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・ Sanctuary of St. Jadwiga, Trzebnica
・ Sanctuary of the Blessed Virgin of the Gate, Guastalla
・ Sanctuary of the Blessed Virgin of the Holy Rosary
・ Sanctuary of the Divine Mercy, Vilnius
・ Sanctuary of the Madonna del Carmine, Riccia
・ Sanctuary of the Madonna del Pilastrello, Lendinara
・ Sanctuary of the Madonna di San Luca, Bologna
・ Sanctuary of the Santo Hermano Pedro
・ Sanctuary of the Three Gauls
・ Sanctuary of the Vergine dei Martiri, Fonni
・ Sanctuary of Truth
・ Sanctuary of Vicoforte
・ Sancta Maria, Mater et Regina, Seminarium
・ Sancta Sanctorum
・ Sancta Sophia College, University of Sydney
Sancta Susanna
・ Sanctacaris
・ Sanctaeritae
・ Sanctaphrax
・ Sancterila
・ Sanctflorentia
・ Sancti Spiritu (Argentina)
・ Sancti Spiritus (cigar)
・ Sancti Spíritus
・ Sancti Spíritus (baseball)
・ Sancti Spíritus Airport
・ Sancti Spíritus Province
・ Sancti-Spíritus
・ Sancti-Spíritus, Badajoz
・ Sancti-Spíritus, Salamanca


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Sancta Susanna : ウィキペディア英語版
Sancta Susanna

''Sancta Susanna'' is an early opera by Paul Hindemith in one act, with a German libretto by August Stramm. Composed over a two-week period in January/February 1921, its premiere was on 26 March 1922, at Opernhaus, Frankfurt.
The work is his third and final in a triptych of expressionist influenced one-act operas - the previous two being ''Mörder, Hoffnung der Frauen'' op. 12 (1921), and ''Das Nusch-Nuschi'' op. 20 (1921) - and much like the previous works, scandalised Frankfurt’s concert going public, affording the young composer heightened critical attention and notoriety.
==Background==
Sancta Susanna examines the relationship between celibacy and lust in Christianity, depicting the descent of a nunnery into sexual frenzy. Hindemith, around this time in his career has often been regarded, ‘a twenty-four-year-old dabbling in the realm of German expressionism’, and although it cannot be described as a fully fledged work of expressionism, the opera undoubtedly shows a significant reflexivity on the composer’s part to such contemporary artistic trends.
Much like his contemporaries, Hindemith spoke of the early twentieth-century as a time in which ‘the old world exploded’, and artists were forced to make sense of this changed world by disregarding to a large extent, codes and conventions that had been established - in some cases - for centuries. Thus in the libretto (from the notable expressionist poet and playwright August Stramm) stage directions dominate over speech, which is highly fragmented through ellipses and incomplete phrases. Central to the opera is the expressionistic notion of shock as a means of articulating oneself, and musically, this was achieved to a large extent by pushing harmonic and tonal processes ‘to the very limits of tonality’. Hindemith did not however, divorce himself entirely from formalism, and the work is structured in a series of variations.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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