
Contents
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Visualizing Drama Visualizing Drama
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Oratorio as Opera Oratorio as Opera
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Mendelssohn’s “New Elijah” Mendelssohn’s “New Elijah”
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Liszt’s “Unholy” Elizabeth Liszt’s “Unholy” Elizabeth
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Notes Notes
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Bibliography Bibliography
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4 Operatorio?
Get accessMonika Hennemann's research interests center on the music and literature of the “long nineteenth century” in German- and English-speaking countries. Her work has appeared in the Cambridge Companions to Mendelssohn and Liszt, and she has edited the original version of Anton Webern's play “Tod.” Her monograph Mendelssohns Opernprojekte in ihrem kulturellen Kontext: Ein Beitrag zur deutschen Opern- und Librettogeschichte zwischen 1820 und 1850 will appear in 2013. She is presently a Lecturer in German Studies at Cardiff University, the Program Director of the University of Rhode Island's “Deutsche Sommerschule am Atlantik,” and an Honorary Research Fellow in Musicology at the University of Birmingham.
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Published:07 April 2015
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Abstract
One of the commonplace theoretical distinctions between opera and oratorio is that the former is staged, and the latter is not; opera has dramatic movement, but oratorio is essentially static, contemplative, and by implication somewhat boring. But was the division between grippingly “secular” opera and reverently dull “sacred” oratorio really so clear-cut? There have in practice been numerous successful stagings of oratorios from Handel’s day to the present, albeit often overlooked or stigmatized in music historiography. This chapter chronicles and evaluates the concept of “dramatic” oratorio with special emphasis on the intriguing performance history of Mendelssohn’s Elijah and Liszt’s St. Elisabeth on the stage. In challenging the idea of a comfortably neat distinction between the genres of opera and oratorio, and providing a broader aesthetic perspective on the staging of these supposedly unstageable works, it attempts to reevaluate ideas of drama in both genres.
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