- We will send in 10–14 business days.
/images/books/5642044/9781108402873.jpg)
- Author: J P E Harper-Scott
- Publisher: Cambridge University Press
- ISBN-10: 1108402879
- ISBN-13: 9781108402873
- Format: 17 x 24.4 x 1.8 cm, softcover
- Language: English
- SAVE -10% with code: EXTRA
Reviews
Description
This thematic examination of Britten's operas focuses on the way that ideology is presented on stage. To watch or listen is to engage with a vivid artistic testament to the ideological world of mid-twentieth-century Britain. But it is more than that, too, because in many ways Britten's operas continue to proffer a diagnosis of certain unresolved problems in our own time. Only rarely, as in Peter Grimes, which shows the violence inherent in all forms of social and psychological identification, does Britten unmistakably call into question fundamental precepts of his contemporary ideology. This has not, however, prevented some writers from romanticizing Britten as a quiet revolutionary. This book argues, in contrast, that his operas, and some interpretations of them, have obscured a greater social and philosophical complicity that it is timely - if at the same time uncomfortable - for his early twenty-first-century audiences to address.
EXTRA 10 % discount with code: EXTRA
The promotion ends in 17d.15:13:32
The discount code is valid when purchasing from 10 €. Discounts do not stack.
- Author: J P E Harper-Scott
- Publisher: Cambridge University Press
- ISBN-10: 1108402879
- ISBN-13: 9781108402873
- Format: 17 x 24.4 x 1.8 cm, softcover
- Language: English English
This thematic examination of Britten's operas focuses on the way that ideology is presented on stage. To watch or listen is to engage with a vivid artistic testament to the ideological world of mid-twentieth-century Britain. But it is more than that, too, because in many ways Britten's operas continue to proffer a diagnosis of certain unresolved problems in our own time. Only rarely, as in Peter Grimes, which shows the violence inherent in all forms of social and psychological identification, does Britten unmistakably call into question fundamental precepts of his contemporary ideology. This has not, however, prevented some writers from romanticizing Britten as a quiet revolutionary. This book argues, in contrast, that his operas, and some interpretations of them, have obscured a greater social and philosophical complicity that it is timely - if at the same time uncomfortable - for his early twenty-first-century audiences to address.
Reviews