Neomedievalism, Neoconservatism, and the War on Terror

Neomedievalism, Neoconservatism, and the War on Terror (Chicago: University of Chicago Press, 2007), 272 pp. Germans can’t get enough of it; Italians turn their back on it; Americans call it “Euro-trash.” How should one stage canonic operas today? No one who attends operatic performance is indifferent to the question. And no one has made as lucid a case for “radical” stagings as David Levin. Picking up from Tom Sutcliffe’s Believing in Opera (Princeton University Press, 1996), Levin firmly believes in allowing stage directors to interpret canonic operas, even if they reimagine works in contexts far removed from any conceived by their authors or allow modern productions to create parallel worlds to that of the music and libretto. In his cogent analyses of productions signed by Peter Sellars, Calixto Bieto, and Hans Neuenfels, Levin helps us understand different kinds of radical stagings. And in examining the music and libretto of works as diverse as Fidelio, Don Carlos, and Der König Kandaules (by Zemlinsky), Levin exposes cruxes in those works that radical stagings help to illuminate. — Philip Gossett doi 10.1215/0961754x-2008-015 Bruce Holsinger, Neomedievalism, Neoconservatism, and the War on Terror (Chicago: Prickly Paradigm, 2007), 117 pp. Intellectuals enjoy the privileges and protection of the proverbial ivory tower http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Common Knowledge Duke University Press

Neomedievalism, Neoconservatism, and the War on Terror

Common Knowledge, Volume 14 (3) – Oct 1, 2008

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Publisher
Duke University Press
Copyright
© 2008 by Duke University Press
ISSN
0961-754X
eISSN
0961-754X
D.O.I.
10.1215/0961754X-2008-016
Publisher site
See Article on Publisher Site

Abstract

(Chicago: University of Chicago Press, 2007), 272 pp. Germans can’t get enough of it; Italians turn their back on it; Americans call it “Euro-trash.” How should one stage canonic operas today? No one who attends operatic performance is indifferent to the question. And no one has made as lucid a case for “radical” stagings as David Levin. Picking up from Tom Sutcliffe’s Believing in Opera (Princeton University Press, 1996), Levin firmly believes in allowing stage directors to interpret canonic operas, even if they reimagine works in contexts far removed from any conceived by their authors or allow modern productions to create parallel worlds to that of the music and libretto. In his cogent analyses of productions signed by Peter Sellars, Calixto Bieto, and Hans Neuenfels, Levin helps us understand different kinds of radical stagings. And in examining the music and libretto of works as diverse as Fidelio, Don Carlos, and Der König Kandaules (by Zemlinsky), Levin exposes cruxes in those works that radical stagings help to illuminate. — Philip Gossett doi 10.1215/0961754x-2008-015 Bruce Holsinger, Neomedievalism, Neoconservatism, and the War on Terror (Chicago: Prickly Paradigm, 2007), 117 pp. Intellectuals enjoy the privileges and protection of the proverbial ivory tower

Journal

Common KnowledgeDuke University Press

Published: Oct 1, 2008

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