scholarly journals Der Schluss von Wagners Götterdämmerung und sein Zusammenhang mit der barocken ‘Licenza’

2011 ◽  
pp. 203
Author(s):  
Fred Büttner
Keyword(s):  
Richard Wagner ◽  
Pietro Metastasio ◽  
Didone Abbandonata

Cuando Pietro Metastasio, al comienzo de la década de 1750, reelaboró para una representación en Madrid su famoso libreto Dido abandonada de 1724, le añadió una licencia, que introdujo mediante una amplia didascalia escénica. El desarrollo del final del Crepúsculo de los dioses de Richard Wagner corresponde de forma evidente a esta didascalia escénica, lo que sugiere que el más reciente drama wagneriano depende del libreto precedente de Metastasio. Sin embargo, Wagner no consideró exaltar el poder aristocrático, típico de la licencia barroca, sino que, antes al contrario, se sirvió de un elemento histórico, característico de la antigua tradición del melodrama, para simbolizar el final de la vieja sociedad de los dioses mitológicos. [de] Als Pietro Metastasio sein berühmtes Libretto Didone abbandonata von 1724 zu Beginn der 1750er Jahre für eine Aufführung in Madrid überarbeitete, fügte er eine Licenza an, die durch eine ausführliche Szenenanweisung eingeleitet wird. Mit dieser Szenenanweisung stimmt in auffälliger Weise der Schluss von Richard Wagners Götterdämmerung überein, so dass mit einer bewussten Anlehnung des neueren an das ältere Stück gerechnet werden darf. Jedoch geht es Wagner nicht um die Huldigung an ein aristokratisches Herrschertum, das die barocke Licenza kennzeichnet, sondern im Gegenteil darum, das Ende der alten Göttergesellschaft durch den Bezug auf ein historisches Element zu versinnbildlichen.

scholarly journals manuscrito autógrafo del Padre Soler en Orihuela con el final de Didone abbandonata y otras composiciones inéditas

Imafronte ◽  
2020 ◽  
pp. 1-37
Author(s):  
Juan Berná Pérez
Keyword(s):  
Creative Activity ◽  
Final Scene ◽  
Pietro Metastasio ◽  
Didone Abbandonata

Las catalogaciones realizadas en 1909 y 1986 del Archivo de Música de la Catedral de Orihuela (ACO), asignaron al Padre Antonio Soler tres títulos sin advertir que el manuscrito con signatura 52/4, después del villancico A velar, pastores de Belén, tenía anotadas otras seis composiciones de la misma mano, fechadas entre 1763 y 1779. Este artículo tiene como objetivos catalogar y describir los siete títulos del manuscrito ACO 52/4, contextualizar su contenido y establecer los factores que permiten identificar al Padre Soler (1729-1783) como su autor y redactor. Se trata de un hallazgo doblemente importante porque incorpora seis títulos al catálogo de uno de los compositores españoles más importantes y, además, ofrece una faceta desconocida de su actividad creativa, pues uno de ellos pone música a la escena final de Didone abbandonata de Pietro Metastasio. The 1909 and 1986 catalogues of the Musical Archive in Orihuela Cathedral (ACO) assigned Father Antonio Soler three titles, without noticing that the manuscript 52/4 had, after the villancico A velar, pastores de Belén, another six compositions in hisown handwriting, dated between 1763 and 1779. The purpose of this article is to catalogue and describe the seven titles of the manuscript ACO 52/4, to contextualize its contents and to establish the factors that allow us to identify Father Antonio Soler (1729- 1738) as its author. This is a doubly important find as it adds six titles to the catalogue of one of the most importantSpanish composers, moreover, it offers an unknown facet of his creative activity, as one of them is the final scene of Pietro Metastasio’s Didone abbandonata.

Richard Wagner

2009 ◽  
Author(s):  
Francis Hueffer
Keyword(s):  
Richard Wagner

Grand Illusion

2020 ◽  
Author(s):  
Gabriela Cruz
Keyword(s):  
Karl Marx ◽  
Walter Benjamin ◽  
Richard Wagner ◽  
Giuseppe Verdi ◽  
Theodor Adorno ◽  
Tristan Und Isolde ◽  
Giacomo Meyerbeer ◽  
History Of ◽  
Grand Opera ◽  
Philosophical Understanding

Grand Illusion is a new history of grand opera as an art of illusion facilitated by the introduction of gaslight illumination at the Académie Royale de Musique (Paris) in the 1820s. It contends that gas lighting and the technologies of illusion used in the theater after the 1820s spurred the development of a new lyrical art, attentive to the conditions of darkness and radiance, and inspired by the model of phantasmagoria. Karl Marx, Walter Benjamin, and Theodor Adorno have used the concept of phantasmagoria to arrive at a philosophical understanding of modern life as total spectacle, in which the appearance of things supplants their reality. The book argues that the Académie became an early laboratory for this historical process of commodification, for the transformation of opera into an audio-visual spectacle delivering dream-like images. It shows that this transformation began in Paris and then defined opera after the mid-century. In the hands of Giacomo Meyerbeer (Robert le diable, L’Africaine), Richard Wagner (Der fliegende Holländer, Lohengrin, and Tristan und Isolde), and Giuseppe Verdi (Aida), opera became an expanded form of phantasmagoria.

scholarly journals A Maximal Understanding of Sacrifice: Bataille, Richard Wagner, Pilgrimage and the Bayreuth Festival

Religions ◽  
2021 ◽  
Vol 12 (1) ◽  
pp. 48
Author(s):  
Philip Smith ◽  
Florian Stoll
Keyword(s):  
Emotional Experience ◽  
The Body ◽  
Richard Wagner ◽  
Mixed Methods Study ◽  
Historical Research ◽  
Structured Interviews ◽  
Paradigm Case ◽  
Comparative Sociology ◽  
Sacred Spaces ◽  
Classical Work

This paper calls for a broad conception of sacrifice to be developed as a resource for cultural sociology. It argues the term was framed too narrowly in the classical work of Hubert and Mauss. The later approach of Bataille permits a maximal understanding of sacrifice as non-utilitarian expenditures of money, energy, passion and effort directed towards the experience of transcendence. From this perspective, pilgrimage can be understood as a specific modality of sacrificial activity. This paper applies this understanding of sacrifice and pilgrimage to the annual Bayreuth “Wagner” Festival in Germany. Drawing on a multi-year mixed-methods study involving ethnography, semi-structured interviews and historical research, the article traces sacrificial expenditures at the level of individual festival attendees. These include financial costs, arduous travel, dedicated research of the artworks, and disciplines of the body. Some are lucky enough to experience transcendence in the form of deep emotional experience, and a sense of contact with sacred spaces and forces. Our study is intended as an exemplary paradigm case that can be drawn upon analogically by scholars. We suggest that other aspects of social experience, including many that are more ‘everyday’, can be understood through a maximal model of sacrifice and that a rigorous, wider comparative sociology could be developed using this tool.

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