Review: Don Carlos: Edizione integrale delle varie versioni in cinque e in quattro atti (comprendente gli inediti verdiani) by Giuseppe Verdi, Ursula Günther, Luciano Petazzoni

1982 ◽  
Vol 35 (2) ◽  
pp. 360-370
Author(s):  
Andrew Porter
Keyword(s):  
Giuseppe Verdi ◽  
Don Carlos

Don Carlos. Giuseppe Verdi

1986 ◽  
Vol 4 (1) ◽  
pp. 142-145
Author(s):  
Dale Harris
Keyword(s):  
Giuseppe Verdi ◽  
Don Carlos

Two Don Carlos. Giuseppe Verdi

2001 ◽  
Vol 17 (2) ◽  
pp. 328-331
Author(s):  
R. Baxter
Keyword(s):  
Giuseppe Verdi ◽  
Don Carlos

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.

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