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Opera and the Culture of Fascism - Jeremy Tambling

Opera and the Culture of Fascism

By: Jeremy Tambling

Hardcover | 3 October 1996

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This study looks at nineteenth - and early twentieth-century opera as part of a culture which produced fascism as a crisis-state, and threatened to extinguish the genre as an influential and contemporary high form of art altogether. Jeremy Tambling highlights the themes of the cultural crisis through a detailed discussion of some dozen operas and a general overview of the works of Wagner, Verdi, Puccini, Strauss, and others, drawing on the writings of Nietzsche, Adorno, Benjamin, and Heidegger, for an understanding of the ideological background. Reading fascism as a political, intellectual, and psychological phenomenon, the author draws on the works of Bataille, Theweleit, and Kristeva, for discussion of proto-fascist and fascist thought, and for its relation to gender-politics.Resisting the clichés about Wagner or Strauss's relationship to the Third Reich, Tambling takes the opera out the hermetically sealed-off state in which it is normally discussed, and presents it as both complicit in, and in opposition to, the reactionary and regressive pressures that made up the `culture of fascism', and those that tried to make opera part of the `fascism of culture'.
Industry Reviews
`This is a potentially exciting book. Its author is a professor of comparative literature and therefore has a wide range of historical and cultural material available with which to work.' Opera Now. `Tambling has an instinct for a topical subject ... His book is an argument not only for 'critical' stage production but, more importantly, for a 'self-critical' response from the public.' Patrick Carnegy, The Musical Times, February 1997 `Tambling takes the texts of opera seriously. He is interested in why composers have chosen their subjects, and how these relate to their opinions and to the prejudices of the societies in which they lived. Tambling is courageously attempting to strike deeper, to suggest that audiences cannot allow themselves to be merely 'entertained' by operas and should be troubled by their subject-matter and sub-texts - and he shows real insight in bringing these to the surface.' Patrick Carnegy, The Musical Times, February 1997

You Can Find This Book In

Non-FictionArts & EntertainmentMusicMusic Styles & GenresWestern Classical Music & OperaOperaPhilosophyPhilosophy & AestheticsSociety & CultureCultural StudiesPolitics & GovernmentPolitical Ideologies & Movements
Fascism & NazismLanguage & LinguisticsLinguistics

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