Martin Nedbal
Dados Biográficos
| ID | 5960301 |
|---|---|
| NOME | Martin Nedbal |
| PRENOMES | Martin |
| SOBRENOME | Nedbal |
| ASSINATURA | NEDBAL M |
| AFILIAÇÕES | University of Kansas |
| VERIFICADO | Não |
| TOTAL DE OBRAS | 8 |
| TOTAL DE CITAÇÕES | 0 |
| OBRAS COMO AUTOR | 8 |
| OBRAS COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2015 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2025 |
| ÍNDICE H | 0 |
The Cambridge Companion to West Side Story
Over sixty years after its opening night, West Side Story is perhaps the most famous and beloved of twentieth-century musicals and stands as a colossus of musical and dramatic achievement. It not only helped define a generation of musical theatre lovers but is among the handful of shows that have contributed to our understanding of American musical identity at mid-century. Bringing together contemporary scholars in music, theatre, dance, literatu…
The Cambridge Companion to The Magic Flute
Since its premiere in 1791, The Magic Flute has been staged continuously and remains, to this day, Mozart's most-performed opera worldwide. This comprehensive, user-friendly, up-to-date critical guide considers the opera in a variety of contexts to provide a fresh look at a work that has continued to fascinate audiences from Mozart's time to ours. It serves both as an introduction for those encountering the opera for the first time and as a treas…
Wenzel Mihule and the Reception of Don Giovanni in Central Europe
This article traces the previously overlooked transmission of a German Singspiel adaptation of Mozart’s Don Giovanni in central Europe in the late eighteenth and early nineteenth centuries. Titled Don Juan, oder Die redende Statue, the adaptation originated with the troupe of Wenzel Mihule at the Patriotic Theater in Prague in the early 1790s and, initially at least, took fewer liberties with the opera than other German reworkings, possibly becau…
Czech-German Collaborations at the Metropolitan Opera in the Early Twentieth Century
In the early twentieth century, New York’s Metropolitan Opera produced four works by Czech composers: Bedřich Smetana’s The Bartered Bride in 1909, Karel Weis’s The Polish Jew in 1921, Leoš Janáček’s Jenůfa in 1924, and Jaromír Weinberger’s Schwanda the Bagpiper in 1931. American critics associated these productions with exoticized notions of Czech culture and Czech nationalism. Yet, as this article shows, the four American productions also illum…
Beethoven and Bohemia
In 1977 the Czech musicologist Oldřich Pulkert discovered a manuscript score of Beethoven’s 1806 Leonore, the second version of what became Fidelio in 1814. The score’s pre-1977 history is mysterious, with the exception of 1870, when Bedřich Smetana clearly used it for a production of the 1814 Fidelio in Czech. Pulkert and Helga Lühning assumed, based on questionable evidence about early nineteenth-century plans for a Prague production of the 180…
Smetana’s The Brandenburgers in Bohemia and Czech Nationalism
Post-WWII studies of Smetana's The Brandenburgers in Bohemia view the work as an expression of the Czechs' resistance to various kinds of national oppression, by the Austrian Empire, and by Austrian and Bohemian Germans. This article shows that these views emerged only long after the opera was written in 1862-3 and premiered in 1866. An exploration of Czech political debates in the early 1860s, contemporaneous historical accounts of the thirteent…
Cherubino’s Leap
‘This is a book of snapshots’, Richard Kramer writes at the beginning of Cherubino’s Leap, and indeed the monograph provides numerous fascinating insights into short segments of more or less well-known musical works from the second half of the eighteenth century. Kramer is able both to elucidate these segments through detailed musical analysis and connect them to larger aesthetic contexts. The unifying aspect of the moments Kramer has chosen for …
Music in the Eighteenth Century and Anthology for Music in the Eighteenth Century, by John Rice
Sem obras proeminentes nesta página.
Music in the Eighteenth Century and Anthology for Music in the Eighteenth Century, by John Rice
Cherubino’s Leap
‘This is a book of snapshots’, Richard Kramer writes at the beginning of Cherubino’s Leap, and indeed the monograph provides numerous fascinating insights into short segments of more or less well-known musical works from the second half of the eighteenth century. Kramer is able both to elucidate these segments through detailed musical analysis and connect them to larger aesthetic contexts. The unifying aspect of the moments Kramer has chosen for …
Smetana’s The Brandenburgers in Bohemia and Czech Nationalism
Post-WWII studies of Smetana's The Brandenburgers in Bohemia view the work as an expression of the Czechs' resistance to various kinds of national oppression, by the Austrian Empire, and by Austrian and Bohemian Germans. This article shows that these views emerged only long after the opera was written in 1862-3 and premiered in 1866. An exploration of Czech political debates in the early 1860s, contemporaneous historical accounts of the thirteent…
Wenzel Mihule and the Reception of Don Giovanni in Central Europe
This article traces the previously overlooked transmission of a German Singspiel adaptation of Mozart’s Don Giovanni in central Europe in the late eighteenth and early nineteenth centuries. Titled Don Juan, oder Die redende Statue, the adaptation originated with the troupe of Wenzel Mihule at the Patriotic Theater in Prague in the early 1790s and, initially at least, took fewer liberties with the opera than other German reworkings, possibly becau…
Czech-German Collaborations at the Metropolitan Opera in the Early Twentieth Century
In the early twentieth century, New York’s Metropolitan Opera produced four works by Czech composers: Bedřich Smetana’s The Bartered Bride in 1909, Karel Weis’s The Polish Jew in 1921, Leoš Janáček’s Jenůfa in 1924, and Jaromír Weinberger’s Schwanda the Bagpiper in 1931. American critics associated these productions with exoticized notions of Czech culture and Czech nationalism. Yet, as this article shows, the four American productions also illum…
Beethoven and Bohemia
In 1977 the Czech musicologist Oldřich Pulkert discovered a manuscript score of Beethoven’s 1806 Leonore, the second version of what became Fidelio in 1814. The score’s pre-1977 history is mysterious, with the exception of 1870, when Bedřich Smetana clearly used it for a production of the 1814 Fidelio in Czech. Pulkert and Helga Lühning assumed, based on questionable evidence about early nineteenth-century plans for a Prague production of the 180…
The Cambridge Companion to The Magic Flute
Since its premiere in 1791, The Magic Flute has been staged continuously and remains, to this day, Mozart's most-performed opera worldwide. This comprehensive, user-friendly, up-to-date critical guide considers the opera in a variety of contexts to provide a fresh look at a work that has continued to fascinate audiences from Mozart's time to ours. It serves both as an introduction for those encountering the opera for the first time and as a treas…
The Cambridge Companion to West Side Story
Over sixty years after its opening night, West Side Story is perhaps the most famous and beloved of twentieth-century musicals and stands as a colossus of musical and dramatic achievement. It not only helped define a generation of musical theatre lovers but is among the handful of shows that have contributed to our understanding of American musical identity at mid-century. Bringing together contemporary scholars in music, theatre, dance, literatu…
Art (7 obras) · History (6 obras) · Musicology and Musical Analysis (6 obras) · Art history (5 obras) · Literature (5 obras) · Philosophy (5 obras) · Czech (4 obras) · MOZART (4 obras) · Political science (4 obras) · Law (3 obras)