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Frederick's Athens: crushing superstition and resuscitating the marvellous at the Königliches Opernhaus, Berlin

Bruno Forment (UGent)
(2012) CAMBRIDGE OPERA JOURNAL. 24(1). p.1-42
Author
Organization
Abstract
From 1748 onwards, the marvellous made a comeback in opera seria via the Ko ̈nigliches Opernhaus in Berlin. The striking resurgence of myth and magic in the predominantly historical operatic genre appears to bespeak a growing interest in Lullian trag ́edie en musique, which in turn can be associated with Frederick II’s French orientation in literary and philosophical matters. But how did deities, sorcerers and Louis quatorzien imports chime with Frederick’s notorious resistance to superstition and divinely ordained kingship? The juxtaposition of the relevant operas with theoretical writings from Friderician Prussia yields a multi-faceted, somewhat paradoxical answer, revealing that the marvellous, alongside nourishing a new type of operatic spectacle, served Frederick as a vehicle to impart his philosophical agenda to his state, a former centre of Pietism.
Keywords
marvellous, Krause, Graun, Voltaire, Königliches Opernhaus, Frederick the Great, opera seria, myth, Berlin, Enlightenment, chivalric romance, Algarotti

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MLA
Forment, Bruno. “Frederick’s Athens: Crushing Superstition and Resuscitating the Marvellous at the Königliches Opernhaus, Berlin.” CAMBRIDGE OPERA JOURNAL 24.1 (2012): 1–42. Print.
APA
Forment, B. (2012). Frederick’s Athens: crushing superstition and resuscitating the marvellous at the Königliches Opernhaus, Berlin. CAMBRIDGE OPERA JOURNAL, 24(1), 1–42.
Chicago author-date
Forment, Bruno. 2012. “Frederick’s Athens: Crushing Superstition and Resuscitating the Marvellous at the Königliches Opernhaus, Berlin.” Cambridge Opera Journal 24 (1): 1–42.
Chicago author-date (all authors)
Forment, Bruno. 2012. “Frederick’s Athens: Crushing Superstition and Resuscitating the Marvellous at the Königliches Opernhaus, Berlin.” Cambridge Opera Journal 24 (1): 1–42.
Vancouver
1.
Forment B. Frederick’s Athens: crushing superstition and resuscitating the marvellous at the Königliches Opernhaus, Berlin. CAMBRIDGE OPERA JOURNAL. 2012;24(1):1–42.
IEEE
[1]
B. Forment, “Frederick’s Athens: crushing superstition and resuscitating the marvellous at the Königliches Opernhaus, Berlin,” CAMBRIDGE OPERA JOURNAL, vol. 24, no. 1, pp. 1–42, 2012.
@article{1940131,
  abstract     = {From 1748 onwards, the marvellous made a comeback in opera seria via the Ko ̈nigliches Opernhaus in Berlin. The striking resurgence of myth and magic in the predominantly historical operatic genre appears to bespeak a growing interest in Lullian trag ́edie en musique, which in turn can be associated with Frederick II’s French orientation in literary and philosophical matters. But how did deities, sorcerers and Louis quatorzien imports chime with Frederick’s notorious resistance to superstition and divinely ordained kingship? The juxtaposition of the relevant operas with theoretical writings from Friderician Prussia yields a multi-faceted, somewhat paradoxical answer, revealing that the marvellous, alongside nourishing a new type of operatic spectacle, served Frederick as a vehicle to impart his philosophical agenda to his state, a former centre of Pietism.},
  author       = {Forment, Bruno},
  issn         = {0954-5867},
  journal      = {CAMBRIDGE OPERA JOURNAL},
  keywords     = {marvellous,Krause,Graun,Voltaire,Königliches Opernhaus,Frederick the Great,opera seria,myth,Berlin,Enlightenment,chivalric romance,Algarotti},
  language     = {eng},
  number       = {1},
  pages        = {1--42},
  title        = {Frederick's Athens: crushing superstition and resuscitating the marvellous at the Königliches Opernhaus, Berlin},
  url          = {http://dx.doi.org/10.1017/S0954586712000146},
  volume       = {24},
  year         = {2012},
}

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