Buchtitel | 1 |
Inhalt | 5 |
Vorwort | 7 |
Größe als Erhabenheit. Einführende Gedanken zu Bernard Herrmann (Gregor Herzfeld) | 9 |
Das Paradigma „Moby-Dick“ | 9 |
Erhabene Musik in Bernard Herrmanns „Moby-Dick“ (1938) | 10 |
Herrmanns „Wuthering Heights“ (1951) als „Great American Opera“ | 13 |
Literatur | 17 |
Crafting the Soundworld of American Opera, 1910–1912 (Aaron Ziegel) | 19 |
Introduction | 19 |
Early background | 21 |
Components of an American idiom | 24 |
The perpetual state of »not yet« | 39 |
Appendix: Premiere Production Details | 41 |
Published Scores and Librettos | 43 |
References | 43 |
„Recognizably American“. Aaron Coplands „The Second Hurricane“ (1936/37) als musikalische Theatralisierung des Politischen im „New Deal“ (Marcus Gräser) | 45 |
Operatic Conventions on Broadway, 1935–1960 (Christopher Lynch) | 65 |
»Seriousness« in the Musical Comedy | 69 |
Ensembles | 72 |
Recitative | 74 |
The Fate of Operatic Conventions on Broadway | 77 |
References | 78 |
Toward an American Folk Opera. Performing Primitivism and Negro Folk Culture in Hall Johnson’s „Run, Little Chillun!“ (1933) (Micah Wittmer) | 81 |
Portraying Africanisms in Negro Folk Culture | 83 |
Portraying the Black Church of Negro Folk Culture | 90 |
Conclusion | 97 |
References | 98 |
Oper als Strategie der kompositorischen Selbstinszenierung und Wertbegriff: „Street Scene“ (1946) und „West Side Story“ (1957) (Nils Grosch) | 101 |
The Sound of Music (1959) – »A Great American Opera«? (Marie Louise Herzfeld-Schild) | 113 |
Glass avec Fukuyama oder Philip Glass’ „The Voyage“ (1992) und das Ende der Geschichte (Mauro Fosco Bertola) | 131 |
„The End of History“ oder von der (bitteren) Wahrheit des Übertreibens | 133 |
Analogien: Fukuyama at the Opera | 136 |
Glass avec de Maistre: Reisen bis ans Ende der Geschichte | 141 |
Kundrys Schmach, Columbus’ Tod: Reisen als Kreisen | 144 |
Literatur | 145 |
About the Task of Adapting a Movie Classic for the Opera Stage: On André Previn’s „A Streetcar Named Desire“ (1998) and „Brief Encounter“ (2009) (Frédéric Döhl) | 147 |
A Three-Step-Adaptation-Formula | 147 |
All Eyes and Ears on Blanche: On „A Streetcar Named Desire“ | 161 |
Longing in Close-up: On „Brief Encounter“ | 163 |
An Opera Composer of Desire | 167 |
References | 168 |
Sense and Sensibility: Music on Stage in „What Next“? (John Link) | 177 |
Libby Larsen’s „Barnum’s Bird“. The „Great American Opera“ (Sharon Mirchandani) | 199 |
Introduction | 199 |
Genre | 199 |
Subject, Structure, Origins, and Performance History | 200 |
Dramatic Themes | 202 |
The Music | 204 |
A Hybrid | 204 |
Larsen’s Music and Motives | 205 |
Diagetic Music | 210 |
Two Ensemble Scenes | 212 |
Summary | 215 |
References | 215 |
„The Mysteries of Selma, Alabama“. Re-telling and Remembrance in David Lang’s „The Difficulty of Crossing a Field“ (Amy Bauer) | 219 |
Introduction | 219 |
The First Re-telling: Bierce the Bitter, Quixotic Crusader | 220 |
The Second Re-telling: The Theater of Subversion | 222 |
The Third Re-telling: A Fractal Journey | 224 |
The Fourth Re-telling: A Noble Music | 225 |
The Fifth Re-telling: A Field in Long Beach | 230 |
The Sixth Re-telling: A History of the »Disappeared« | 231 |
The Seventh Re-telling: Go Forth and Multiply | 232 |
References | 232 |
Autorinnen und Autoren / Authors | 235 |