![]() Preparing the Stage – Fouqué’s Undine – The Staging of Hoffmann’s Undine – Voices of the Critics – Carl Maria von Weber’s Review of Undine for the AMZ – Weber and the German Ideal – Romantic Ideal versus Reality – Dénouementīerlin Reviews I: Dramaturgisches Wochenblatt and Vossische Zeitung ‘Patriotic Acts’: Undine on the Berlin Stage ossia Accomplishments of a Trio (Fouqué, Hoffmann, and Schinkel) BACK IN BERLIN: BALANCING ACTS AS ARTIST AND CRITIC (1814-1822) v Kotzebue – Musical Practice – Der Dichter und der Komponist: A Program for Romantic Opera? – A Word to the Composer: Über einen Ausspruch Sachini’s – Der Dichter und der Komponist and the Future of German Opera – The Poet and the Composer: Hoffmann’s Own Creative ProductionĪCT II. Hoffmann) – How Not to Write a Libretto: Der Opern-Almanach des Hrn A. Turbulent Times – The Dialogue Der Dichter und der Komponist – Theoretical Discourse: The Poet (A. Poet and Composer: Operatic Insights of an Insider Hoffmann and Mozart’s Don Giovanni – Restaging Don Giovanni – Approaches to Mozart – Mozart’s Score and Donna Anna’s Secret – Reflections on Donna Anna’s Role - A Tale Inspired by Music ![]() Hoffmann’s Don Juan and Lorenzo Da Ponte’s Don Giovanni – Contemporary Performance Practices – E. ![]() Hoffmann’s Views on Gluck – Ritter Gluck: A Response to Forkel – Narrating Gluck’s Public Image – Berlin: An Operatic Backwater – A Tale Illuminated by Music – Ritter Gluck: Towards a New Aesthetics of Operaĭon Juan: Reflections on (Performing) Mozart’s Don GiovanniĮ. Christoph Willibald Gluck in the French Press – Gluck in the German Press – E. The Power of Anecdotes – Querelle des Gluckistes et des Piccinnistes. Ritter Gluck: On The Art of Judging Opera NARRATING OPERA (CRITICISM) FOR THE ALLGEMEINE MUSIKALISCHE ZEITUNG (Berlin, Bamberg, Leipzig/Dresden, 1808-1814) Operatic Experiences – Evaluating Hoffmann’s Contribution(s) to OperaĪCT I. Hamburg – Leipzig – Weimar and Gotha – The National Theater Projects – Mannheim – Vienna – Berlin – E. Prologue: German Musical Drama and the Emerging Public Sphere
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