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 New,Opera After the Zero Hour

The Problem of Tradition and the Possibility of Renewal in Postwar West Germany

  • Author: Pollock, Emily Richmond



Usually despatched in 3 - 4 working days


  • Introduction
  • Chapter One: Placement and Displacement
  • Rank and File: Opera's Everyday Biographies
  • The Situation of New Opera in the Post-War Repertoire
  • Chapter Two: The Significance of Nonsense: Boris Blacher's Abstrakte Oper Nr. 1
  • Why Abstract an Opera?
  • Linguistic Abstraction in the Libretto
  • Making Music from Nonsense
  • Hearing Controversy and Politics in Abstraction
  • Chapter Three: Italy, Atonally: Hans Werner Henze's Konig Hirsch
  • The Bondage of bel canto
  • The Magic of Konig Hirsch
  • From Sketches to Songs
  • Melody, the Renegade's Hara-kiri
  • Chapter Four: The Opera Underneath: Carl Orff's Oedipus der Tyrann
  • Origin Stories I: Ancient Greece in Germany
  • Origin Stories II: Ancient Greece against the Opera
  • An Opera without Music?
  • Traces of the Opera Underneath
  • Chapter Five: Explosive Pluralisms: Bernd Alois Zimmermann's Die Soldaten
  • Wagner and Berg: Zimmermann's Operatic Pasts
  • A Spaceship of the Mind: Zimmermann's Operatic Futures
  • From Lenz to Literaturoper
  • The Structure of Pluralism
  • Serialism and Expression(ism)
  • In the End
  • Chapter Six: Rebuilding and Retrenchment: The Munich Nationaltheater and Werner Egk's Die Verlobung in San Domingo
  • Ideas of Reconstruction
  • The Reconstruction of the Munich Nationaltheater
  • November 1963: The Gala Reopening
  • Who Was Werner Egk?
  • Operaticism and Racial Stereotypes in Die Verlobung in San Domingo
  • Epilogue
  • Bibliography