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Keywords: Wagner
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Journal Articles
19th-Century Music (2017) 41 (1): 3–30.
Published: 01 July 2017
...Mark Everist The French reception of Wagner is often based on the two pillars of the 1861 Tannhäuser production and that of Lohengrin in 1891. Sufficient is now known about the composer's earliest attempt to engage with Parisian music drama around 1840 to be able to understand his work on Das...
Journal Articles
19th-Century Music (2015) 38 (3): 219–242.
Published: 01 March 2015
...Martin Knust Wagner's music, aesthetics, and personality were influenced profoundly by the declamation and recitation techniques of his time. “Declamation” as an optic-acoustic phenomenon embraces in this context both the actor's artificial speech and physical delivery. The theatrical declamation...
Journal Articles
19th-Century Music (2015) 38 (3): 272–301.
Published: 01 March 2015
...Marc Brooks The obvious debt that Strauss's operas owe to Wagner often led early critics to view their conspicuous lack of spiritual depth as an unintentional failure. Recent commentators such as Charles Youmans, Leon Botstein, and Michael Walter have rightly characterized this feature as a...
Journal Articles
19th-Century Music (2010) 33 (3): 232–246.
Published: 01 March 2010
...William Gibbons The 1861 productions of Wagner's Tannhääuser and Gluck's Alceste at the Paris Opééra led to a major turning point in reception of both composers in France. After Tannhääuser 's spectacular failure in March of that year, the management of the Opééra decided to mount Alceste , a move...
Journal Articles
19th-Century Music (2009) 33 (1): 25–61.
Published: 01 July 2009
...Katherine Kolb This article analyzes the writings of Berlioz on Wagner and, to a lesser extent, of Wagner on Berlioz, emphasizing the covert innuendoes of their verbal sparring during the period surrounding the Tannhääuser debacle at the Paris Opééra (1860) and Berlioz's tribulations with Les...
Journal Articles
19th-Century Music (2007) 31 (1): 003–027.
Published: 01 July 2007
...Matt Baileyshea This article examines the degree to which characters in Wagner's Ring might be heard to control the orchestra for specific rhetorical purposes. Using Edward Cone's work as a starting point, I adopt a "fully diegetic" perspective in which music is understood as a physical presence in...