Description
Book SynopsisStudy of Weber's operas 'Der Freischutz' and 'Euryanthe' within early 19th century music criticism, and context of German nationalism.
Trade ReviewGerman national, political, social, and musical spirit grew aggressively in the late—18th and early, 19th centuries, contesting Italian domination of opera. Because the singspiel, with its folk origins, could not serve as equal competitor with either Italian opera buffa or opera seria, German composers searched for formulas that might yield a viable national opera. Weber's Der Freischütz (Freischutz) provided impetus. Euryanthe was a further step in the reconfiguration and transformation of German opera. Meyer details the nature of the conflict that led to new institutions, aesthetics, and opera genre after Weber's death and the compromises that eventually produced the German romantic opera. Thoroughly researched, copiously footnoted, and including an extensive bibliography, this volume is a logical companion to Michael Tusa's Euryanthe and Carl Maria von Weber's Dramaturgy of German Opera (CH, Feb'92). Summing Up: Recommended. Scholars and opera historians.July 2003
-- R. Miller * Oberlin College *
Table of ContentsDedication
Acknowledgements
1. Introduction: Inventing German Opera
2. The Native and the Foreign: Models for the German Opera
3. Der Freischütz and the Character of the Nation
4. Euryanthe: Reconfiguration and Transformation
5. Epilogue: Institutions, Aesthetics and Genre after Weber's Death
Appendix 1: Synopsis of Das unterbrochene Opferfest
Appendix 2: Comparative Table: Versions of Das unterbrochene Opferfest
Appendix 3: Synopsis of Méhul's Joseph
Appendix 4: Comparative Table: Versions of the Joseph Finale
Appendix 5: Synopsis of Euryanthe
Bibliography
Index
