Modern Musical Drift
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Оглавление
W. J. Henderson. Modern Musical Drift
Modern Musical Drift
Table of Contents
PARSIFALIA
I.—A PURE FOOL IN THE NEW WORLD
II.—ETHICS AND ÆSTHETICS
III.—THE NATIONAL RELIGIOUS DRAMA
DER RING DES NIBELUNGEN
I.—A FUTILE GOD AND A POTENT DEVIL
II.—THE WOMAN AND THE SERPENT
III.—BACK-WORLDS, GODS AND OVER-WOMAN
ISOLDE'S SERVING-WOMAN
RICHARD STRAUSS
I. THE HISTORICAL SURVEY
II.—THE ÆSTHETIC VIEW
III.—WHAT DOES IT ALL MEAN?
IV.—STRAUSS AND THE SONG WRITERS
Footnote
AUX ITALIENS
I.—ITALIAN OPERA OF TO-DAY
II.—THE CLASSIC OF THE UNPROGRESSIVE
THE ORATORIO OF TO-DAY
Footnote
Отрывок из книги
W. J. Henderson
Published by Good Press, 2021
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As the exemplar of the claim of pity, we are presented with the picture of the wounded Amfortas, who is a lay figure of incomprehensible personality. He is shown in the first act, and the pity doctrine is further preached in the pother made over the killing of the swan (such a big, fat, able-bodied swan!). As the master of evil we behold Klingsor, who comes before us in the first scene of the second act with more paraphernalia of slate-green walls, blue smoke, and exclamatory incantations than Faust ever had in his salad days at the Paris Grand Opera.
Kundry, the only woman in the play, is an ill-made muddle of inhumanity, who never commands a single instant of sympathy. She strives by service to atone for her sins, which are committed under the spell of Klingsor. She has neither love nor passion. Gurnemanz, the aged knight, is a wearisome talker. He tells the story of his life or any one else's life to whomsoever will listen. The audience cannot escape.
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