(Chicago: University of Chicago Press, 2007), 272 pp. Germans canât get enough of it; Italians turn their back on it; Americans call it âEuro-trash.â 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 âradicalâ stagings as David Levin. Picking up from Tom Sutcliffeâs 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 KÃ¶nig Kandaules (by Zemlinsky), Levin exposes cruxes in those works that radical stagings help to illuminate. â 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
Common Knowledge – Duke University Press
Published: Oct 1, 2008
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