The siren Alps: text-setting and gender
The siren Alps: text-setting and gender
This article considers the use of female archetypes in recent text-settings. The author notes the use of gendered analogies for discussing interdisciplinary work, comments on the depiction of women in opera, and focuses on recent works by Heiner Goebbels and Dominique le Gendre. He assesses the importance of the mute role in Gerald Barry's opera The Bitter Tears of Petra von Kant (2005), considers the recreation of the Diana myth in The Assassin Tree (2004), and comments on Judith Weir's setting of Emily Dickinson.
gender, text-setting, collaboration, reception, opera, weir, libretto, goebbels, le gendre, barry, dickinson
201-213
May, William
f41afa4c-1ccc-4ac6-83b6-9f5d9aad0f67
15 December 2010
May, William
f41afa4c-1ccc-4ac6-83b6-9f5d9aad0f67
Abstract
This article considers the use of female archetypes in recent text-settings. The author notes the use of gendered analogies for discussing interdisciplinary work, comments on the depiction of women in opera, and focuses on recent works by Heiner Goebbels and Dominique le Gendre. He assesses the importance of the mute role in Gerald Barry's opera The Bitter Tears of Petra von Kant (2005), considers the recreation of the Diana myth in The Assassin Tree (2004), and comments on Judith Weir's setting of Emily Dickinson.
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Published date: 15 December 2010
Keywords:
gender, text-setting, collaboration, reception, opera, weir, libretto, goebbels, le gendre, barry, dickinson
Organisations:
English
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Local EPrints ID: 169575
URI: http://eprints.soton.ac.uk/id/eprint/169575
ISSN: 0749-4467
PURE UUID: fb3f41bf-d958-4d42-ba64-dcf47c77535e
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Date deposited: 16 Dec 2010 16:02
Last modified: 14 Mar 2024 02:21
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