‘Conversational opera’ chez Strauss
Identifieur interne : 000991 ( Istex/Corpus ); précédent : 000990; suivant : 000992‘Conversational opera’ chez Strauss
Auteurs : David MurraySource :
- Tempo [ 0040-2982 ] ; 1999-10.
Abstract
Richard Strauss is widely believed to have explored, and perhaps to have developed, a new line in ‘conversational opera’, from Intermezzo (1924) to his last opera Capriccio (1942) – with divergences from the path, admittedly, along the way. Yet lengthy consideration has made me conclude that there was never any such path, nor that Strauss ever tried to follow one.
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DOI: 10.1017/S0040298200007129
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Yet lengthy consideration has made me conclude that there was never any such path, nor that Strauss ever tried to follow one.</p></abstract></profileDesc><revisionDesc><change when="1999-10">Published</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="2.2" xml:lang="en"><front><journal-meta><journal-id journal-id-type="publisher-id">TEM</journal-id><journal-title>Tempo</journal-title><abbrev-journal-title>Tempo</abbrev-journal-title><issn pub-type="ppub">0040-2982</issn><issn pub-type="epub">1478-2286</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0040298200007129</article-id><article-id pub-id-type="pii">S0040298200007129</article-id><article-id pub-id-type="publisher-id">00712</article-id><title-group><article-title>‘Conversational opera’ <italic>chez</italic> Strauss</article-title><alt-title alt-title-type="left-running">‘Conversational opera’ chez Strauss</alt-title></title-group><contrib-group><contrib><name name-style="western"><surname>Murray</surname><given-names>David</given-names></name></contrib></contrib-group><pub-date pub-type="ppub"><month>10</month><year>1999</year></pub-date><issue>210</issue><fpage seq="4">7</fpage><lpage>9</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1999</copyright-statement><copyright-year>1999</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>Richard Strauss is widely believed to have explored, and perhaps to have developed, a new line in ‘conversational opera’, from <italic>Intermezzo</italic> (1924) to his last opera <italic>Capriccio</italic> (1942) – with divergences from the path, admittedly, along the way. Yet lengthy consideration has made me conclude that there was never any such path, nor that Strauss ever tried to follow one.</p></abstract><counts><page-count count="3"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0040298200007129a.pdf</meta-value></custom-meta><custom-meta><meta-name>series</meta-name><meta-value>1</meta-value></custom-meta><custom-meta><meta-name>seriesText</meta-name><meta-value>New Series</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><fn id="fn01" symbol="1"><label><sup>1</sup></label><p>Botstein's ‘The Enigmas of Richards Strauss: A Revisionist View’ and Adorno's ‘Richard Strauss at Sixty’ can both be found in <citation citation-type="book" id="ref001"><name name-style="western"><surname>Gilliam</surname><given-names>Bryan</given-names></name> (ed.) <source>Richard Strauss and His World</source> (<publisher-name>Princeton University Press</publisher-name>, <year>1992</year>)</citation>.</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>‘Conversational opera’ chez Strauss</title></titleInfo><titleInfo type="alternative"><title>‘Conversational opera’ chez Strauss</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>‘Conversational opera’ chez Strauss</title></titleInfo><name type="personal"><namePart type="given">David</namePart><namePart type="family">Murray</namePart><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1999-10</dateIssued><copyrightDate encoding="w3cdtf">1999</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract" lang="en">Richard Strauss is widely believed to have explored, and perhaps to have developed, a new line in ‘conversational opera’, from Intermezzo (1924) to his last opera Capriccio (1942) – with divergences from the path, admittedly, along the way. 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