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Operatic GeographiesThe Place of Opera and the Opera House$
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Suzanne Aspden

Print publication date: 2019

Print ISBN-13: 9780226595962

Published to Chicago Scholarship Online: September 2019

DOI: 10.7208/chicago/9780226596150.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 17 September 2021

“Come to the Mirror!”: Phantoms of the Opera—Staging the City

“Come to the Mirror!”: Phantoms of the Opera—Staging the City

(p.162) Twelve “Come to the Mirror!”: Phantoms of the Opera—Staging the City
Operatic Geographies

Peter Franklin

University of Chicago Press

Adorno’s essay ‘Bourgeois Opera’ (1955) characteristically illuminated the form of modernism of which he was eloquently skeptical, this illumination then facilitating the critical comprehension and perhaps re-examination of late-romantic opera as mass-entertainment. In many respects the genre, along with operetta, anticipated and shadowed the nascent cinema in mediating ideas about and experiences of the early twentieth-century city. Popular Austro-German operas by Strauss, Korngold and Schreker responded in different ways to the influence of Puccini in dramatizing the role of musical theatre as representing escape from European urban landscapes of power and opportunity that were at the same time threatening labyrinths of loss and desire where modernity and romanticism confronted each other.

Keywords:   bourgeois opera, Vienna c.1900, theatre and state, urban space, the popular audience

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