... outcomes of the positive judgment of the Marx Brothers' films in Adorno and Cavell, one can find the decisive bifurcation that separates their thoughts on film. The tension between opera and film as screened in Marx Brothers at the Opera becomes the touchstone for the differences in value judgment. While...

... the first two acts of the opera Moses und Aron , and he worked on the third act during his time in Los Angeles. For both men, the Second Commandment, against idolatry (the Bilderverbot ), played an important role. Theodor W. Adorno believed that the prohibition against images was the key to understanding...

... discussion of the liturgical gesture of the Jewish holiday. It suggests that Rosenzweig models this most significant moment as a form of “sacred theater” depicting the Wagnerian “music opera.” Through this analysis, not only does “drama” emerge as the link between the three sections of Der Stern...

... the limbs and outward flourishes, I will be brief. —Shakespeare, Hamlet The Sure Reward Most people learn about opera by going to the opera, but that is the hard way, and, with Richard Wagner, it is also the long way. “Three or four hours,” Mark Twain...

... Musical Culture, 1850–1910.” PhD diss. , Brown University . Gilman Sander L. 1988 . “Strauss, the Pervert, and the Avant Garde Opera of the Fin de Siècle.” New German Critique , no. 2 : 35 – 68 . Göhler Georg . 1907 . “Richard Strauss.” Die Zukunft 15 , no. 2 : 98 – 112...

...- ings, almost all of them written after 1989, that images not only illustrate but facilitate the very act of remembering. Another case in point is “Opernprojekt in Anlehnung an die Seidenstraße” (“Opera Project in Imitation of the Silk Road”) from Verwilderte Selbstbehauptung (Self-Assertion...

... by aesthetic experience, specifically of Wagne- rian opera, in the identity formation of the young Hitler—to suggest a larger question: to what extent should we think of the Hitler movement as a con- tinuation, to paraphrase Carl von Clausewitz, of aesthetics by other means? Many issues with far...

... in Musica Ficta. Lacoue- Labarthe follows Adorno’s reading of Schoenberg’s opera Moses and Aaron in its minute detail, agrees with it for most of the time, but comes to a dis- agreement only in reference to the localization of the caesura in Schoen- berg’s unfinished opera. Like Lacoue-Labarthe, Adorno...

... extension of the hero’s vocal cords that literally instrumentalizes the voice as a kind of metaphysical megaphone. Such a voice, according to Carolyn Abbate, is akin to “an opera singer’s dream” of long-distance transmission, of a “singing that travels far from the body in which it originated...

..., “the individual seeks to avert his own destruction by identifying with that power and then rationalizing the change of direction as authentic fulfill- ment.” This identification with the aggressor revealed itself not only in the composer’s cruel sense of humor with houseguests but in his operas as well...

... level of artistic and cultural preservation in the first German state of workers and farmers.” 23 On Augustus Square, the Gewandhaus joined other, newly erected buildings—for example, the opera (1960) and the thirty-four-story university high-rise designed like an opened book (1973)—to represent...

... historical precursors, there are among modern composers, with the exception of Gioachino Rossini in the world of opera, few parallels with the Mahler revival. The history of Mahler reception is marred by a willful erasure from the repertoire coincident with the period of National Socialism in German...

... by a collection of Kluge’s counterhistories and “opera stories” published in English in 2018. 4 Other special interlocutors included Susan Buck-Morss, well known for, among other things, her seminal insights into Walter Benjamin and the Frankfurt School of Critical Theory; Richard Langston, one of the founding...

..., let alone translated or commented on, in the literature. Focused on Mascagni’s famous 1890 opera Cavalleria rusticana , it imaginatively revisits the foreign landscape of cooled lava while presaging Aesthetic Theory ’s commentary on the kitschification of the Kulturlandschaft : Throughout its...

... featured footage from his work for television from 1995 to 2005. The Filmmuseum in Munich later made this program available as part of a two-disc DVD box set titled Die Macht der Gefühle and Serpentine Gallery Program (2007). Kluge’s work has also been screened alongside opera performances in another...

... Auschwitz? 297. 64 Reflections on Suffering In his essay “The Opera Wozzeck,” Adorno revisits the theme of expres- sionless expression, which “has its authentic application in the most powerful moments of the musical—where music attains imageless presence. All expres- sionless music that fails...

... and of philosophical argument. He studied composition with the Viennese modernist composer Alban Berg and produced a respectable body of musical compositions, including an intriguing (unfinished) opera project, Der Schatz des Indianer-Joe (The Treasure of Indian Joe), based on the writings of Mark Twain...

... a premonition of the Oklahama theater and the way it dissolves all boundaries. The balcony from which Karl views this turmoil belongs to an opera diva, Brunelda, who forces Karl to look down at the parade through opera glasses. Karl, however, can see nothing through these narrow glasses—to Brunelda’s great...

... of the classically symphonic.” 37 If there is a later equivalent of Christ’s Passion, which had once been capable of musical expression with still-sacred intent by Bach, it appeared, so Adorno argued in 1929, in Alban Berg’s human-all-too-human opera Wozzeck . The very character of the work, Adorno wrote...

... was a strange admixture of opera buffa and, if not exactly Chaplin, then certainly a befuddled Jack Benny as Hitler in Ernst Lubitsch’s To Be or Not to Be. What made the whole sorry affair even sorrier was the director’s attempt to incorporate history into the fi lm in the form of montage cuts from...