Tools

LEADER 09694cam 22004214a 4500

001 ocm53130971;

003 OCoLC;

005 20141212173715.0;

008 030819s2003 nyua b 001 0 eng ;

010 a| 2003018493;

020 a| 1576470962q| (paperback);

020 a| 9781576470961q| (paperback);

035 a| (Sirsi) o53130971;

035 a| (OCoLC)53130971;

040 a| DLCc| DLCd| UtOrBLW;

042 a| pcc;

049 a| EREM;

050 00 a| ML1706b| .B72 2003;

082 00 a| 782.1/1592| 22;

100 1 a| Bruhn, Siglind.=| ^A395721;

245 10 a| Saints in the limelight :b| representations of the religious quest on the post-1945 operatic stage /c| by Siglind Bruhn.;

300 a| xxvi, 635 pages :b| illustrations ;c| 23 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| Dimension & diversity series ;v| no. 5;

504 a| Includes bibliographical references (pages 599-622) and index.;

505 00 g| Introduction.t| Saints to behold ;g| Questions of genre and space ;g| A brief note on organization and critique --g| Part I:t| Allegories and the embodied Christ.g| Christian souls in battles between good and evil.t| Martinu's play about a play ;t| Prudentius's violent battle scenes ;t| Hildegard's drama, woven from two threads ;t| Cavalieri's play within a play ;t| Personification allegory in the twentieth century ;t| Embodying the recrucified: Martinu's Greek Passion ;g| Three layers of a modern passion story ;t| The semiosis of a latter-day Calvary ;g| The passion critiqued and mythologically contextualized ;g| Timbral and textural emblems ;t| Mary Magdalen's joyous transformation ;g| Multiple perspectives of the human cross ;t| Mythopoesis and musical genre ;g| A brief glance at alternative musical realizations ;g| Conclusion: the genuinely operatic message --g| Part II: National heroes.g| God's country, God's victories? --t| St. Joan of Arc, called "the maid": freedom fighter or heretic?g| The inspired peasant girl, a little sister of Jesus ;t| The Maid of Orleans in theatrical guise ;t| Joan of Arc in the opera and the cinema ;t| Claudel and Honegger's Joan at the stake ;t| Giselher Klebe's girl from Domremy ;t| Norman Dello Joio's and Henri Tomasi's triumphant saint --t| St. Thomas, bishop and martyr: tough politician or good shepherd?g| The controversial clerk ;t| Eliot's passion and martyrdom of an all-but-flawless saint ;t| Murder in the Cathedral between liturgy and Italian opera ;t| Petersen's Vigil for a disputed saint ;t| A 20th-century liturgical music drama --g| Two dreamers of Nordic nations pious and just.t| King Erik the saint: cornerstone of a nation in the making ;t| Erik the Saint, dramatically contextualized ;t| Arne Mellnas's musical portrayal of Erik den helige ;t| The other bishop Thomas: a Northern missionary ;t| Thomas Anglicus as protagonist of a nationalist drama ;t| Symmetry in Rautavaara's Thomas ;t| Musical symbols of a Finnish self-definition ;g| Complementarity of spiritual and musical influence ;g| Rising human from among spiritual conflicts --g| Part III: Antiheroes.g| God's unlikely torchbearers --t| Through the dark night to love: Therese's little way.g| Love and loss, pride and anguish ;t| Therese's tribulations mapped onto Saint John's journeys ;t| Musical structures as symbols of spiritual transformation --t| Blanche "de la force": the strength of conquered fear.t| The historical martyrdom of the Carmelites at Compiegne ;t| The literary fate of the martyred Carmelites ;t| Poulenc's rendering of the reincarnated agony of Christ --g| "Who by God's love is wounded": a saint in Manhattan.t| Gian-Carlo Menotti and ecstatic stigmatization ;t| Bleecker Street, symbol for the Italian in America ;g| The fated siblings ;t| Menotti's musical realization --t| Womanizer turned angel of the poor: Miguel Manara.g| A modern myth, emulated and regretted ;g| The other Don Giovanni --t| Mary of Egypt and the wisdom of non-judgment.t| The legends of Mary of Egypt and the monk Zosimas ;g| Brief aside: another harlot in the desert ;t| Mary of Egypt and the Christian icon ;g| On human judgment anad divine wisdom ;g| The musical symbols of the divinely alive universe ;g| The dramatis personae and their musical emblems ;g| Tonal and timbral signifiers of human and spiritual traits --;

505 00 g| Part IV: Messengers of Christ's saving grace.g| God's heralds --t| Chosen to warn: John of Patmos.g| The exiled pastor's letters ;t| The dramatic cast of John's Revelation ;g| Numerology and symmetry in the Book of Revelation ;t| Wolfgang von Schweintz's Patmos ;t| John's vision in Murray Schafer's Apocalypsis --g| Two early Christian missionaries.t| Brendan: seeker of the promised land ;t| Columcille: exile and atonement --g| Two conflicted reformers.t| Luther: justification by faith ;g| Fear of death in a life between God and Satan ;g| The many guises of Satan ;g| God trusted and doubted, loved and hated ;t| Luther's message in music of his own pen ;t| Kara Tikka's musical symbols of Luther's struggle ;t| Ruotsalainen: the peasant who taught the priests ;t| The Finnish apostle Paul on the theatrical stage ;t| Joonas Kokkonen's musical images of a tormented life --g| Part V: Teachers of the compassionate path.g| God's creatures, our suffering siblings --g| Poverty, humility, and glorification of the Lord.t| The little poor one from Assisi ;t| Malipiero's mystery: Francis the icon ;t| Tomasi's dramatized life: Francis the man ;t| Kratochwil's memorial play: Francis the misrepresented ;t| Messiaen's Franciscan scenes about the imitation of Christ ;t| Staples and surprises in Messiaen's musical language ;g| Heaven and Earth meeting "in mid-air" ;g| The divine and the human realms ;g| Reaching out to humans: the formidable angel ;g| Reaching out to Christ: the humble Friar Francis --t| Liberation through self-control: the Buddha and the Mahatma.t| Siddharta: spurious bliss and the propitious disillusion ;g| The real, the unreal, and its negation ;t| Per Norgard's quest for infinity ;t| Norgard's "play for the awaited one" ;t| Gandhi: justice and spiritual fortitude ;t| The Bhagavad Gita ;t| "Satyagraha" in a multi-cultural context ;t| Plot versus libretto: Gandhi's and Arjuna's battles ;t| Philip Glass's musical realization --g| Part VI: Charismatics and mystics.g| God's intimates --g| Three foundresses and peacemakers.t| Hilda: Abbess of Whitby, mother of English literature ;t| Birgitta: Swedish visionary, chastiser of Europe ;t| Marie: Ursuline mystic, missionary of Amerindians ;g| The mystic as a fully dramatized protagonist ;g| A journey through Satan's realm ;g| A life captured in a kaleidoscope of views --t| The lonely voices of Hadewijch and Maria Maddalena.t| Hadewijch: lay religious, God's beloved ;t| Maria Maddalena: the word embodied, exploding ;t| Hadewijch's vision VII and Maria Maddalena's stammering ;t| The spatialization of Hadewijch's unio mystica ;g| The physicalization of Maria Maddalena's eruptions --g| Part VII: Victims and martyrs.g| God's witnesses unto death --g| Sword, arrow, and fire in ancient Rome.g| The apostle of the gentiles and his final antagonist ;g| A musical epistle composed in a hostile empire ;g| Uncertain facts and colorful legends ;g| Classical, Medieval, and postmodern dramatizations ;t| Capdenat: exploring the aesthetics of the lacerated nude ;t| Constant: voicing multiple dimensions of the martyr's path ;t| Rechberger: scoring mutually exclusive spiritual universes --t| A pacifist among bellicose knights: Magnus of Orkney.g| From Nordic saga to postmodern chronicle ;g| Weaving the white coat of blessedness:t| Davies's music --t| Tyrannicide and conscience in Nazi Germany: Dietrich Bonhoeffer.g| The practice of responsibility ;g| Historic portrayal and drame a clef ;t| Gebuhr: all the facets of a man's conscience ;t| Kortekangas: defining virtue in a multi-religious world --g| Conclusion: Representations of the numinous and exemplary in post-1945 opera.g| Casting Christ? ;g| Moving between Satan and God's angels ;g| Impersonation and distancing ;g| Symbolic imagery ;g| Music's power of portraiture ;g| Why now? Why opera?;

520 a| In the small list of scholarly works on music after World War II, there are few studies of the operatic repertory and none at all on the surprisingly large number of operas on religious themes. In this interdisciplinary study of thirty-eight music dramatic works on saintly subjects, the author asks why this phenomenon occurred in the last half of the previous century and investigates how contemporary composers express spiritual mysteries. The works examined include celebrated masterpieces, lesser works by renowned composers, and gems by composers who were highly esteemed in their own country and time. Although all the works she discusses have been publicly performed and almost half of them commercially recorded, many have never been discussed in print outside their country of origin and none of them has been examined to ask how the musical language and the dramatic elements convey the religous quest in all its complexity. The range of works under scrutiny range from Messiaien's St. Francois d'Assise to Philipp Glass's Satyagraha; from Poulenc's Dialogues of the Carmelites to Menotti's Saint of Bleecker Street; from Tavener's Mary of Egypt to Tomasi's Miguel de Manana.;

650 0 a| Operay| 20th century.=| ^A407035;

650 0 a| Saints in opera.=| ^A570709;

830 0 a| Dimension & diversity ;v| no. 5.=| ^A394264;

994 a| X0b| ERE;

596 a| 3;

998 a| 942066;

999 a| ML1706 .B72 2003w| LCc| 1i| 30372012190069d| 12/16/2024e| 12/13/2024f| 7/15/2025g| 4l| MCSm| JMUSICn| 4p| $51.30r| Ys| Yt| MCSSBKu| 2/3/2004x| BOOKz| MCIRCo| .STAFF. enhanced, moved to closed stacks 1/23/23 -jjab;

Saints in the limelight : representations of the religious quest on the post-1945 operatic stage / by Siglind Bruhn.

Author/creator	Bruhn, Siglind
Format	Book
Publication Info	Hillsdale, NY : Pendragon Press, ©2003.
Description	xxvi, 635 pages : illustrations ; 23 cm.
Subjects	Opera--20th century. Saints in opera.

Series	Dimension & diversity series ; no. 5 Dimension & diversity ; no. 5. ^A394264
Contents	Introduction. Saints to behold ; Questions of genre and space ; A brief note on organization and critique -- Part I: Allegories and the embodied Christ. Christian souls in battles between good and evil. Martinu's play about a play ; Prudentius's violent battle scenes ; Hildegard's drama, woven from two threads ; Cavalieri's play within a play ; Personification allegory in the twentieth century ; Embodying the recrucified: Martinu's Greek Passion ; Three layers of a modern passion story ; The semiosis of a latter-day Calvary ; The passion critiqued and mythologically contextualized ; Timbral and textural emblems ; Mary Magdalen's joyous transformation ; Multiple perspectives of the human cross ; Mythopoesis and musical genre ; A brief glance at alternative musical realizations ; Conclusion: the genuinely operatic message -- Part II: National heroes. God's country, God's victories? -- St. Joan of Arc, called "the maid": freedom fighter or heretic? The inspired peasant girl, a little sister of Jesus ; The Maid of Orleans in theatrical guise ; Joan of Arc in the opera and the cinema ; Claudel and Honegger's Joan at the stake ; Giselher Klebe's girl from Domremy ; Norman Dello Joio's and Henri Tomasi's triumphant saint -- St. Thomas, bishop and martyr: tough politician or good shepherd? The controversial clerk ; Eliot's passion and martyrdom of an all-but-flawless saint ; Murder in the Cathedral between liturgy and Italian opera ; Petersen's Vigil for a disputed saint ; A 20th-century liturgical music drama -- Two dreamers of Nordic nations pious and just. King Erik the saint: cornerstone of a nation in the making ; Erik the Saint, dramatically contextualized ; Arne Mellnas's musical portrayal of Erik den helige ; The other bishop Thomas: a Northern missionary ; Thomas Anglicus as protagonist of a nationalist drama ; Symmetry in Rautavaara's Thomas ; Musical symbols of a Finnish self-definition ; Complementarity of spiritual and musical influence ; Rising human from among spiritual conflicts -- Part III: Antiheroes. God's unlikely torchbearers -- Through the dark night to love: Therese's little way. Love and loss, pride and anguish ; Therese's tribulations mapped onto Saint John's journeys ; Musical structures as symbols of spiritual transformation -- Blanche "de la force": the strength of conquered fear. The historical martyrdom of the Carmelites at Compiegne ; The literary fate of the martyred Carmelites ; Poulenc's rendering of the reincarnated agony of Christ -- "Who by God's love is wounded": a saint in Manhattan. Gian-Carlo Menotti and ecstatic stigmatization ; Bleecker Street, symbol for the Italian in America ; The fated siblings ; Menotti's musical realization -- Womanizer turned angel of the poor: Miguel Manara. A modern myth, emulated and regretted ; The other Don Giovanni -- Mary of Egypt and the wisdom of non-judgment. The legends of Mary of Egypt and the monk Zosimas ; Brief aside: another harlot in the desert ; Mary of Egypt and the Christian icon ; On human judgment anad divine wisdom ; The musical symbols of the divinely alive universe ; The dramatis personae and their musical emblems ; Tonal and timbral signifiers of human and spiritual traits --
Contents	Part IV: Messengers of Christ's saving grace. God's heralds -- Chosen to warn: John of Patmos. The exiled pastor's letters ; The dramatic cast of John's Revelation ; Numerology and symmetry in the Book of Revelation ; Wolfgang von Schweintz's Patmos ; John's vision in Murray Schafer's Apocalypsis -- Two early Christian missionaries. Brendan: seeker of the promised land ; Columcille: exile and atonement -- Two conflicted reformers. Luther: justification by faith ; Fear of death in a life between God and Satan ; The many guises of Satan ; God trusted and doubted, loved and hated ; Luther's message in music of his own pen ; Kara Tikka's musical symbols of Luther's struggle ; Ruotsalainen: the peasant who taught the priests ; The Finnish apostle Paul on the theatrical stage ; Joonas Kokkonen's musical images of a tormented life -- Part V: Teachers of the compassionate path. God's creatures, our suffering siblings -- Poverty, humility, and glorification of the Lord. The little poor one from Assisi ; Malipiero's mystery: Francis the icon ; Tomasi's dramatized life: Francis the man ; Kratochwil's memorial play: Francis the misrepresented ; Messiaen's Franciscan scenes about the imitation of Christ ; Staples and surprises in Messiaen's musical language ; Heaven and Earth meeting "in mid-air" ; The divine and the human realms ; Reaching out to humans: the formidable angel ; Reaching out to Christ: the humble Friar Francis -- Liberation through self-control: the Buddha and the Mahatma. Siddharta: spurious bliss and the propitious disillusion ; The real, the unreal, and its negation ; Per Norgard's quest for infinity ; Norgard's "play for the awaited one" ; Gandhi: justice and spiritual fortitude ; The Bhagavad Gita ; "Satyagraha" in a multi-cultural context ; Plot versus libretto: Gandhi's and Arjuna's battles ; Philip Glass's musical realization -- Part VI: Charismatics and mystics. God's intimates -- Three foundresses and peacemakers. Hilda: Abbess of Whitby, mother of English literature ; Birgitta: Swedish visionary, chastiser of Europe ; Marie: Ursuline mystic, missionary of Amerindians ; The mystic as a fully dramatized protagonist ; A journey through Satan's realm ; A life captured in a kaleidoscope of views -- The lonely voices of Hadewijch and Maria Maddalena. Hadewijch: lay religious, God's beloved ; Maria Maddalena: the word embodied, exploding ; Hadewijch's vision VII and Maria Maddalena's stammering ; The spatialization of Hadewijch's unio mystica ; The physicalization of Maria Maddalena's eruptions -- Part VII: Victims and martyrs. God's witnesses unto death -- Sword, arrow, and fire in ancient Rome. The apostle of the gentiles and his final antagonist ; A musical epistle composed in a hostile empire ; Uncertain facts and colorful legends ; Classical, Medieval, and postmodern dramatizations ; Capdenat: exploring the aesthetics of the lacerated nude ; Constant: voicing multiple dimensions of the martyr's path ; Rechberger: scoring mutually exclusive spiritual universes -- A pacifist among bellicose knights: Magnus of Orkney. From Nordic saga to postmodern chronicle ; Weaving the white coat of blessedness: Davies's music -- Tyrannicide and conscience in Nazi Germany: Dietrich Bonhoeffer. The practice of responsibility ; Historic portrayal and drame a clef ; Gebuhr: all the facets of a man's conscience ; Kortekangas: defining virtue in a multi-religious world -- Conclusion: Representations of the numinous and exemplary in post-1945 opera. Casting Christ? ; Moving between Satan and God's angels ; Impersonation and distancing ; Symbolic imagery ; Music's power of portraiture ; Why now? Why opera?
Abstract	In the small list of scholarly works on music after World War II, there are few studies of the operatic repertory and none at all on the surprisingly large number of operas on religious themes. In this interdisciplinary study of thirty-eight music dramatic works on saintly subjects, the author asks why this phenomenon occurred in the last half of the previous century and investigates how contemporary composers express spiritual mysteries. The works examined include celebrated masterpieces, lesser works by renowned composers, and gems by composers who were highly esteemed in their own country and time. Although all the works she discusses have been publicly performed and almost half of them commercially recorded, many have never been discussed in print outside their country of origin and none of them has been examined to ask how the musical language and the dramatic elements convey the religous quest in all its complexity. The range of works under scrutiny range from Messiaien's St. Francois d'Assise to Philipp Glass's Satyagraha; from Poulenc's Dialogues of the Carmelites to Menotti's Saint of Bleecker Street; from Tavener's Mary of Egypt to Tomasi's Miguel de Manana.
Bibliography note	Includes bibliographical references (pages 599-622) and index.
LCCN	2003018493
ISBN	1576470962 (paperback)
ISBN	9781576470961 (paperback)

Saints in the limelight : representations of the religious quest on the post-1945 operatic stage / by Siglind Bruhn.

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