Staging Mozart's Women

Allanbrook, Wye Jamison; Hunter, Mary; Wheelock, Gretchen A.

doi:10.1515/9781400866717-005

Cited by 2 publications

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“…Our unease with the racism surrounding the figure of Monostatos is not limited to the classroom. Contemporary American producers, too, feel the need to do something with his uncomfortable stereotyping, something that they attempt to remedy with the staging of the opera (Allanbrook, Hunter, Wheelock in Smart, ). In American performances, the word black is often indelicately changed to ugly, and the skin of the character himself is often changed to another color: recent productions have presented him as orange, blue, and green.…”

Section: Monostatos: Pity or Disdain?mentioning

confidence: 99%

Beyond the Glockenspiel: Teaching Race and Gender in Mozart's Zauberflöte

Howards

2014

Die Unterrichtspraxis

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Die Zauberflöte is simultaneously one of Mozart's most accessible and most complex operas. Yet while this duality makes it a potentially valuable cultural artifact for the language classroom, students' unfamiliarity with both its operatic genre and Enlightenment context can pose a challenge to teachers. This article functions as a historical backdrop and teaching guide, offering a focused look at the opera's treatment of two of its central themes that remain relevant today: gender and race. By comparing the treatment of these social issues seen in Der Zauberflöte and with contemporary German pop songs, we can help students peer beyond the surface‐level entertainment of the opera, giving them both a richer understanding of its Enlightenment context while adding a new layer with which to understand contemporary German and U.S. culture.

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Section: Monostatos: Pity or Disdain?mentioning

confidence: 99%

Beyond the Glockenspiel: Teaching Race and Gender in Mozart's Zauberflöte

Howards

2014

Die Unterrichtspraxis

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Kramer

2015

The Oxford Handbook of Opera

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The distinguishing resource of meaning in opera is operatic voice—not only opera’s most obvious feature but also the source of its generic identity. To a large extent this voice defines itself as a force of rupture, something nearly impossible for other vocal modalities to assimilate or appropriate. Opera as a genre depends on the difference between its own mode of vocalization and any other. For that reason, the self-reflexive staging of opera’s dependence on this singular voice is also a primary generic feature. Opera recurrently gazes at itself through the mirror of its voice. The potentials and perplexities of this self-marking, or “re-marking,” take exemplary form in scenes from Mozart’s Don Giovanni, Wagner’s Tannhäuser, and John Adams’s Doctor Atomic.

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Staging Mozart's Women

Cited by 2 publications

References 0 publications

Beyond the Glockenspiel: Teaching Race and Gender in Mozart's Zauberflöte

Beyond the Glockenspiel: Teaching Race and Gender in Mozart's Zauberflöte

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