In his 1938 short opera Daphne, composer Richard Strauss presents an eloquent metaphor for both the process of artistic creation and the origin of tragedy itself. He positions his title character at the convergence of two oppositional, yet mutually dependent forces: the Apollonian and the Dionysian, as described by Friedrich Nietzsche in his seminal 1872 work, Die Geburt der Tragödie aus dem Geiste der Musik (The Birth of Tragedy Out of the Spirit of Music). As reason and enlightenment collide with revelry and ecstasy onstage, a momentous physical and emotional transformation occurs; Daphne encounters the divine, and her resulting catharsis is shared both musically and emotionally with the audience. In this moment of our communal transcendent ekstasis, Strauss leaves us with a symbol of artistic transcendence itself, born from the conflicted inner forces within the individual: “das ewige Kunstwerk,” the “eternal work of art.”
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Aringer-Grau Ulrike Liebscher Julia “Musikalische Dramaturgie in Daphne. Entwicklung eines ‘brauchbaren Operntextes,’ dargestellt an den Briefwechseln zwischen Richard Strauss, Joseph Gregor und Stefan Zweig.” Richard Strauss und das Musiktheater: Bericht über die Internationale Fachkonferenz Bochum, 14 bis 17 Nov. 2001. 2005 Berlin Henschel Verlag 85 102 Richard-Strauss-Gesellschaft.
Ayto John Dictionary of Word Origins 1990 New York Arcade Publishing
Dostal Franz Eugen Karl Böhm: Begegnung mit Richard Strauss 1964 Vienna Verlag Doblinger
Flashar Hellmut Inszenierung der Antike: Das griechische Drama auf der Bühne der Neuzeit, 1585–1990. 1991 Munich, Germany C. H. Beck
Gilliam Bryan “Ariadne, Daphne, and the Problem of Verwandlung.” Cambridge Opera Journal 2003 15 67 80
Gilliam Bryan “ ‘Friede im Innern’: Strauss’ Public and Private Worlds in the mid-1930s.” Journal of the American Musicological Society 2004 57 3 565 597
Gilliam Bryan Richard Strauss and his World 1992 Princeton NJ Princeton University Press
Gregor Joseph & Strauss Richard Daphne: Bukolische Tragödie in einem Aufzug, Op 82. 1938 Mainz, Germany B. Schott’s Söhne Orchester-Partitur
Kiefer Sascha “Apollinisch und Dionysisch: der psychologisierte Mythos in Daphne von Joseph Gregor und Richard Strauss.” Richard Strauss Blätter 1997 38 Vienna Internationale Richard Strauss-Gesellschaft
Krause Ernst “Der Singende Lorbeerbaum” Richard Strauss: Daphne 1983 CD supplement. Lucia Popp, Reiner Goldberg, Peter Schreier, Ortrun Wenkel, Kurt Moll, Chor und Orchester des Bayerischen Rundfunks
Schreiber Ulrich Opernführer für Fortgeschrittene: Die Geschichte des Musiktheaters—das 20. Jahrhundert I, von Verdi und Wagner bis zum Faschismus. 2000 Frankfurt-am-Main Gutenberg-Bärenreiter
Schuman Karl Das kleine Richard Strauss Buch 1970 Salzburg Residenz Verlag
Steiger Maria Richard Strauss—Karl Böhm: Briefwechsel, 1921–1949 1999 Mainz, Germany Schott
Strauss Richard Daphne 1964 Hilde Güden, Fritz Wunderlich, James King, Paul Schöffler. Wiener Symphoniker unter Karl Böhm. Deutsche Grammophon
Vogel Martin Apollinisch und Dionysisch: Geschichte eines genialen Irrtums 1966 Regensburg, Germany Gustav Bosse Verlag
Nietzsche Friedrich Colli Giorgio & Montinari Mazzino 2003 Die Geburt der Tragödie, Unzeitgemäße Betrachtungen I–IV Munich Deutscher Taschenbuch Verlag GmbH
Strauss Richard & Brentano Clemens “Amor.” 6 1918 Lieder, Opus 68.
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In his 1938 short opera Daphne, composer Richard Strauss presents an eloquent metaphor for both the process of artistic creation and the origin of tragedy itself. He positions his title character at the convergence of two oppositional, yet mutually dependent forces: the Apollonian and the Dionysian, as described by Friedrich Nietzsche in his seminal 1872 work, Die Geburt der Tragödie aus dem Geiste der Musik (The Birth of Tragedy Out of the Spirit of Music). As reason and enlightenment collide with revelry and ecstasy onstage, a momentous physical and emotional transformation occurs; Daphne encounters the divine, and her resulting catharsis is shared both musically and emotionally with the audience. In this moment of our communal transcendent ekstasis, Strauss leaves us with a symbol of artistic transcendence itself, born from the conflicted inner forces within the individual: “das ewige Kunstwerk,” the “eternal work of art.”
All Time | Past 365 days | Past 30 Days | |
---|---|---|---|
Abstract Views | 300 | 57 | 5 |
Full Text Views | 159 | 3 | 1 |
PDF Views & Downloads | 57 | 11 | 3 |