Was Deutsch und Echt... : Richard Wagner and the Articulation of a German Opera, 1798-1876.

Intro -- "Was deutsch und echt …": Richard Wagner and the Articulation of a German Opera, 1798-1876 -- Copyright -- Contents -- Acknowledgments -- List of Figures -- Abbreviations -- Introduction -- 1 "Von der Oper, die der Deutsche will": The Conceptualization of German Opera during the First Quarter of the Nineteenth Century -- 1 The Allgemeine musikalische Zeitung as a Platform for the Articulation of a National Discourse on Music -- 2 General Observations Concerning the Character and Development of German Music in Comparison to Italian and French Styles -- 3 The Definition of German National Opera through the Creation of Stereotypes -- 4 German and National as Esthetic Criteria in Early Nineteenth-Century Opera Criticism -- 4.1 Ludwig van Beethoven's Fidelio -- 4.2 E.T.A. Hoffmann's Undine -- 4.3 Carl Maria von Weber's Der Freischütz -- 2 "Romanticizing the Singspiel": The Intersection of Romantic Opera and German National Opera between 1800 and 1821 -- 1 Theoretical Concerns -- 1.1 Romantic Opera, a German Invention? -- 1.2 Opera and the Process of Romanticization -- 1.3 "Trivial" versus "Elevated" Romanticism and Foreign Impulses -- 1.4 Romantic Opera as a Combination of Enchantment and Dramatic Focus -- 2 E.T.A. Hofmann's Romantic Operas: From Romanticized Classicism to a Transfigured Folk Style -- 2.1 Der Trank der Unsterblichkeit -- 2.2 Aurora -- 2.3 Das Donauweibchen (Kauer/Hensler) -- 2.4 Undine (Fouqué/Hoffmann) -- 3 The Elevation of Singspiel in Carl Maria von Weber's Silvana and Der Freischütz -- 3.1 Silvana -- 3.2 Der Freischütz -- 3 "Die Oper erheben zu größerer Einheit": Romantic Opera and the Move beyond Spoken Dialogue in the 1820s -- 1 Louis Spohr's Aufruf an deutschen Komponisten and Jessonda (1823) -- 2 Weber's Euryanthe (1823).

4 "Blondes et rêveuses primedonnes" and "Allies from Abroad": German-Language Opera Companies Touring Abroad during the First Half of the Nineteenth Century -- 1 German Opera in Russia (St. Petersburg and Moscow) -- 2 German Opera in Paris -- 3 German Opera in London -- 5 "Ich bin der deutscheste Mensch, ich bin der deutsche Geist!": Richard Wagner's Role in the Articulation of a German Opera Identity -- 1 "Unselige Gelehrtheit, dieser Quell aller deutschen Übel! -- 2 A German Musician Returns from Paris -- 3 The "Universally German" in the Zürich Writings and the Conception of Der Ring des Nibelungen -- 4 "Vollendet das ewige Werk!" Bayreuth as a Unification Festival -- Epilogue -- Bibliography -- Index.

This book shows nineteenth-century German opera's entanglement with national identity formation, adding a significant perspective to discussions about Wagner's relation to German nationalism by interpreting his esthetic endeavors as a continuation of previous campaigns for the genre's emancipation.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.