Carl Maria von Weber and the Search for a German Opera

by Stephen C. Meyer

Overview

Stephen C. Meyer details the intricate relationships between the operas
Der Freischütz and Euryanthe, and contemporary discourse on both the "Germany
of the imagination" and the new nation itself. In so doing, he presents
excerpts from a wide range of philosophical, political, and musical writings, many
of which are little known and otherwise unavailable in English. Individual chapters
trace the multidimensional concept of German and "foreign" opera through
the 19th century. Meyer's study of Der Freischütz places the work within the
context of emerging German nationalism, and a chapter on Euryanthe addresses the
opera's stylistic and topical shifts in light of changing cultural and aesthetic
circumstances. As a result, Meyer argues that the search for a new German opera was
not merely an aesthetic movement, but a political and social critique as
well.

Product Details

ISBN-13:	9780253109620
Publisher:	Indiana University Press
Publication date:	01/17/2003
Sold by:	Barnes & Noble
Format:	eBook
Pages:	272
File size:	2 MB

About the Author

Stephen C. Meyer has published in the Journal of the American
Musicological Society, Opera Quarterly, and Cambridge Opera Journal. In addition to
his scholarly work, he maintains an active career as a singer.

Table of Contents

Dedication

Acknowledgements

1.
Introduction: Inventing German Opera
2. The Native and the Foreign: Models
for the German Opera
3. Der Freischütz and the Character of the Nation

4. Euryanthe: Reconfiguration and Transformation
5. Epilogue:
Institutions, Aesthetics and Genre after Weber's Death

Appendix
1: Synopsis of Das unterbrochene Opferfest
Appendix 2: Comparative Table:
Versions of Das unterbrochene Opferfest
Appendix 3: Synopsis of Méhul's
Joseph
Appendix 4: Comparative Table: Versions of the Joseph Finale

Appendix 5: Synopsis of Euryanthe

Bibliography

Index

What People are Saying About This

Net Review

Meyer strikes a remarkable balance between historic and cultural sources relating to German nationalism, visual arts (paintings), and musico—dramatic analysis. As a result, this book is of interest to historians, German literature scholars, opera scholars, as well as musicologists.

Editorial Reviews

"German national, political, social, and musical spirit grew aggressively in the late—18th and early, 19th centuries, contesting Italian domination of opera. Because the singspiel, with its folk origins, could not serve as equal competitor with either Italian opera buffa or opera seria, German composers searched for formulas that might yield a viable national opera. Weber's Der Freischütz (Freischutz) provided impetus. Euryanthe was a further step in the reconfiguration and transformation of German opera. Meyer details the nature of the conflict that led to new institutions, aesthetics, and opera genre after Weber's death and the compromises that eventually produced the German romantic opera. Thoroughly researched, copiously footnoted, and including an extensive bibliography, this volume is a logical companion to Michael Tusa's Euryanthe and Carl Maria von Weber's Dramaturgy of German Opera (CH, Feb'92). Summing Up: Recommended. Scholars and opera historians.July 2003"—R. Miller, Oberlin College

"Meyer strikes a remarkable balance between historic and cultural sources relating to German nationalism, visual arts (paintings), and musico—dramatic analysis. As a result, this book is of interest to historians, German literature scholars, opera scholars, as well as musicologists."—Net Review

From the Publisher

German national, political, social, and musical spirit grew aggressively in the late—18th and early, 19th centuries, contesting Italian domination of opera. Because the singspiel, with its folk origins, could not serve as equal competitor with either Italian opera buffa or opera seria, German composers searched for formulas that might yield a viable national opera. Weber's Der Freischütz (Freischutz) provided impetus. Euryanthe was a further step in the reconfiguration and transformation of German opera. Meyer details the nature of the conflict that led to new institutions, aesthetics, and opera genre after Weber's death and the compromises that eventually produced the German romantic opera. Thoroughly researched, copiously footnoted, and including an extensive bibliography, this volume is a logical companion to Michael Tusa's Euryanthe and Carl Maria von Weber's Dramaturgy of German Opera (CH, Feb'92). Summing Up: Recommended. Scholars and opera historians.July 2003

Oberlin College - R. Miller