Vocal Apparitions
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€74.99
A01=Michal Grover-Friedlander
Absolute music
Anna Magnani
Apparitions (TV series)
Author_Michal Grover-Friedlander
Bel canto
Callas Forever
Carlotta (The Phantom of the Opera)
Carolyn Abbate
Castrato
Category=ATF
Category=AVLF
Category=AVLM
Charles Gounod
Coloratura
Comic opera
Courtly love
Cremation
Death Song
Der Rosenkavalier
Di quella pira
Don Giovanni
Echo and Narcissus
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eq_bestseller
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eq_music
eq_nobargain
eq_non-fiction
Falsetto
Film score
Francis Poulenc
Franco Zeffirelli
French New Wave
Giuseppe Verdi
Il trovatore
Jean Cocteau
L'Orfeo
La nave
La Scala
La traviata
La voix humaine
Leitmotif
Libretto
Love and Death
Luchino Visconti
Lucia di Lammermoor
Marguerite (musical)
Maria Callas
Melodrama
Music Is
Narrative
Notion (software)
Opera
Otello
Otello (Rossini)
Parody
Parsifal
Predicament
Richard Wagner
Rigoletto
Roberto Rossellini
Roderigo
Romanticism
Silent film
Singing
Soliloquy
Sound effect
Sound of Water
Source music
Stretto
The Birth of Tragedy
The Human Voice
The Magic Flute
The Merry Wives of Windsor
Two Women
Unsung (TV series)
Ventriloquism
Vincenzo Bellini
Wagnerism
Women on the Verge of a Nervous Breakdown (musical)
Product details
- ISBN 9780691120089
- Weight: 425g
- Dimensions: 152 x 235mm
- Publication Date: 27 Feb 2005
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Hardback
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Cinema and opera have become intertwined in a variety of powerful and unusual ways. Vocal Apparitions tells the story of this fascinating intersection, interprets how it occurred, and explores what happens when opera is projected onto the medium of film. Michal Grover-Friedlander finds striking affinities between film and opera--from Lon Chaney's classic silent film, The Phantom of the Opera, to the Marx Brothers' A Night at the Opera to Fellini's E la nave va. One of the guiding questions of this book is what occurs when what is aesthetically essential about one medium is transposed into the aesthetic field of the other. For example, Grover-Friedlander's comparison of an opera by Poulenc and a Rossellini film, both based on Cocteau's play The Human Voice, shows the relation of the vocal and the visual to be surprisingly affected by the choice of the medium. Her analysis of the Marx Brothers' A Night at the Opera demonstrates how, as a response to opera's infatuation with death, cinema comically acts out a correction of opera's fate.
Grover-Friedlander argues that filmed operas such as Zeffirelli's Otello and Friedrich's Falstaff show the impossibility of a direct transformation of the operatic into the cinematic. Paradoxically, cinema at times can be more operatic than opera itself, thus capturing something essential that escapes opera's self-understanding. A remarkable look at how cinema has been haunted--and transformed--by opera, Vocal Apparitions reveals something original and important about each medium.
Michal Grover-Friedlander teaches in the Musicology Department and the Interdisciplinary Program in the Arts at Tel Aviv University.
