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Bewitching Russian Opera - Inna (Associate Professor of Musicology Naroditskaya - Bog

- The Tsarina from State to Stage

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In Bewitching Russian Opera , Inna Naroditskaya investigates the musical lives of four female monarchs who ruled Russia for most of the eighteenth century - Catherine I, Anna, Elizabeth, and Catherine the Great. Engaging with ethnomusicological, historical, and philological approaches, her study traces the tsarinas' deeply invested interest in musical drama, as each built theaters, established drama schools, commissioned operas and ballets, and themselves wrote and produced musical plays. Naroditskaya examines the creative output of the tsarinas across the contexts in which they worked and lived, revealing significant connections between their personal creative aspirations and contemporary musical-theatrical practices, and the political and state affairs conducted during their reigns. Bewitching Russian Opera ultimately demonstrates that the theater served as an experimental space for these imperial women, in which they rehearsed, probed, and formulated gender and class roles, and enacted on the musical stage political ambitions and international conquests which they would later carry out on the world stage itself.

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  • Sprog:
  • Engelsk
  • ISBN:
  • 9780195340587
  • Indbinding:
  • Hardback
  • Sideantal:
  • 416
  • Udgivet:
  • 16. februar 2012
  • Størrelse:
  • 241x162x33 mm.
  • Vægt:
  • 698 g.
  • 2-4 uger.
  • 21. december 2024
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Forlænget returret til d. 31. januar 2025

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Beskrivelse af Bewitching Russian Opera

In Bewitching Russian Opera , Inna Naroditskaya investigates the musical lives of four female monarchs who ruled Russia for most of the eighteenth century - Catherine I, Anna, Elizabeth, and Catherine the Great. Engaging with ethnomusicological, historical, and philological approaches, her study traces the tsarinas' deeply invested interest in musical drama, as each built theaters, established drama schools, commissioned operas and ballets, and themselves
wrote and produced musical plays. Naroditskaya examines the creative output of the tsarinas across the contexts in which they worked and lived, revealing significant connections between their personal creative aspirations and contemporary musical-theatrical practices, and the political and state affairs
conducted during their reigns. Bewitching Russian Opera ultimately demonstrates that the theater served as an experimental space for these imperial women, in which they rehearsed, probed, and formulated gender and class roles, and enacted on the musical stage political ambitions and international conquests which they would later carry out on the world stage itself.

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