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This title recounts the turbulent life and career of Marjorie Lawrence, one of Australia's most renowned opera stars. From humble beginnings in rural Victoria, Lawrence rose to become one of the pre-eminent Wagner singers of her generation, acclaimed in Europe and at the Metropolitan Opera in New York where she shared roles with Kirsten Flagstad.
Daughters of Teutobod is a story of love triumphing over hate, of persistence in the face of domination, and of the strength of women in the face of adversity. Gudrun is the stolen wife of Teutobod, the leader of the Teutons in Gaul in 102 BCE. Her story culminates in a historic battle with the Roman army. Susanna is a German American farm wife in Pennsylvania whose husband, Karl, has strong affinity for the Nazi party in Germany. Susanna's story revolves around raising her three daughters and one son as World War II unfolds. Finally, Gretel is the infant child of Susanna, now seventy-nine years old and a professor of women's studies, a US senator and Nobel laureate for her World Women's Initiative. She is heading to France to represent the United States at the seventy-fifth anniversary of the liberation of southern France, at the commemoration site where her older brother, who was killed in action nearby, is buried. The site is very near the location where the Romans defeated the Teutons.
Richard Wagner As Poet and Thinker by Bruce Steele Pdf
Richard Wagner as poet? Yes! This hitherto unpublished study invites the reader to see Wagner's texts not just as opera librettos but as dramatic poems in their own right. An authority on German literature, Robertson offers an engaging account of the poems in the light of nineteenth-century drama and the changing currents of social and religious thought. John George Robertson was foundation professor of German Language and Literature in London University, 1903-33. He was the husband of Australian novelist Henry Handel Richardson. Their lifelong love of Wagner's operas, which began when they met in Leipzig as students in the 1880s, is evident in this book.
Opera, Or, The Undoing of Women by Catherine Clement Pdf
This was the first work to have applied a systematised feminist theory to opera. It concentrates on the stories & text of opera, that perhaps have more relevence today in a growing literature than it had when it was the "sacrilegious" pioneering work.
Operas Every Child Should Know by Mary Schell Hoke Bacon Pdf
You will love this collection of beautiful and hypnotic operas chosen specifically for a child to enjoy. Anybody would marvel at this tastefully arranged assortment of delights. Contents: Balfe, Beethoven, Berlioz, Bizet, Dekoven, Flotow, Humperdinck, cont.
German Freedom and the Greek Ideal by W. McGrath Pdf
This book traces this German idea of freedom from the late Enlightenment through the early twentieth century. McGrath shows how German intellectual and artists invoked the ancient Greeks in order to inspire Germans to cultural renewal and to enrich their understanding of freedom as something deeper and more urgent that political life could offer.
Operas Every Child Should Know by Dolores Bacon Pdf
Outlines the plots of Balfe's "The Bohemian Girl," Beethoven's "Fidelio, " Berlioz' "The damnation of Faust, " Bizet's "Carmen, " DeKoven's "Robin Hood, " Flotow's "Martha, " Humperdinck's "Hänsel and Gretel, " Mascagni's "Cavalleria rusticana, " Meyerbeer's "The prophet, " Mozart's "The magic flute, " Gilbert and Sullivan's "H.M.S. Pinafore, " Verdi's "Rigoletto, " "Il trovatore, " and "Aïda, " and Wagner's "The Nibelung ring, " The mastersingers of Nuremberg, " and "Lohengrin."
Modernity between Wagner and Nietzsche by Brayton Polka Pdf
Modernity between Wagner and Nietzsche analyzes the operas and writings of Wagner in order to prove that the ideas on which they are based contradict and falsify the values that are fundamental to modernity. This book also analyzes the ideas that are central to the philosophy of Nietzsche, demonstrating that the values on the basis of which he breaks with Wagner and repudiates their common mentor, Schopenhauer, are those fundamental to modernity. Brayton Polka makes use of the critical distinction that Kierkegaard draws between Christianity and Christendom. Christianity represents what Nietzsche calls the faith that is presupposed in unconditionally willing the truth in saying yes to life. Christendom, in contrast, represents the bad faith of nihilism in saying no to life. Polka then shows that Wagner, in following Schopenhauer, represents Christendom with the demonstration in his operas that life is nothing but death and death is nothing but life. In other words, the purpose of the will for Wagner is to annihilate the will, since it is only in and through death that human beings are liberated from life as willfully sinful. Nietzsche, in contrast, is consistent with the biblical concept that existence is created from nothing, from nothing that is not made in the image of God, that any claim that the will can will not to will is contradictory and hence false. For not to will is, in truth, still to will nothing. There is then, Nietzsche shows, no escape from the will. Either human beings will the truth in saying yes to life as created from nothing, or in truly willing nothing, they say no to life in worshiping the God of Christendom who is dead.
What people ultimately want from opera, audience research suggests, is to be absorbed in a story that engages their feelings, even moves them deeply, and that may lead them to insights about life and, perhaps, themselves. How and why can this combination of music and drama do that? What causes people to be moved by opera? How is it that people may become more informed about living and their own lives? Seeing Opera Anew addresses these fundamental questions. Most approaches to opera present information solely from the humanities, providing musical, literary, and historical interpretations, but this book offers a “stereo” perspective, adding insights from the sciences closely related to human life, including evolutionary biology, psychology, anthropology, and neuroscience. It can be hoped that academic specialists less familiar with the science will find points of interest in this book’s novel approach, and that open-minded students and inquisitive opera-goers will be stimulated by its “cultural and biological perspective.”
Most who write about Wagner’s operas claim that the works of Arthur Schopenhauer had a huge effect on them. The influence has, Brener believes, been vastly overstated. The most detailed exposition of that alleged influence is by Bryan Magee. In his Tristan Chord, Magee details the bases for what are often, by others, unsupported conclusions. Familiar with both the important writings of Schopenhauer and the works of Wagner, Brener is among the few capable of a thorough analysis and factual response to Magee’s claims. His conclusions, backed with primary sources, stands almost alone in opposition to accepted dogma.