Who Is The Mock-Wagnerian Operas, Or Homosexuality?

The Italian opera and the German opera are two different fields that both share characteristics, some of which are paralleled, and some of which contrast. Specifically, Giuseppe Verdi and Richard Wagner use motifs such as: redemption through love, patriotism, and sacrifice which run throughout both of their operas. The theme of betrayal also seems to be echoed throughout both operas; yet they are each used to project a different response. The significance of this comparison demonstrates that Verdi and Wagner may allude to the same references, such as Victor Hugo, Shakespeare, and Byron, but the operas The Flying Dutchman (German opera) and that of Nabucco (Italian opera) are completely different in context, and musical style; perhaps even

Themes common to both works include social hypocrisy, the nature of marriage, the proper upbringing of young women, the “natural” superiority of the English over the French, questions of inheritance, the nature of a true gentleman, and debates about the proper role of the church in society, of the imagination, and of writers of novels. Wilde’s play offers very different ideals. In fact, it offers no ideals at all, except its paradoxical commitment to doing without them. As Wilde himself noted, “it has its philosophy . . . that we should treat all the trivial things of life seriously, and all the serious things of life with sincere and studied triviality” (Hart-Davis 196).

THE MARGIN OF PRIDE nicely combines comedy with drama. There are solid themes about pride and making the right life choices. The protagonist is faced with some strong moral dilemmas. There’s no doubt that the highlight of this script is the protagonist Violetta. She’s a breath of fresh air, original, quirky, flawed, and amoral.

The choice of the “Three women of Don Giovanni” can give a good understanding of the type of music which was used to create an opera in the 18th century Italy. The opera buffa was a comic opera with a funny story line and light music. Mozart wrote at different levels.

The second female author who touches the social aspects of feminism is Willa Cather. Cather uses imagery, simile, and characterization to demonstrate women’s struggles and hardships in rural married life. The story, “A Wagner Matinee”, focuses on Aunt Georgiana, once a passionate music teacher in Boston, transform to a fallen woman who is deteriorated emotionally and physically. After she finally visits Boston city after 30 years living in rural Nebraska, she rediscover her passion for music and long for her livelier life before marriage. When Georgina gets a chance to go symphony concert, the music eradicate her silence and emotional despair from rural marriage life in Nebraska frontier. Cather expresses, “Her eyes were closed, but the tears were glistening on her cheeks, and I think in a

In Parker’s film adaptation, his emphasis of the sub-plot between Dr. Chasuble and Miss Prism, while becoming more entertaining, further detracts from Wilde’s concerns and only serves to strengthen the film as a romantic comedy. In Wilde’s play, Chasuble and Prism’s

a vulgar opera. Joseph again agreed to this opera, even do his subjects didn’t agree. Then

Is it unusual to see a different ethnicity play in a Chinese opera? Well, in the article “Oakland Teen is Star of Chinese Opera,” a 15-year-old named Tyler Thomson is black, who speaks basic Chinese (paragraph #2). With the joy of learning how to play instruments and singing Chinese songs, he has learned many songs, and many movements (paragraph #5). This article really makes you more open minded to others who wants to learn more about other cultures. It also shows how unique Tyler is.

ruckner wrote the first version of the symphony in 1873. In September 1873, before the work was finished, Bruckner visited Richard Wagner, whom he had first met in 1865 at the premiere of Tristan und Isolde in Munich.[4] Bruckner showed both his Second and Third symphonies to Wagner, asking him to pick one he preferred. To Bruckner's delight, Wagner chose the Third, and Bruckner dedicated the symphony to the master he highly respected. After getting home, Bruckner continued to work on the symphony, finishing the finale on 31 December 1873.[5]

English censorship and criticism of Wilde’s play have been posed for many reasons, in addition to the obvious issues of blatant depravity on stage. In Perverse Midrash: Oscar Wilde, André Gide, and Censorship of Biblical Drama, Katherine Brown Downey claims, ‘Much criticism of Oscar Wilde’s Salomé, both contemporary with it and more recent, suggests that Wilde intended to create a stir with his play, to flout the censor’s rules, and had written

Wilhelm Richard Wagner was one of the greatest opera writers of all time. He helped to take opera to a whole new level from even Verdi and Puccini. Some say that Wagner was very egotistic, however; “his extreme egotism rested on conviction, Wagner had the ability to do great things” (Colles 207). He was extraordinary at composing music as well as formulating words. He was not a prodigy however his musical skills surpassed many other composers from his time period.

With every great story line comes a theme. William Shakespeare created an art of intertwining often unrecognizable themes within his plays. In Shakespeare’s play, The Merchant of Venice, one hidden theme is the idea of homosexuality. This theme might not have even been noticed until modern Shakespeare fans discovered them. According to Alan Bray’s book, Homosexuality in Renaissance England, “the modern image of ‘the homosexual’ cannot be applied to the early modern period, when homosexual behavior was viewed in terms of the sexual act and not an individual's broader identity.” (Columbia University Press). This difference between homosexuality as a “sexual act” and an

The rise of tension between characters is another characteristic of comedic plays. After Oberon sees the way that Helena has been treated by Demetrius, he orders Puck to apply the juice to the eyes of Demetrius. Puck accidentally applies the juice to Lysander’s eye, which causes him to fall in love with Helena. After the mistake had been caught, Oberon sends Puck to watch Helena and Oberon applies the juice to Demetrius’ eyes. This causes both men to fall for Helena and now the battle is for Helena and not Hermia. Helena is convinced that this is a joke or prank because neither of the two men loved her before. Now because of Puck’s mistakes the four decide to find a

The genre of comedy, throughout the history of dramatic art has always served to not only entertain audiences, but to make them aware of their own individual flaws, or flaws that exist in society. (Weitz, E.) Comedy has no precise definition, and its boundaries are broad. One function of comedy however has remained the same - to hold up a mirror to the society of the time but through pleasure, inviting audiences to reflect and also providing amusement. Set in the late nineteenth century, the play An Ideal Husband by Oscar Wilde (1895) epitomises comedy, as both a literary and dramatic genre. Wilde was masterful in his ability to combine aspects of evolved comedic traditions and dramatic conventions to critique Victorian society. Drawing on characteristics of Greek and Roman tragicomedy, the choices in the play’s plot involves elements of tragedy as well as scenes that serve as comic relief and give the audience a sense of finality through a happy resolution. (Bureman, L) Focussing on the upper class stratum, Wilde employs a comedy of manners Molière style, of the Restoration Period in the seventeenth century in the play by combining forms of comedy with aspects of realist drama. The portrayal of archetypal figures such as Lady Chiltern and Lord Goring satirize rigid moral value of the time and expose their hypocrisies, through dialogue involving irony, wit and humour. Elements of farce and disguises characterized by ‘commedia dell’arte’, a form of comedy first developed in

Though set in the underworld of thievery, John Gay's The Beggar's Opera codifies a set of Marxist sexual politics in which marriage stands as the great equalizer of desire and power. An often aphoristic overview of the traditional power struggle between men and women frames a world in which marriage reduces the wooer's desire but raises his power by an equal degree through ownership as a husband. This commodity fetishism of the wife spurs, in turn, the external desire of potential suitors, restoring equilibrium to the scales of eros. I will argue that Macheath's eventual capture (disregarding his brief escape and ironically crowd-pleasing twist-ending) stems from the