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Thomas S. Grey (Editor) - The Cambridge Companion to Wagner

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Richard Wagner is remembered as one of the most influential figures in music and theatre, but his place in history has been marked by a considerable amount of controversy. His attitudes towards the Jews and the appropriation of his operas by the Nazis, for example, have helped to construct a historical persona that sits uncomfortably with modern sensibilities. Yet Wagners absolutely central position in the operatic canon continues. This volume serves as a timely reminder of his ongoing musical, cultural, and political impact. Contributions by specialists from such varied fields as musical history, German literature and cultural studies, opera production, and political science consider a range of topics, from trends and problems in the history of stage production to the representations of gender and sexuality. With the inclusion of invaluable and reliably up-to-date biographical data, this collection will be of great interest to scholars, students, and enthusiasts.

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The Cambridge Companion to Wagner Richard Wagner is remembered as one of the - photo 1
The Cambridge Companion to Wagner
Richard Wagner is remembered as one of the most influential figures in music and theater, but his place in history has been marked by a considerable amount of controversy. His attitudes toward the Jews and the appropriation of his operas by the Nazis, for example, have helped to construct a historical persona that sits uncomfortably with modern sensibilities. Yet Wagners absolutely central position in the operatic canon continues. This volume serves as a timely reminder of his ongoing musical, cultural, and political impact. Contributions by specialists from such varied fields as musical history, German literature and cultural studies, opera production, and political science consider a range of topics, from trends and problems in the history of stage production to the representations of nation, race, and sexuality. With the inclusion of invaluable and reliably up-to-date biographical data, this collection will be of great interest to scholars, students, and enthusiasts.
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The Cambridge Companion to Wagner
Edited by
Thomas S. Grey
CAMBRIDGE UNIVERSITY PRESS
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, So Paulo, Delhi
Cambridge University Press
The Edinburgh Building, Cambridge CB2 8RU, UK
Published in the United States of America by Cambridge University Press, New York
www.cambridge.org
Information on this title: www.cambridge.org/9780521644396
Cambridge University Press 2008
This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.
First published 2008
Printed in the United Kingdom at the University Press, Cambridge
A catalogue record for this publication is available from the British Library
ISBN 978-0-521-64299-6 hardback
ISBN 978-0-521-64439-6 paperback
Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.
Contents
John Deathridge
Thomas S. Grey
Mitchell Cohen
Stewart Spencer
Barry Millington
Thomas S. Grey
John Daverio
Stephen McClatchie
Glenn Stanley
James Treadwell
Dieter Borchmeyer
Thomas S. Grey
Annegret Fauser
Pamela M. Potter
Mike Ashman
Arnold Whittall
Illustrations
Notes on contributors
Mike Ashman is active as both a stage director and a writer on opera performance. He has produced for Opera Zuid and the Royal College of Music Opera School, and has served as staff director of the Welsh National Opera and the Royal Opera House, Covent Garden. His directorial work focuses on nineteenth- and twentieth-century repertories, including a Ring cycle for Den Norske Opera and a touring version of Tristan und Isolde . He has contributed chapters to Wagner in Performance (1992) and Verdi in Performance (2001).
Dieter Borchmeyer is Professor Emeritus of Modern German Literature and Theater at the University of Heidelberg and president of the Bavarian Academy of Fine Arts. His work encompasses German literature of the eighteenth through twentieth centuries, including the intersection of theater, music, and opera. Among his numerous publications concerning Richard Wagner are Das Theater Richard Wagners: Idee Dichtung Wirkung (1982; trans. Stewart Spencer as Richard Wagner: Theory and Theatre , 1991), Die Gtter tanzen Cancan: Richard Wagners Liebesrevolten (1992), Das Tribschener Idyll: Nietzsche Cosima Wagner. Eine Textcollage (1998), Drama and the World of Richard Wagner (2003), and an edition of Wagners collected writings (1983).
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