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23 results

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  • Chapter 23 - Post-Wagnerian Opera

  • from Part IV - Professional and Musical Contexts
  • Edited by Morten Kristiansen, Joseph E. Jones
  • Book:
    Richard Strauss in Context
    Published online:
    08 October 2020
    Print publication:
    29 October 2020, pp 209-217

  • Summary

    Of the German-language operas composed between Wagner’s Parsifal (1882) and Richard Strauss’s Salome (1905), only Humperdinck’s Hänsel und Gretel (1893) has survived. This chapter surveys the mostly forgotten works that form the context of Strauss’s early operas. In addition to his musical style, Wagner’s concept of redemption through love and reception of Schopenhauer’s metaphysics exerted a powerful influence on the next generation, as seen in music dramas by Max von Schillings (Ingwelde), Pfitzner (Der arme Heinrich), and Strauss (Guntram). The new genre of fairy tale opera (Märchenoper) often presented lighter versions of Wagnerian style and ideology, such as in Hänsel und Gretel, Alexander Ritter’s Der faule Hans, and Siegfried Wagner’s Der Bärenhäuter. Even comic opera was strongly influenced, bifurcating into Meistersinger spinoffs (Schillings’s Der Pfeifertag) and harmless bourgeois idylls (Eugen d’Albert’s Die Abreise). Verismo-influenced hybrids include d’Albert’s Tiefland and Wilhelm Kienzl’s Der Evangelimann. Strauss’s Salome represented an act of liberation.

Richard Strauss in Context
  • Edited by Morten Kristiansen, Joseph E. Jones
  • Published online:
    08 October 2020
    Print publication:
    29 October 2020
  • Richard Strauss in Context offers a distinctive approach to the study of a composer in that it places the emphasis on contextualizing topics rather than on biography and artistic output. One might say that it inverts the relationship between composer and context. Rather than studies of Strauss's librettists that discuss the texts themselves and his musical settings, for instance, this book offers essays on the writers themselves: their biographical circumstances, styles, landmark works, and broader positions in literary history. Likewise, Strauss's contributions to the concert hall are positioned within the broader development of the orchestra and trends in programmatic music. In short, readers will benefit from an elaboration of material that is either absent from or treated only briefly in existing publications. Through this supplemental and broader contextual approach, this book serves as a valuable and unique resource for students, scholars, and a general readership.

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