Crisis of the opera?: a study of musical hermeneutics
This study in artistic hermeneutics contains objections and critiques that have been generated by the contemporary cultural scenery of musical interpretation, especially related to the opera performances. Nevertheless, as the reader will surely notice, such critique can be very well applied to the e...
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Newcastle upon Tyne
Cambridge Scholars
2013
|
| Ausgabe: | 1. publ. |
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026855984&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| Zusammenfassung: | This study in artistic hermeneutics contains objections and critiques that have been generated by the contemporary cultural scenery of musical interpretation, especially related to the opera performances. Nevertheless, as the reader will surely notice, such critique can be very well applied to the entire spectrum of contemporary culture, as the phenomena described here are ubiquitous. Ion Piso's "alarm signal"-study is essential reading, particularly as it comes from somebody who has over half a century's experience of being an artist-interpreter in world opera. As such, Piso is well-placed to offer such a critique, and thus fulfil Goethe's challenging desideratum: "You can only judge fairly what you, yourself, are able to accomplish." (...) Ion Piso started his musical career as a tenor in 1950 and, prior to 1995, sang in over 200 tours on three continents, and interpreted 88 opera parts. He has also spent time as a director and an opera manager at the Staatstheater in Oldenburg, West Germany, and the Cluj State Opera, in addition to featuring in musical films. He received a PhD in Musicology from the Bucharest Musical Academy in 2000, and started writing books and articles related to vocal technique and to cultural aspects of the opera today. (Klappentext) |
| Umfang: | XV, 274 S. Ill., Notenbeisp. |
| ISBN: | 9781443851329 |
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| 505 | 0 | |a Acknowledgments. - Introduction. - PART ONE: HAS THE OPERA PERFORMANCE BECOME AN OBSOLETE GENRE?: Chapter I The Opera Singer. - Chapter II The Composer has a Representative on Earth – The Conductor. - Chapter III The Director, or what is left from what the Great Opera Composers. - Imagined with their Compositions. - Chapter IV The Spectator. - PART TWO: TAKING THE READER ON A PROMENADE IN THE OPERA HALLS: Chapter V The Character and the Specific Difference of the Language of the Opera. - Chapter VI Speaking and Singing. - Chapter VII The Atmosphere. - Chapter VIII Experience and ... Experiment. - Chapter IX Interpretation: A Domain of the Subjective. - Chapter X The Dilettante – Between Blind Routine and Deaf Avant-garde. - Chapter XI Music, the Opposite of Chaos (While music is opposed to chaos, the avant-garde direction is the opus of chaos). - Chapter XII Tradition and its Role in the Opera. - Chapter XIII Action and its Caricature – Chaotic Fuss on the Stage. - Chapter XIV The Spectacle as an ... Obstacle – Why the "Great Reform" in the Lyrical Theatre has not brought about its Re-birth. - Chapter XV Profession and Career. - Chapter XVI About the New Production of the Opera "Il Trovatore", by G. Verdi, on the Stage of the Romanian National Opera (An imaginary talk between two musicians). - Chapter XVII "Oedipe" by G. Enescu, or The Composer and ... the Others. - Chapter XVIII Attention and Concentration. - Chapter XIX The Opera – Is it a Popular, an Elitist, or a Minor Genre?. - Works Cited. - Afterword: A Few Considerations from the Translator of this Study | |
| 520 | |a This study in artistic hermeneutics contains objections and critiques that have been generated by the contemporary cultural scenery of musical interpretation, especially related to the opera performances. Nevertheless, as the reader will surely notice, such critique can be very well applied to the entire spectrum of contemporary culture, as the phenomena described here are ubiquitous. Ion Piso's "alarm signal"-study is essential reading, particularly as it comes from somebody who has over half a century's experience of being an artist-interpreter in world opera. As such, Piso is well-placed to offer such a critique, and thus fulfil Goethe's challenging desideratum: "You can only judge fairly what you, yourself, are able to accomplish." (...) Ion Piso started his musical career as a tenor in 1950 and, prior to 1995, sang in over 200 tours on three continents, and interpreted 88 opera parts. He has also spent time as a director and an opera manager at the Staatstheater in Oldenburg, West Germany, and the Cluj State Opera, in addition to featuring in musical films. He received a PhD in Musicology from the Bucharest Musical Academy in 2000, and started writing books and articles related to vocal technique and to cultural aspects of the opera today. (Klappentext) | ||
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents
Acknowledgments
......................................................................................ix
Introduction
.................................................................................................
χ
Part One: Has the Opera Performance become an Obsolete
Genre?
Chapter 1
......................................................................................................2
The Opera Singer
Chapter II
...................................................................................................33
The Composer has a Representative on Earth
-
The Conductor
Chapter III
.................................................................................................46
The Director, or what is left from what the Great Opera Composers
Imagined with their Compositions
Chapter IV
.................................................................................................68
The Spectator
Part Two: Taking the Reader on a Promenade in the Opera
Halls
Chapter V
..................................................................................................83
The Character and the Specific Difference of the Language of the Opera
Chapter VI
.................................................................................................98
Speaking and Singing
Chapter
VII
..............................................................................................107
The Atmosphere
Chapter
VIII............................................................................................
Π5
Experience and.
..
Experiment
viii Contents
Chapter IX
...............................................................................................123
Interpretation: A Domain of the Subjective
Chapter X
................................................................................................136
The Dilettante
-
Between Blind Routine and Deaf Avant-garde
Chapter XI
...............................................................................................148
Music, the Opposite of Chaos (While music is opposed to chaos,
the avant-garde direction is the opus of chaos)
Chapter
XII.............................................................................................. 159
Tradition and its Role in the Opera
Chapter
XIII............................................................................................171
Action and its Caricature
-
Chaotic Fuss on the Stage
Chapter
XIV............................................................................................180
The Spectacle as an... Obstacle
-
Why the Great Reform in the Lyrical
Theatre has not brought about its Re-birth
Chapter XV
..............................................................................................195
Profession and Career
Chapter
XVI............................................................................................219
About the New Production of the Opera
II Trovatore,
by G.
Verdi,
on the Stage of the Romanian National Opera (An imaginary talk
between two musicians)
Chapter
XVII...........................................................................................227
Œdipe
by G. Enescu, or The Composer and.
..
the Others
Chapter
XVIII..........................................................................................239
Attention and Concentration
Chapter
XIX............................................................................................249
The Opera
-
Is it a Popular, an Elitist, or a Minor Genre?
Works Cited
.............................................................................................266
Afterword
................................................................................................269
A Few Considerations from the Translator of this Study
|
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| contents | Acknowledgments. - Introduction. - PART ONE: HAS THE OPERA PERFORMANCE BECOME AN OBSOLETE GENRE?: Chapter I The Opera Singer. - Chapter II The Composer has a Representative on Earth – The Conductor. - Chapter III The Director, or what is left from what the Great Opera Composers. - Imagined with their Compositions. - Chapter IV The Spectator. - PART TWO: TAKING THE READER ON A PROMENADE IN THE OPERA HALLS: Chapter V The Character and the Specific Difference of the Language of the Opera. - Chapter VI Speaking and Singing. - Chapter VII The Atmosphere. - Chapter VIII Experience and ... Experiment. - Chapter IX Interpretation: A Domain of the Subjective. - Chapter X The Dilettante – Between Blind Routine and Deaf Avant-garde. - Chapter XI Music, the Opposite of Chaos (While music is opposed to chaos, the avant-garde direction is the opus of chaos). - Chapter XII Tradition and its Role in the Opera. - Chapter XIII Action and its Caricature – Chaotic Fuss on the Stage. - Chapter XIV The Spectacle as an ... Obstacle – Why the "Great Reform" in the Lyrical Theatre has not brought about its Re-birth. - Chapter XV Profession and Career. - Chapter XVI About the New Production of the Opera "Il Trovatore", by G. Verdi, on the Stage of the Romanian National Opera (An imaginary talk between two musicians). - Chapter XVII "Oedipe" by G. Enescu, or The Composer and ... the Others. - Chapter XVIII Attention and Concentration. - Chapter XIX The Opera – Is it a Popular, an Elitist, or a Minor Genre?. - Works Cited. - Afterword: A Few Considerations from the Translator of this Study |
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| discipline | Musikwissenschaft |
| edition | 1. publ. |
| era | Geschichte 1950- gnd |
| era_facet | Geschichte 1950- |
| format | Book |
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| spellingShingle | Piso, Jon 1926- Crisis of the opera? a study of musical hermeneutics Acknowledgments. - Introduction. - PART ONE: HAS THE OPERA PERFORMANCE BECOME AN OBSOLETE GENRE?: Chapter I The Opera Singer. - Chapter II The Composer has a Representative on Earth – The Conductor. - Chapter III The Director, or what is left from what the Great Opera Composers. - Imagined with their Compositions. - Chapter IV The Spectator. - PART TWO: TAKING THE READER ON A PROMENADE IN THE OPERA HALLS: Chapter V The Character and the Specific Difference of the Language of the Opera. - Chapter VI Speaking and Singing. - Chapter VII The Atmosphere. - Chapter VIII Experience and ... Experiment. - Chapter IX Interpretation: A Domain of the Subjective. - Chapter X The Dilettante – Between Blind Routine and Deaf Avant-garde. - Chapter XI Music, the Opposite of Chaos (While music is opposed to chaos, the avant-garde direction is the opus of chaos). - Chapter XII Tradition and its Role in the Opera. - Chapter XIII Action and its Caricature – Chaotic Fuss on the Stage. - Chapter XIV The Spectacle as an ... Obstacle – Why the "Great Reform" in the Lyrical Theatre has not brought about its Re-birth. - Chapter XV Profession and Career. - Chapter XVI About the New Production of the Opera "Il Trovatore", by G. Verdi, on the Stage of the Romanian National Opera (An imaginary talk between two musicians). - Chapter XVII "Oedipe" by G. Enescu, or The Composer and ... the Others. - Chapter XVIII Attention and Concentration. - Chapter XIX The Opera – Is it a Popular, an Elitist, or a Minor Genre?. - Works Cited. - Afterword: A Few Considerations from the Translator of this Study Oper (DE-588)4043582-9 gnd Kulturwandel (DE-588)4033596-3 gnd Hermeneutik (DE-588)4128972-9 gnd Musikleben (DE-588)4075128-4 gnd |
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| title | Crisis of the opera? a study of musical hermeneutics |
| title_auth | Crisis of the opera? a study of musical hermeneutics |
| title_exact_search | Crisis of the opera? a study of musical hermeneutics |
| title_full | Crisis of the opera? a study of musical hermeneutics by Ion Piso. Transl. by Ligia Tomoiagǎ |
| title_fullStr | Crisis of the opera? a study of musical hermeneutics by Ion Piso. Transl. by Ligia Tomoiagǎ |
| title_full_unstemmed | Crisis of the opera? a study of musical hermeneutics by Ion Piso. Transl. by Ligia Tomoiagǎ |
| title_short | Crisis of the opera? |
| title_sort | crisis of the opera a study of musical hermeneutics |
| title_sub | a study of musical hermeneutics |
| topic | Oper (DE-588)4043582-9 gnd Kulturwandel (DE-588)4033596-3 gnd Hermeneutik (DE-588)4128972-9 gnd Musikleben (DE-588)4075128-4 gnd |
| topic_facet | Oper Kulturwandel Hermeneutik Musikleben Aufsatzsammlung |
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