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Performing identity: The search for ...

Meyer, Stephen Conrad.

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Performing identity: The search for a German opera in Dresden, 1798-1832.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Performing identity: The search for a German opera in Dresden, 1798-1832./
Author:	Meyer, Stephen Conrad.
Description:	425 p.
Notes:	Source: Dissertation Abstracts International, Volume: 58-02, Section: A, page: 3370.
Contained By:	Dissertation Abstracts International58-02A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9720955
ISBN:	9780591295696

Performing identity: The search for a German opera in Dresden, 1798-1832.
Meyer, Stephen Conrad.

Performing identity: The search for a German opera in Dresden, 1798-1832. - 425 p.

Source: Dissertation Abstracts International, Volume: 58-02, Section: A, page: 3370.

Thesis (Ph.D.)--State University of New York at Stony Brook, 1996.

Like other efforts at operatic reform, the search for a German opera at the end of the eighteenth and beginning of the nineteenth centuries incorporated many technical prescriptions: concerning the proper relationship between text and music, the role of the recitative and other topics. Yet the critical-compositional impulse towards a "new German opera" distinguished itself from other reform movements less by the nature of these technical prescriptions than by the extent to which it emphasized the connections between opera and the nation. The new German opera that was so alluring to German critics and composers was intended both to reflect the "Germany of the imagination" and to help actualize the vision of a new nation. The hopes, problems, and disappointments of the search for a new German opera were brought into exceptionally clear focus in Dresden, where Carl Maria von Weber's German opera performed alongside a rival Italian company. In this work I will examine the production and reception of three operas in the city: Winter's Das unterbrochene Opferfest, Mehul's Joseph, and Weber's Euryanthe, using the operas to explore those issues that were central to the search for a German opera, and indeed, to the search for a German national identity in the first three decades of the nineteenth century. By comparing different performing versions of these operas (both Italian and German) and analyzing their performance history I will illustrate the history of this effort at operatic reform and its manifestation in actual performance.

ISBN: 9780591295696Subjects--Topical Terms:

516178
Music.

Performing identity: The search for a German opera in Dresden, 1798-1832.
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245 1 0 $a Performing identity: The search for a German opera in Dresden, 1798-1832.
300 $a 425 p.
500 $a Source: Dissertation Abstracts International, Volume: 58-02, Section: A, page: 3370.
500 $a Adviser: David Lawton.
502 $a Thesis (Ph.D.)--State University of New York at Stony Brook, 1996.
520 $a Like other efforts at operatic reform, the search for a German opera at the end of the eighteenth and beginning of the nineteenth centuries incorporated many technical prescriptions: concerning the proper relationship between text and music, the role of the recitative and other topics. Yet the critical-compositional impulse towards a "new German opera" distinguished itself from other reform movements less by the nature of these technical prescriptions than by the extent to which it emphasized the connections between opera and the nation. The new German opera that was so alluring to German critics and composers was intended both to reflect the "Germany of the imagination" and to help actualize the vision of a new nation. The hopes, problems, and disappointments of the search for a new German opera were brought into exceptionally clear focus in Dresden, where Carl Maria von Weber's German opera performed alongside a rival Italian company. In this work I will examine the production and reception of three operas in the city: Winter's Das unterbrochene Opferfest, Mehul's Joseph, and Weber's Euryanthe, using the operas to explore those issues that were central to the search for a German opera, and indeed, to the search for a German national identity in the first three decades of the nineteenth century. By comparing different performing versions of these operas (both Italian and German) and analyzing their performance history I will illustrate the history of this effort at operatic reform and its manifestation in actual performance.
520 $a The company that Weber founded eventually absorbed its Italian rival, and developed into one of the most important houses in Germany. Yet the new genre of "German romantic opera" (epitomized by Euryanthe) failed to materialize in any significant way. German opera composers of the 1820's and 30's, like their predecessors a generation earlier, relied for the most part on diverse forms and conventions, and the repertoire of German opera houses remained dominated by French and Italian works. The institutional success of the German opera was ironically coupled with its aesthetic failure.
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