Lisa Feurzeig – författare

Since 1997, revivals have moved operetta away from the nostalgic performance style of the mid twentieth century, returning to its original satirical spirit grounded in ironic mockery of political and social norms and institutions. This Element compares productions of Offenbach's Belle Hélène and Kálmán's Herzogin von Chicago, considering their choices with regard to plot, text, performance style, music, and costumes and sets. In every case, there is some reinterpretation involved. Satire of times, places, and current politics can be found. Some versions tweak the original while others expand and alter it in a full Regietheater approach, often influenced by a postmodern aesthetic. Directors and performers perceive an opportunity to recreate the central experience of operetta - but is that defined as the original text, Dionysian pleasure, or absurdist theater? The genre lives on mostly through creative approaches to revival.

Since 1997, revivals have moved operetta away from the nostalgic performance style of the mid twentieth century, returning to its original satirical spirit grounded in ironic mockery of political and social norms and institutions. This Element compares productions of Offenbach's Belle Hélène and Kálmán's Herzogin von Chicago, considering their choices with regard to plot, text, performance style, music, and costumes and sets. In every case, there is some reinterpretation involved. Satire of times, places, and current politics can be found. Some versions tweak the original while others expand and alter it in a full Regietheater approach, often influenced by a postmodern aesthetic. Directors and performers perceive an opportunity to recreate the central experience of operetta - but is that defined as the original text, Dionysian pleasure, or absurdist theater? The genre lives on mostly through creative approaches to revival.

Organized in five parts, this Companion enhances understanding of Schubert's Winterreise by approaching it from multiple angles. Part I examines the political, cultural, and musical environments in which Winterreise was created. Part II focuses on the poet Wilhelm Müller, his 24-poem cycle Die Winterreise, and changes Schubert made to it in fashioning his musical setting. Part III illuminates Winterreise by exploring its relation to contemporaneous understandings of psychology and science, and early nineteenth-century social and political conditions. Part IV focuses more directly on the song cycle, exploring the listener's identification with the cycle's protagonist, text-music relations in individual songs, Schubert's compositional 'fingerprints', aspects of continuity and discontinuity among the songs, and the cycle's relation to German Romanticism. Part V concentrates on Winterreise in the nearly two centuries since its completion in 1827, including lyrical and dramatic performance traditions, the cycle's influence on later composers, and its numerous artistic reworkings.

Organized in five parts, this Companion enhances understanding of Schubert's Winterreise by approaching it from multiple angles. Part I examines the political, cultural, and musical environments in which Winterreise was created. Part II focuses on the poet Wilhelm Müller, his 24-poem cycle Die Winterreise, and changes Schubert made to it in fashioning his musical setting. Part III illuminates Winterreise by exploring its relation to contemporaneous understandings of psychology and science, and early nineteenth-century social and political conditions. Part IV focuses more directly on the song cycle, exploring the listener's identification with the cycle's protagonist, text-music relations in individual songs, Schubert's compositional 'fingerprints', aspects of continuity and discontinuity among the songs, and the cycle's relation to German Romanticism. Part V concentrates on Winterreise in the nearly two centuries since its completion in 1827, including lyrical and dramatic performance traditions, the cycle's influence on later composers, and its numerous artistic reworkings.

This study of Franz Schubert's settings of poetry by Friedrich Schlegel and Novalis introduces the fascinating world of early German Romanticism in the 1790s, when an energetic group of bold young thinkers radically changed the landscape of European thought. Schubert's encounters with early Romantic poetry some twenty years later reanimated some of the movement's central ideas. Schubert set eleven texts from Schlegel's Abendröte poetic cycle and six poems drawn from Novalis' religious and erotic poetry. Through detailed analyses of how various musical structures in these songs mirror and sometimes even explicate the central ideas of the poems, this book argues that Schubert was an abstract thinker who used his medium of music to diagram the complex ideas of a highly intellectual movement. A comparison is made to the hermeneutic theory of that time, primarily that of Schleiermacher, who was himself linked to the early Romantics. Through exploration of ideas such as Schlegel's representation of the necessary interdependence of part and whole and Novalis' strong association of religious and erotic experience, along with their musical representations by Schubert, this book opens an intriguing world of thought for modern readers. At the same time, Feurzeig explores some of Schubert's little-known songs, which range from quirky to charming to exquisite.