151401. |
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151402. |
- Schneider, Magnus Tessing, 1975-
(författare)
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Miraculous Return
- 2019
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Annan publikation (populärvet., debatt m.m.)
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151403. |
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151404. |
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151405. |
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151406. |
- Schneider, Magnus Tessing, 1975-
(författare)
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Richard den Anden og Hamlets spejl
- 2017
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Ingår i: Peripeti. - 1604-0325 .- 2245-893X. ; 26, s. 29-40
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Tidskriftsartikel (refereegranskat)abstract
- In Shakespeare’s Hamlet (1601), the title hero commissions an acting company to perform a play before Claudius, which recalls the murder of his father, but Claudius instead perceives the play as a threat to his life. The article analyses this episode as the dramatization of a real performance of Shakespeare’s Richard II, which took place on 7 February 1601.
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151407. |
- Schneider, Magnus Tessing, 1975-
(författare)
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The End of Orpheus
- 2019
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Ingår i: Claudio Monteverdi. - Budapest : Budapest Festival Orchestra. ; , s. 19-35
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Bokkapitel (populärvet., debatt m.m.)
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151408. |
- Schneider, Magnus Tessing, 1975-
(författare)
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The judgement of Rousseau : Paride ed Elena by Gluck and Calzabigi (Vienna, 1770)
- 2017
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Ingår i: Rousseau on stage. - Oxford : Voltaire Foundation. - 9780729411998 ; , s. 255-284
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Bokkapitel (refereegranskat)abstract
- Paride ed Elena, the last of Gluck and Calzabigi’s three reform operas, is studied as a response to Rousseau’s juxtaposition of Italian and French music in the Lettre sur la musique françoise, and of French classical drama and Genevan public festivals in the Lettre à d’Alembert. On the one hand, the opera’s depiction of the cross-cultural love of the Trojan prince and the Spartan queen emerges as a rejection of Rousseau’s depreciation of French music and drama, along with his idealisation of Italian music and Genevan culture. On the other hand, as a theatrical reimagining of Rousseau’s novel Julie, ou La Nouvelle Héloïse, it suggests how he himself transcended these hard-edged dichotomies, paving the way for a new musical-theatrical language.
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151409. |
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151410. |
- Schneider, Magnus Tessing, 1975-
(författare)
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The Original Portrayal of Mozart's Don Giovanni
- 2021. - 1
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Bok (refereegranskat)abstract
- The Original Portrayal of Mozart’s Don Giovanni offers an original reading of Mozart’s and Da Ponte’s opera Don Giovanni, using as a lens the portrayal of the title role by its creator, the baritone Luigi Bassi (1766–1825). Although Bassi was coached in the role by the composer himself, his portrayal has never been studied in depth before, and this book presents a large number of new sources (first- and second-hand accounts), which allows us to reconstruct his performance scene by scene. The book confronts Bassi’s portrayal with a study of the opera’s early German reception and performance history, demonstrating how Don Giovanni as we know it today was not only created by Mozart, Da Ponte and Luigi Bassi but also by the early German adapters, translators, critics and performers who turned the title character into the arrogant and violent villain we still encounter in most of today’s stage productions. Incorporating a discussion of the dramaturgical thinking of the late Enlightenment and the difficult moral problems that the opera raises, this is an important study for scholars and researchers from opera studies, theatre and performance studies, music history as well as conductors, directors and singers.
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