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Operatic Afterlives (Hardcover)
Loot Price: R710
Discovery Miles 7 100
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Operatic Afterlives (Hardcover)
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Total price: R730
Discovery Miles: 7 300
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An examination of the ultimate power opera grants to singing: the
reversal of death. In Operatic Afterlives, Michal
Grover-Friedlander examines the implications of opera's founding
myth-the story of Orpheus and Eurydice: Orpheus's attempt to revive
the dead Eurydice with the power of singing. Grover-Friedlander
examines instances in which opera portrays an existence beyond
death, a revival of the dead, or a simultaneous presence of life
and death. These portrayals-in operas by Puccini and other
composers and performances by Maria Callas-are made possible, she
argues, by the unique treatment of voice in the operas in question:
the occurrence of a breach in which singing itself takes on an
afterlife in the face of the singer's death. This may arise from
the multiplication of singing voices inhabiting the same body, from
disembodied singing, from the merging of singing voices, from the
disconnection of voice and character. The instances developed in
the book take on added significance as they describe a
reconfiguration of operatic singing itself. Singing reigns over
text, musical language, and dramatic characterization. The notion
of the afterlife of singing reveals the singularity of the voice in
opera, and how much it differs categorically from any other
elaboration of the voice. Grover-Friedlander's examples reflect on
the meanings of the operatic voice as well as on our sense of its
resonating, unending, and haunting presence. Traditionally, opera
kills its protagonists, but Grover-Friedlander argues that opera at
times also represents the ways that the voice, singing, or song
acquire their own forms of aliveness and indestructibility.
Operatic Afterlives shows the ultimate power that opera grants to
singing: the reversal of death.
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