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Author:   Francien Markx
Publisher:   Brill
Imprint:   Brill
Volume:   192
Dimensions:   Width: 15.50cm , Height: 3.30cm , Length: 23.50cm
Weight:   0.891kg
ISBN:  

9789004309562

ISBN 10:   900430956
Pages:   496
Publication Date:   06 November 2015
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   In stock  
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Table of Contents

Acknowledgments Prelude Prologue: German Musical Drama and the Emerging Public Sphere Hamburg - Leipzig - Weimar and Gotha - The National Theater Projects - Mannheim - Vienna - Berlin - E. T. A. Hoffmann's Theatrical and Operatic Experiences - Evaluating Hoffmann's Contribution(s) to Opera ACT I. NARRATING OPERA (CRITICISM) FOR THE ALLGEMEINE MUSIKALISCHE ZEITUNG (Berlin, Bamberg, Leipzig/Dresden, 1808-1814) Chapter One Ritter Gluck: On The Art of Judging Opera The Power of Anecdotes - Querelle des Gluckistes et des Piccinnistes. Christoph Willibald Gluck in the French Press - Gluck in the German Press - E. T. A. 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 Opera Chapter Two Don Juan: Reflections on (Performing) Mozart's Don Giovanni E. T. A. Hoffmann's Don Juan and Lorenzo Da Ponte's Don Giovanni - Contemporary Performance Practices - E. T. A. 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 Chapter Three Poet and Composer: Operatic Insights of an Insider Turbulent Times - The Dialogue Der Dichter und der Komponist - Theoretical Discourse: The Poet (A. W. Schlegel) and the Composer (E. T. A. Hoffmann) - How Not to Write a Libretto: Der Opern-Almanach des H[er]rn A. v[on] Kotzebue - Musical Practice - Der Dichter und der Komponist: A Program for Romantic Opera? - A Word to the Composer: UEber einen Ausspruch Sachini's - Der Dichter und der Komponist and the Future of German Opera - The Poet and the Composer: Hoffmann's Own Creative Production ACT II. BACK IN BERLIN: BALANCING ACTS AS ARTIST AND CRITIC (1814-1822) Prelude: Bruhl and the Berlin Theater Chapter Four 'Patriotic Acts': Undine on the Berlin Stage ossia Accomplishments of a Trio (Fouque, Hoffmann, and Schinkel) Preparing the Stage - Fouque'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 - Denouement Chapter Five Berlin Reviews I: Dramaturgisches Wochenblatt and Vossische Zeitung Reviews of 1815 - Reviews of 1816 - Envisioning the Future: Visions of a Realist - Contributions for the Vossische Zeitung: Reviewing a Befriended Reviewer - Hoffmann's Final DW Contribution: Die Kunstverwandten or the Joys and Sorrows of Producing an Opera - Art Beyond Boundaries: Towards a Universal Operatic Style Chapter Six Berlin Reviews II: Standing up for Spontini A Parisian in Berlin - Hoffmann's Warm Welcome - Briefe uber Tonkunst in Berlin. Erster Brief - Hoffmann's Remaining Berlin Reviews - Zufallige Gedanken or Ritter Gluck Revisited - Spontini's Opera Olimpie - Hoffmann's Translation of Olimpie - Hoffmann's Last Review: Nachtragliche Bemerkungen uber Spontinis Oper Olympia - Further Observations on Hoffmann's Last Review Chapter Seven Falling Silent: The Freischutz Controversy A Tumultuous Premiere - Contemporary Letters and Comments - 'Made in Germany' or An Opera's Success Story - Reflections on Hoffmann's Silence Postlude Bibliography Index

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Author Information

Francien Markx, Ph.D. (2003), University of Illinois at Urbana-Champaign, is Associate Professor of German at George Mason University. Her primary area of expertise is in the intersections of eighteenth- and early nineteenth-century German literature, music, and theater, particularly opera and the lied.

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