Tristan und Isolde

1929 ◽  
Author(s):  
Wolfgang Golther
Keyword(s):  
Author(s):  
Gabriela Cruz

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.


Notes ◽  
2007 ◽  
Vol 63 (3) ◽  
pp. 668-671
Author(s):  
Eftychia. Papanikolaou
Keyword(s):  

1991 ◽  
Vol 8 (4) ◽  
pp. 151-155
Author(s):  
David McKee

1993 ◽  
Vol 9 (3) ◽  
pp. 162-167
Author(s):  
David Hamilton

2021 ◽  
Vol 47 (3) ◽  
pp. 252-273
Author(s):  
Thomas Schäfer

Der Beitrag versucht, sowohl Arnold Schönbergs als auch Stefan Georges Verhältnis zu Richard Wagner zu beleuchten. Dabei werden anhand von Schönergs <George-Liedern> op. 15 zweifacher Hinsicht produktive Rezeptionshaltungen beschrieben. Georges <buch der hängenden gärten> und Schönbergs Liederzyklus werden in diesem Kontext als Allusionen auf Wagners Musikdrama <Tristan und Isolde> gelesen. (Schäfer, Thomas)


Author(s):  
Brigitte Fassbaender
Keyword(s):  

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