Opera after 1900

Abstract

Contents: Introduction Part I Operas by Viennese Composers, ca. 1910a 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 BartA^3k'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: A-ffentlichkeit 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.