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Towards a Characterization of Modern Opera

Towards a Characterization of Modern Opera <jats:p> Herbert Lindenberger regards the modern canon as “not quite opera” in its resistance to the theatricality of traditional opera, its forays into popular musical forms, and its use of imitation and parody to quote opera of the past. In his view, modern opera divides itself into two kinds: the “hard” and the “soft.” Lindenberger goes on to consider the question of postmodern opera, but he is less persuaded now than he was previously that this is a useful term, especially given the extent to which one can find so-called “postmodern” elements in “modernist” operas. </jats:p> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Modernist Cultures Edinburgh University Press

Towards a Characterization of Modern Opera

Modernist Cultures , Volume 3 (1): 84 – Oct 1, 2007

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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press, 2010
ISSN
2041-1022
eISSN
1753-8629
DOI
10.3366/E2041102209000343
Publisher site
See Article on Publisher Site

Abstract

<jats:p> Herbert Lindenberger regards the modern canon as “not quite opera” in its resistance to the theatricality of traditional opera, its forays into popular musical forms, and its use of imitation and parody to quote opera of the past. In his view, modern opera divides itself into two kinds: the “hard” and the “soft.” Lindenberger goes on to consider the question of postmodern opera, but he is less persuaded now than he was previously that this is a useful term, especially given the extent to which one can find so-called “postmodern” elements in “modernist” operas. </jats:p>

Journal

Modernist CulturesEdinburgh University Press

Published: Oct 1, 2007

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