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010 a| 2019058678;

020 a| 9780190915056q| (hardback);

020 z| 9780190915070q| (epub);

020 z| 9780190915063;

020 z| 9780190915087;

035 a| (WaSeSS)ssj0002453490;

042 a| pcc;

049 a| EREEa| NEHH;

050 00 a| ML1704b| .C78 2020;

082 00 a| 782.1094/090342| 23;

100 1 a| Cruz, Gabriela Gomes da,d| 1965-?| UNAUTHORIZED;

245 10 a| Grand illusionh| [electronic resource] :b| phantasmagoria in nineteenth-century opera /c| Gabriela Cruz.;

260 a| New York :b| Oxford University Press,c| 2020.;

263 a| 2007;

300 a| pages cm;

504 a| Includes bibliographical references and index.;

505 0 a| Introduction. The Modernity of Grand Opera -- Opera and Beauty -- Gaslight and Phantasmagoria at the Opéra -- The Diorama, Apparitions and Dream Image in Robert le Diable -- The Phantom Ship in Der fliegende Holländer and L'Africaine -- The Poetics of Sensation in L'Africaine and Tristan und Isolde -- Aida, Egyptomania and the After-Life of Grand Opera.;

506 a| Available only to authorized users.;

520 a| "Grand Illusion is a new history of grand opera as an art of illusion facilitated by the introduction of gaslight illumination at the Académie Royale de Musique (Paris) in the 1820s. It contends that gaslight and the technologies of illusion used in the theater after the 1820s spurred the development of a new lyrical art, attentive to the conditions of darkness and radiance, and inspired by the model of phantasmagoria. Karl Marx, Walter Benjamin and Theodor Adorno have used the concept of phantasmagoria to arrive at a philosophical understanding of modern life as total spectacle, in which the appearance of things supplants their reality. The book argues that the Académie became an early laboratory for this historical process of commodification, for the transformation of opera into an audio-visual spectacle delivering dream-like images. It shows that this transformation began in Paris and then defined opera after the mid-century. In the hands of Giacomo Meyerbeer (Robert le Diable, L'Africaine), Richard Wagner (Der fliegende Holländer, Lohengrin and Tristan und Isolde) and Giuseppe Verdi (Aida), opera became an expanded form of phantasmagoria"--c| Provided by publisher.;

538 a| Mode of access: World Wide Web;

650 0 a| Operay| 19th century.=| ^A1006250;

655 0 a| Electronic books.=| ^A491897;

710 2 a| Oxford University Press.=| ^A636469;

856 40 z| Full text available from Oxford Scholarship Onlineu| https://go.openathens.net/redirector/ecu.edu?url=https%3A%2F%2Facademic.oup.com%2Fbook%2F36974;

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Grand illusion phantasmagoria in nineteenth-century opera / Gabriela Cruz.

Author/creator	Cruz, Gabriela Gomes da, 1965-
Other author	Oxford University Press.
Format	Electronic
Publication Info	New York : Oxford University Press, 2020.
Description	pages cm
Supplemental Content	Full text available from Oxford Scholarship Online
Subjects	Opera--19th century. Opera--Production and direction. --History. --19th century.

Contents	Introduction. The Modernity of Grand Opera -- Opera and Beauty -- Gaslight and Phantasmagoria at the Opéra -- The Diorama, Apparitions and Dream Image in Robert le Diable -- The Phantom Ship in Der fliegende Holländer and L'Africaine -- The Poetics of Sensation in L'Africaine and Tristan und Isolde -- Aida, Egyptomania and the After-Life of Grand Opera.
Abstract	"Grand Illusion is a new history of grand opera as an art of illusion facilitated by the introduction of gaslight illumination at the Académie Royale de Musique (Paris) in the 1820s. It contends that gaslight and the technologies of illusion used in the theater after the 1820s spurred the development of a new lyrical art, attentive to the conditions of darkness and radiance, and inspired by the model of phantasmagoria. Karl Marx, Walter Benjamin and Theodor Adorno have used the concept of phantasmagoria to arrive at a philosophical understanding of modern life as total spectacle, in which the appearance of things supplants their reality. The book argues that the Académie became an early laboratory for this historical process of commodification, for the transformation of opera into an audio-visual spectacle delivering dream-like images. It shows that this transformation began in Paris and then defined opera after the mid-century. In the hands of Giacomo Meyerbeer (Robert le Diable, L'Africaine), Richard Wagner (Der fliegende Holländer, Lohengrin and Tristan und Isolde) and Giuseppe Verdi (Aida), opera became an expanded form of phantasmagoria"-- Provided by publisher.
Bibliography note	Includes bibliographical references and index.
Access restriction	Available only to authorized users.
Technical details	Mode of access: World Wide Web
Genre/form	Electronic books.
LCCN	2019058678
ISBN	9780190915056 (hardback)
ISBN	(epub)

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Grand illusion phantasmagoria in nineteenth-century opera / Gabriela Cruz.

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