Zeitoper (German: "opera of the time") was a short-lived genre of opera associated with Weimar Germany. It is not known when or by whom the term was coined, but by 1928 Kurt Weill ("Zeitoper" in Melos) was able to complain that it was more a slogan than a description. Like opera buffa it used contemporary settings and characters, comic or at least satiric plots (Max Brand's Maschinist Hopkins is a sole tragic example) and aimed at musical accessibility. Two distinguishing characteristics are a tendency to incorporate modern technology (Jonny spielt auf: trains, Der Lindberghflug: airplanes, Von Heute auf Morgen: telephones, and even elevators) and frequent allusions to popular music, especially jazz. This last, more than any social satire, earned the suspicion of the political right and en
| Attributes | Values |
|---|
| rdf:type
| |
| rdfs:label
| - Zeitoper (en)
- Zeitoper (sv)
|
| rdfs:comment
| - Zeitoper (German: "opera of the time") was a short-lived genre of opera associated with Weimar Germany. It is not known when or by whom the term was coined, but by 1928 Kurt Weill ("Zeitoper" in Melos) was able to complain that it was more a slogan than a description. Like opera buffa it used contemporary settings and characters, comic or at least satiric plots (Max Brand's Maschinist Hopkins is a sole tragic example) and aimed at musical accessibility. Two distinguishing characteristics are a tendency to incorporate modern technology (Jonny spielt auf: trains, Der Lindberghflug: airplanes, Von Heute auf Morgen: telephones, and even elevators) and frequent allusions to popular music, especially jazz. This last, more than any social satire, earned the suspicion of the political right and en (en)
- Zeitoper (samtidsopera) var en operagenre som framför allt uppstod i Tyskland under 1920- och 1930-talen. Den kännetecknades av att handlingen utspelades i den samtida vardagen med moderna karaktärer, samt av att det förekom moderna innovationer (som till exempel telefon, hissar, telegrafi, tåg, bilar, radio) i själva handlingen. Med denna tämligen kortlivade genre försökte de samtida tonsättarna förnya operakonsten. Synonyma genrebeteckningar var musikkomedi, operarevy, jazzopera och samtidsopera. Handlingen rörde sig i raskt, filmiskt tempo och satir var ofta inblandad. Genren fick ett abrupt slut när nazisterna kom till makten 1933 och stämplade genren som Entartete Kunst. (sv)
|
| dcterms:subject
| |
| Wikipage page ID
| |
| Wikipage revision ID
| |
| Link from a Wikipage to another Wikipage
| |
| sameAs
| |
| dbp:wikiPageUsesTemplate
| |
| has abstract
| - Zeitoper (German: "opera of the time") was a short-lived genre of opera associated with Weimar Germany. It is not known when or by whom the term was coined, but by 1928 Kurt Weill ("Zeitoper" in Melos) was able to complain that it was more a slogan than a description. Like opera buffa it used contemporary settings and characters, comic or at least satiric plots (Max Brand's Maschinist Hopkins is a sole tragic example) and aimed at musical accessibility. Two distinguishing characteristics are a tendency to incorporate modern technology (Jonny spielt auf: trains, Der Lindberghflug: airplanes, Von Heute auf Morgen: telephones, and even elevators) and frequent allusions to popular music, especially jazz. This last, more than any social satire, earned the suspicion of the political right and ensured that it would not survive into the Nazi era. Ernst Krenek's Jonny spielt auf (1927) is held up as the epitome of the genre. Other composers are Paul Hindemith (Hin und zurück, 1927, Neues vom Tage, 1929), Wilhelm Grosz ( to a libretto by Bela Balazs), plus Weill's Der Zar lässt sich photographieren (1928) and Die Bürgschaft (1932). The first Zeitoper to be composed was probably Intermezzo (1924) by Richard Strauss. At the possible instigation of Krenek, the American George Antheil also wrote a Zeitoper for Frankfurt, Transatlantic (1930, originally titled Glare). In Von Heute auf Morgen (1930) Arnold Schönberg attempted to have the last word on the fashion: at the end a child enters and asks the reconciled parents "What are modern people?" who respond with "That changes from one day to the next." (en)
- Zeitoper (samtidsopera) var en operagenre som framför allt uppstod i Tyskland under 1920- och 1930-talen. Den kännetecknades av att handlingen utspelades i den samtida vardagen med moderna karaktärer, samt av att det förekom moderna innovationer (som till exempel telefon, hissar, telegrafi, tåg, bilar, radio) i själva handlingen. Med denna tämligen kortlivade genre försökte de samtida tonsättarna förnya operakonsten. Synonyma genrebeteckningar var musikkomedi, operarevy, jazzopera och samtidsopera. Handlingen rörde sig i raskt, filmiskt tempo och satir var ofta inblandad. Genren fick ett abrupt slut när nazisterna kom till makten 1933 och stämplade genren som Entartete Kunst. Ett nytt uppsving för samtidsoperan gav sig tillkänna under 1990-talet, då den amerikanske tonsättaren John Adams valde aktuella, politiska händelser som underlag för sina operor Nixon in China och The Death of Klinghoffer. (sv)
|
| gold:hypernym
| |
| prov:wasDerivedFrom
| |
| page length (characters) of wiki page
| |
| foaf:isPrimaryTopicOf
| |
| is Link from a Wikipage to another Wikipage
of | |
| is Wikipage redirect
of | |
| is foaf:primaryTopic
of | |
![[RDF Data]](/fct/images/sw-rdf-blue.png)
![[cxml]](/fct/images/cxml_doc.png)
![[csv]](/fct/images/csv_doc.png)
![[text]](/fct/images/ntriples_doc.png)
![[turtle]](/fct/images/n3turtle_doc.png)
![[ld+json]](/fct/images/jsonld_doc.png)
![[rdf+json]](/fct/images/json_doc.png)
![[rdf+xml]](/fct/images/xml_doc.png)
![[atom+xml]](/fct/images/atom_doc.png)
![[html]](/fct/images/html_doc.png)