By Edward W. Said
Edward stated has lengthy been one of the world’s such a lot compelling public intellectuals, taking up a outstanding array of issues together with his many courses. yet no unmarried booklet has encompassed the huge scope of his stimulating erudition fairly like energy, Politics, and tradition, a set of interviews from the final 3 many years.
In those twenty-eight interviews, stated addresses every thing from Palestine to Pavarotti, from his nomadic upbringing below colonial rule to his politically lively and sometimes arguable maturity, and displays on Austen, Beckett, Conrad, Naipaul, Mahfouz, and Rushdie, in addition to on fellow critics Bloom, Derrida, and Foucault. the fervour acknowledged feels for literature, song, heritage, and politics is powerfully conveyed during this integral supplement to his prolific life's paintings.
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Additional resources for Power, Politics, and Culture
Despite Wagner’s huge reservations about a revival of Tristan und Isolde in Leipzig, given the massive challenges entailed in bringing it to the stage the first time, Seidl had scored a major success with the work. ”41 Seidl’s close identification with the Ring in these years was confirmed by the far-ranging tour of Neumann’s “Traveling Richard Wagner Theater,” during which Seidl conducted nearly 135 Ring performances and 58 concerts between September 1, 1882, and June 5, 1883. Seidl took note of all these performances in a small notebook, a study in understatement given the nature of the enterprise: Friday Sept.
38 • ↑ Kenneth Hamilton Liszt regularly consulted Wagner in his Zurich exile over questions ranging from titles for his arrangements to the structural details of their layout. ”29 On the latter point things were different. The formal scheme of Liszt’s arrangement of the Act 3 prelude and “Bridal Chorus” from Lohengrin––two statements of the main material of the prelude framing a treatment of the chorus “Treulich geführt” (“Here Comes the Bride” to English speakers)––was devised by Wagner for his Zurich concerts of May 1853 and quickly taken over by Liszt for his transcription.
Sarah Hibberd carefully distinguishes somnambulism from madness in French stage works of the late 1820s and illuminates the rich web of musical allusions that Hérold employed in conjunction with Thérèse’s somnambulistic tendencies. See her article “‘Dormez donc, mes chers amours’: Hérold’s La Somnambule (1827) and dream phenomena on the Parisian lyric stage,” Cambridge Opera Journal, 16/2 (July 2004): 107–32. • 24 • Notes to FROM PAGE TO STAGE: WAGNER AS REGISSEUR 15. Wagner’s own accounts of his early experiences of Schröder-Devrient in performance have often been questioned for their accuracy.