Yayoi Uno Everett focuses on four operas that helped shape the careers of the composers Osvaldo Golijov, Kaija Saariaho, John Adams, and Tan Dun, which represent a unique encounter of music and production through what Everett calls ‘multimodal narrative.’ Aspects of production design, the mechanics of stagecraft, and their interaction with music and sung texts contribute significantly to the semiotics of operatic storytelling. Everett’s study draws on Northrop Frye’s theories of myth, Lacanian psychoanalysis via Slavoj Žižek, Linda and Michael Hutcheon’s notion of production, and musical semiotics found in Robert Hatten’s concept of troping in order to provide original interpretive models for conceptualizing new operatic narratives.
表中的内容
Preface
Acknowledgments
List of Abbreviations
1. Toward a Multimodal Discourse on Opera
2. Osvaldo Golijov’s Ainadamar: A Myth of ‘Wounded’ Freedom
3. Kaija Saariaho’s Adriana Mater: A Narrative of Trauma and Ambivalence
4. John Adams’ Doctor Atomic: A Faustian Parable for the Modern Age?
5. The Anti-hero in Tan Dun’s The First Emperor
Epilogue: Opera as Myth in the Global Age
Glossary
Notes
Bibliography
Index
关于作者
Yayoi Uno Everett is Professor of Music at University of Illinois at Chicago and author of Music of Louis Andriessen.
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