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020 _a9780691058023
_qprint
020 _a9781400866724
_qPDF
024 7 _a10.1515/9781400866724
_2doi
035 _a(DE-B1597)9781400866724
035 _a(DE-B1597)459760
035 _a(OCoLC)979580048
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aMUS028000
_2bisacsh
084 _aonline - DeGruyter
100 1 _aHadlock, Heather
_eautore
245 1 0 _aMad Loves :
_bWomen and Music in Offenbach's Les Contes d'Hoffmann /
_cHeather Hadlock.
264 1 _aPrinceton, NJ :
_bPrinceton University Press,
_c[2014]
264 4 _c©2000
300 _a1 online resource (176 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aPrinceton Studies in Opera ;
_v35
505 0 0 _tFrontmatter --
_tContents --
_tAcknowledgments --
_tIntroduction --
_tCHAPTER ONE. Telling the Tales --
_tCHAPTER TWO. Mesmerizing Voices --
_tCHAPTER THREE. Song as Symptom --
_tCHAPTER FOUR. Offenbach, for Posterity --
_tCHAPTER FIVE. Reflections on the Venetian Act --
_tNotes --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aIn a lively exploration of Jacques Offenbach's final masterpiece, Heather Hadlock shows how Les Contes d'Hoffmann summed up not only the composer's career but also a century of Romantic culture. A strange fusion of irony and profundity, frivolity and nightmare, the opera unfolds as a series of dreamlike episodes, peopled by such archetypes as the Poet, the Beautiful Dying Girl, the Automaton, the Courtesan, and the Mesmerist. Hadlock shows how these episodes comprise a collective unconscious. Her analyses touch on topics ranging from the self-reflexive style of the protagonist and the music, to parallels between nineteenth-century discourses of theater and medical science, to fascination with the hysterical female subject. Les Contes d'Hoffmann is also examined as both a continuation and a retraction of tendencies in Offenbach's earlier operettas and opéra-comiques. Hadlock investigates the political climate of the 1870s that influenced the composer's vision and the reception of his last work. Drawing upon insights from feminist, literary, and cultural theory, she considers how the opera's music and libretto took shape within a complex literary and theatrical tradition. Finally, Hadlock ponders the enigmas posed by the score of this unfinished opera, which has been completed many times and by many different hands since its composer's death shortly before the premiere in 1881. In this book, the "mad loves" that drive Les Contes d'Hoffmann--a poet's love, a daughter's love, erotic love, and fatal attraction to music--become figures for the fascination exercised by opera itself.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jul 2021)
650 0 _aWomen in opera.
650 7 _aMUSIC / Genres & Styles / Opera.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9781400866724
856 4 0 _uhttps://www.degruyter.com/isbn/9781400866724
856 4 2 _3Cover
_uhttps://www.degruyter.com/cover/covers/9781400866724.jpg
942 _cEB
999 _c208407
_d208407