LEADER 04157nam 2200721 450 001 9910464322603321 005 20200520144314.0 010 $a1-61249-330-0 010 $a1-61249-329-7 035 $a(CKB)3710000000111833 035 $a(SSID)ssj0001195124 035 $a(PQKBManifestationID)12533847 035 $a(PQKBTitleCode)TC0001195124 035 $a(PQKBWorkID)11155612 035 $a(PQKB)10406573 035 $a(MiAaPQ)EBC4742416 035 $a(MiAaPQ)EBC4742977 035 $a(OCoLC)879647780 035 $a(MdBmJHUP)muse30115 035 $a(Au-PeEL)EBL4742416 035 $a(CaPaEBR)ebr11298169 035 $a(EXLCZ)993710000000111833 100 $a20161125h20142014 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aCenter stage $eoperatic culture and nation building in nineteenth-century Central Europe /$fPhilipp Ther ; translated from the German by Charlotte Hughes-Kreutzmuller 210 1$aWest Lafayette, Indiana :$cPurdue University Press,$d2014. 210 4$dİ2014 215 $a1 online resource (306 pages) $cillustrations 225 1 $aCentral European Studies 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a1-55753-675-9 320 $aIncludes bibliographical references and index. 330 $a"Grand palaces of culture, opera theaters marked the center of European cities like the cathedrals of the Middle Ages. As opera cast its spell, almost every European city and society aspired to have its own opera house, and dozens of new theaters were constructed in the course of the "long" nineteenth century. At the time of the French Revolution in 1789, only a few, mostly royal, opera theaters, existed in Europe. However, by the turn of the nineteenth and twentieth centuries nearly every large town possessed a theater in which operas were performed, especially in Central Europe, the region upon which this book concentrates. This volume, a revised and extended version of two well-reviewed books published in German and Czech, explores the social and political background to this "opera mania" in nineteenth century Central Europe. After tracing the major trends in the opera history of the period, including the emergence of national genres of opera and its various social functions and cultural meanings, the author contrasts the histories of the major houses in Dresden (a court theater), Lemberg (a theater built and sponsored by aristocrats), and Prague (a civic institution). Beyond the operatic institutions and their key stage productions, composers such as Carl Maria von Weber, Richard Wagner, Bedr?ich Smetana, Stanis?aw Moniuszko, Antoni?n Dvor?a?k, and Richard Strauss are put in their social and political contexts. The concluding chapter, bringing together the different leitmotifs of social and cultural history explored in the rest of the book, explains the specificities of opera life in Central Europe within a wider European and global framework"--$cProvided by publisher. 410 0$aCentral European studies. 606 $aOpera$xSocial aspects$zGermany$zDresden$y19th century 606 $aOpera$xSocial aspects$zGermany$zDresden$y20th century 606 $aOpera$xSocial aspects$zUkraine$zL'viv$y19th century 606 $aOpera$xSocial aspects$zUkraine$zL'viv$y20th century 606 $aOpera$xSocial aspects$zCzech Republic$zPrague$y19th century 606 $aOpera$xSocial aspects$zCzech Republic$zPrague$y20th century 606 $aNationalism in music 608 $aElectronic books. 615 0$aOpera$xSocial aspects 615 0$aOpera$xSocial aspects 615 0$aOpera$xSocial aspects 615 0$aOpera$xSocial aspects 615 0$aOpera$xSocial aspects 615 0$aOpera$xSocial aspects 615 0$aNationalism in music. 676 $a782.10943 700 $aTher$b Philipp$0320050 702 $aHughes-Kreutzmuller$b Charlotte 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910464322603321 996 $aCenter stage$92184836 997 $aUNINA