Description
Book SynopsisThis book presents Edward W. Said’s insightful and elegant analyses of four major operas—originally delivered as the Empson Lectures at Cambridge University in 1997—showcasing the power of his critical acumen to unsettle canonical interpretations.
Trade ReviewIndispensable for serious lovers of opera. The essays are complete and fresh and as meaningful today as a quarter century ago. * Library Journal (starred review) *
These essays on major works in the opera repertoire are provocative and penetrating. They are eloquent testimony to Edward W. Said’s understanding of how music, both written and performed, intersects with politics, history, and literature. Said’s interpretive imagination and his conviction that music is a vital dimension of history and culture will captivate musicians, scholars, students, and all operagoers. -- Leon Botstein, conductor, editor of the
Musical Quarterly, and president of Bard College
The opposition between historical authority and its transgression was central to Edward Said’s thinking in later life. But his exploration of it in these four operas offers a strikingly new perspective on how contemporary audiences—and stagings—can interrogate the operatic works’ historical power structures in deeply resonant, present-day terms. -- Linda Hutcheon, coauthor of
Opera: The Art of DyingThe trenchant literary and cultural critic Edward W. Said was also deeply devoted to the masterpieces of Western classical music.
Said on Opera offers his thoughts on four major operas: by Mozart, Beethoven, Berlioz, and Wagner. These rich, challenging chapters will be debated for years to come. -- Ralph P. Locke, author of
Music and the Exotic from the Renaissance to MozartTable of ContentsEdward Said's Inner Music, by Peter Sellars
Introduction
1.
Così fan tutte at the Limits
2.
Fidelio’s Difficulties with the Past
3.
Les Troyens and the Obligation to Empire
4. Creation and Coherence in
Die MeistersingerNotes
Index
