its conservative tradition. As the classical tradition all too often relies on, glorifies, and mythologises its past, the failure of modernism in opera is a result of the distance--projected, assumed, and interpolated--between the often stagnant classical and operatic institutions and innovative and modernist contemporaries. Too reified to permit the flourishing of innovation, dissent, and/or rupture, the operatic institution is weighed down by its past (as well as its patrons), remaining steadfastly resistant to the revolutionary influences of modernism.
While it is clear an essay on opera and modernism (or, indeed, a cou...
... middle of paper ...
.... "Modernism and Postmodernism." In A Glossary of Literary Terms. 7th
edition. M.H. Abrams, Ed. New York: Harcourt, 1999. 167-168.
Clements, Andrew. "Wozzeck." Volume IV. Stanley Sadie, Ed. London: MacMillan,
1992. 1176-80.
Hinton, Stephen. "Die Dreigroschenoper." The New Grove Dictionary of Opera. Volume
I. Stanley Sadie, Ed. London: MacMillan, 1992. 1243-46.
Kennedy, Michael. "Opera." The Concise Oxford Dictionary of Music. Third edition.
Michael Kennedy, Ed. Oxford: Oxford UP, 1980. 463-64.
Morris, Mark. "A Brief Introduction to the 20th Century History of Music in Austria."
Pimlico Dictionary of Twentieth Century Composers. Pimlico, 1999. On-line. Available http://www.humanities.ualberta.ca/mmorris/402/Austria2.htm
Murray, David. "Salome." The New Grove Dictionary of Opera. Volume IV. Stanley
Sadie, Ed. London: MacMillan, 1992. 146-49.
Ever heard of a story that sings of the “Angel of Music” and the “Phantom of the Opera”? A tale that once you have listened to the sweet melody that you will realized that you've pasted the “Point of No Return”? This love triangle has captivated multitudes ever since the 1910 original Phantom of the Opera was published in France by Monsieur Leroux, although most story lovers recall the musical of the same name by Andrew Lloyd Webber or the motion picture adaption. Although this story has been entertaining people for over a century, in this new era have prerecorded voices and movements begun to overshadow the talented performers of live theater? Although “The lavish screen adaptation of Andrew Lloyd Webber's Phantom of the Opera (2005) only deepened the damage” of the dislike of musicals made into film “with non-stars in the leads and an unimaginative production,”(Musical),which version, the live performance or the film, makes the story more attractive? To answer these questions, permit this essay to analyze two methods of storytelling: 2011 live performance Andrew Lloyd Webber's The Phantom of the Opera at the Royal Albert Hall and the 2005 film, and decide if music and story lovers everywhere have too “turned from true beauty”.
First of all, strong insight is perhaps given into the Viennese high society, who were "devoted to order, mannered charm and the grandiloquent facades on the `Ringstrasse' "³ by the reaction of the audiences alone to the play and its characters. Both shocked and embarrassed the Viennese bourgeoisie with its "uncompromising representation of the Viennese world"². Schnitzler's writing of the play and his inclusion of these common, gritty characters coupled with the reaction of this part of Viennese society represents the "test of wills... [sic] between well-behaved traditionalism and liberated modernism"³ emerging in Vienna at this time.
Griffiths, Paul with Igor Stravinsky, Robert Craft and Gabriel Josipovici. Igor Stravinsky: The Rake's Progress. Cambridge Opera Handbooks. Cambridge: Cambridge UP, 1982.
In his day, Johann Adolph Hasse was at the forefront of Italian opera. Although he composed a fair amount of sacred works, he is best known for his operatic output. He was widely popular throughout Italy and Germany, and was commissioned by courts and opera houses throughout Europe. His performances were attended by cultural figures at the time, as well as some of the biggest names in common-era music today. In his later life, styles changed and so Hasse’s acclaim diminished after his death. But generations later, he was re-established as a figurehead and icon of classic ancient Italian opera, a designation he possesses even today.
The baroque has been called a theatrical style, one that deals in spectacle, grandeur, and dramatic contrast. Test these concepts in an essay that discusses the baroque as an expression of the Catholic Reformation, Protestant devotionalism, the Scientific Revolution, and the Age of Absolutism. Define your general statements with specific examples. The following essay will discuss the baroque period and how the Catholic Reformation, Protestant devotionalism, and the Scientific Revolution influenced it. The Baroque period generally refers to the years 1600 to1750. Classicism of the Renaissance has been replenished during the Baroque period. During the Baroque artistic period, the exploration of the fundamental components of human nature and the realm of senses and emotions were very crucial. The Baroque era was a very dynamic time that showed an abundance of radiance and color. Artists of this time were passionate and sensual. Their works were many times considered to have an overpowering emotional effect. The superficial form of light was fascinated during this period due to the thoughts of godlike sun or the truth of the Holy Spirit. The Baroque naturalism maintains the religious themes in content. The elements of perception in the Baroque art are how we perceived the natural human figures are in motion through space, time, and light. We present and analyze the extent of human actions and passions in all its degrees of lightness, darkness, and intensity. The scientific revolution also had a tremendous impact on art during this time. Scientists started to study the earth and it’s positioning in the universe. This was a time when the people started take more of an interest in astronomy and mathematical equations. During the time of the Catholic Reformation artists began to challenge all the rules that society has set for artistic design. Artist starting with Parmigianino, Tintoretto, and El Greco began to add a wide variety of colors into their paintings, challenging the way things have been done in the past. These artists also added abnormal figures or altered the proportions in paintings. This is displayed in Parmigianino’s painting, Madonna of the long neck. During this time the Catholic Church was in a transition period moving from their recent reputation and becoming a well-respected organization. During this reform, an autobiography written by Layola about Saint Teresa of Avila set a new tone for Catholics to follow. This influenced people to have a more spiritual outlook on life.
Christmas and Opera did not merely seem to correlate, but understanding where the two events derived from can help one to understand the similarities and differences between them. The development of Christmas was different from the creation of opera because the working class was controlling the other social classes for profit. Whereas for opera, the different social classes unified to keep opera as entertainment and not a social event. Another difference came within the writing and context throughout the article and the presentation of information conveyed by the author. Yet the events share the similarity of both being refined and reinvented.
Wanger lived in a reactionary and unsettled time, this restlessness is given a creative voice in his music and the condition of the romantic era man, removed from nature and isolated from communion with humanity is expressed in all of his music but especially in his operas. The morality of Wagner’s work has always been controversial, at best thought a work of a clearly flawed and tortured genius and at worst it is suspected to be steeped in subtle but deep racial hatred. For the purposes of this article I will present Wagner’s taking them at face value, without examining the theory stating that Anti-semitism was inherent to Wagner’s operas. I will use Wagner’s music drama Parsifal as the lens through which we can frame Wagner’s early operas and follow the themes of development to his mature style in this his final opera. Examining Wanger’s developments to music especially as regards the genesis of the music drama and how this contribution changed opera forever. His artistic reform, though not executed to the last detail, accelerated the trend towards organically conceived, through-composed structures, as well as influencing the development of the orchestra, of a new type of singer, and of various aspects of theatrical practice.
I can say with absolute certainty that I have always been intrigued by and totally enamored with cultures that were different from my own. I believe this is because I fancy myself to be an imaginative dreamer that has always wished for changes to take place in the world so that it may one day become the way it was supposed to be when the creator of the universe imagined it all those centuries ago.
Most alcoholics proceed to a stage where their brains or their bodies have been so harmed by alcohol that the effects persist even when they are not drinking. This stage may be reached...
The Baroque era was a unique period in music that began during the 1600's and ended around 1750. The word "baroque" is define by Merriam's Collegiate Dictionary as, "of, relating to, or having the characteristics of a style of artistic expression prevalent esp. in the 17th century that is marked generally by use of complex forms, bold ornamentation, and the juxtaposition of contrasting elements often conveying a sense of drama, movement, and tension." The word "baroque" has been used to indicate paintings, poems, architecture, literature, and all else that is dynamic and astonishing.
When people hear the word "drug," they usually think of an illegal substance such as cocaine, heroin, marijuana, or any other drug that can be found on the street. Most people never consider the fact that consuming alcohol can be just as harmful as illegal drugs, not only on the body, but on the mind and spirit as well (#1). If constantly abused, alcohol can be even worse for one than taking illegal drugs (#5) Irresponsible drinking can destroy a person's life as well as the lives of those around them. When people become both physically and psychologically addicted to alcohol, they become an alcoholic and suffer from a disease called alcoholism. One denotation of this term is "a diseased condition of the system, brought about by the continued use of alcoholic liquors" (Webster's Dictionary, 37). Another definition of this term, given to me by my English professor, Janet Gould who is in fact, a recovering alcoholic, is that alcoholism is a mental dependence and a physical allergy (#3). Alcoholism somehow affects us all through a parent, sibling, friend, or even personal encounters with a stranger. In fact "alcoholics may become angry and argumentative, quiet and withdrawn, or depressed. They may also feel more anxious, sad, tense, and confused. They then seek relief by drinking more" (Gitlow 175).
It has become one of the major social problems of our day, leaving a great number of families and communities within our country devastated and without hope of recuperation for any of their afflicted members and loved ones. Growing to become a big social challenge affecting all aspects of the American society, addiction rates have escalated to enormous proportions within the country as reported by the National Institute on Drug Abuse (NIDA). Addiction has been described as a chronic brain disorder,” resulting from adaptations in the brain that leads to changes in behavior”, according to Dr. Nora Volkow, who also assert that it can be treated (NIDA 2006).
Modernism is defined in Merriam-Webster's Dictionary as "a self-conscious break with the past and a search for new forms of expression." While this explanation does relate what modernism means, the intricacies of the term go much deeper. Modernism began around 1890 and waned around 1922. Virginia Wolf once wrote, "In or about December, 1910, human character changed." (Hurt and Wilkie 1443). D.H. Lawrence wrote a similar statement about 1915: "It was 1915 the old world ended." (Hurt and Wilkie 1444). The importance of the exact dates of the Modernist period are not so relevant as the fact that new ideas were implemented in the era. Ideas that had never before been approached in the world of literature suddenly began emerging in the works of many great authors. Two of the pioneer Modernist writers were Joseph Conrad and T.S. Eliot. The tendencies to question the incontestable beliefs embedded in all thinking and to focus on the inner self dominated. Old viewpoints were tossed aside to make way for the discovery of modern man's personal spirituality. Two works that are considered important forbears in the Modern period are T.S. Eliot's The Wasteland and Joseph Conrad's Heart of Darkness.
I consider drinking alcohol as an issue because many people were killed in different ways by a drunken person. According to drinkaware.co.uk 280 people were killed in drink drive accidents in 2012 in UK (Drinkaware, 2014).
Drug abuse and addiction not only has negative effects in the lives of the people involved, but also in the lives of their close relatives, friends and immediate society. It leads to disintegration, failure in school, loss of employment and violence. Although intake of drugs is a voluntary and conscious decision initially, continuous intake of drugs changes the brain and challenges the self-control of the “addicted person” and inhibits the ability to resist extreme desire for drug intake.