MARC Record from marc_columbia

LEADER: 03829pam a2200541 i 4500
001 10815399
005 20140722143952.0
008 131022s2014 inua b 001 0 eng
010 $a 2013042264
020 $a9781557536754 (pbk.)
020 $a1557536759 (pbk.)
020 $z9781612493299 (epdf)
020 $z9781612493305 (epub)
024 $a40023618780
035 $a(OCoLC)ocn854609723
035 $a(OCoLC)854609723
035 $a(NNC)10815399
040 $aDLC$beng$erda$cDLC$dBTCTA$dYDXCP$dBDX$dOCLCO$dNhCcYBP
041 1 $aeng$hger
042 $apcc
043 $ae-ge---$ae-un---$ae-xr---
050 00 $aML3918.O64$bT5413 2014
082 00 $a782.10943$223
084 $aHIS010010$aMUS028000$aMUS020000$2bisacsh
100 1 $aTher, Philipp,$eauthor.
240 10 $aIn der Mitte der Gesellschaft.$lEnglish
245 10 $aCenter stage :$boperatic culture and nation building in nineteenth-century Central Europe /$cPhilipp Ther ; translated from the German by Charlotte Hughes-Kreutzmuller.
264 1 $aWest Lafayette, Indiana :$bPurdue University Press,$c[2014]
300 $axii, 291 pages ;$c23 cm.
336 $atext$2rdacontent
337 $aunmediated$2rdamedia
338 $avolume$2rdacarrier
490 1 $aCentral European studies
504 $aIncludes bibliographical references and index.
520 $a"Grand palaces of culture, opera theaters marked the center of European cities like the cathedrals of the Middle Ages. As opera cast its spell, almost every European city and society aspired to have its own opera house, and dozens of new theaters were constructed in the course of the "long" nineteenth century. At the time of the French Revolution in 1789, only a few, mostly royal, opera theaters, existed in Europe. However, by the turn of the nineteenth and twentieth centuries nearly every large town possessed a theater in which operas were performed, especially in Central Europe, the region upon which this book concentrates. This volume, a revised and extended version of two well-reviewed books published in German and Czech, explores the social and political background to this "opera mania" in nineteenth century Central Europe. After tracing the major trends in the opera history of the period, including the emergence of national genres of opera and its various social functions and cultural meanings, the author contrasts the histories of the major houses in Dresden (a court theater), Lemberg (a theater built and sponsored by aristocrats), and Prague (a civic institution). Beyond the operatic institutions and their key stage productions, composers such as Carl Maria von Weber, Richard Wagner, Bedřich Smetana, Stanisław Moniuszko, Antonín Dvořák, and Richard Strauss are put in their social and political contexts. The concluding chapter, bringing together the different leitmotifs of social and cultural history explored in the rest of the book, explains the specificities of opera life in Central Europe within a wider European and global framework"--$cProvided by publisher.
650 0 $aOpera$xSocial aspects$zGermany$zDresden$y19th century.
650 0 $aOpera$xSocial aspects$zGermany$zDresden$y20th century.
650 0 $aOpera$xSocial aspects$zUkraine$zLʹviv$y19th century.
650 0 $aOpera$xSocial aspects$zUkraine$zLʹviv$y20th century.
650 0 $aOpera$xSocial aspects$zCzech Republic$zPrague$y19th century.
650 0 $aOpera$xSocial aspects$zCzech Republic$zPrague$y20th century.
650 0 $aNationalism in music.
650 7 $aHISTORY / Europe / Eastern.$2bisacsh
650 7 $aMUSIC / Genres & Styles / Opera.$2bisacsh
650 7 $aMUSIC / History & Criticism.$2bisacsh
700 1 $aHughes-Kreutzmuller, Charlotte,$etranslator.
830 0 $aCentral European studies.
852 00 $bmus$hML3918.O64$iT5413 2014