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In Search of After

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Arman Schwartz, University of Birmingham; A.Schwartz1@bham.ac.uk.

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1 See Badiou Alain, Five Lessons on Wagner, trans. Susan Spitzer (London, 2010).

2 On work concepts, see Lockhart Ellen, ‘Photo Opera: La fanciulla del West and the Staging Souvenir’, Cambridge Opera Journal 23 (2011), 146147; on politics, Deathridge John, ‘Waiting for Wagner: Reluctant Musicology, Radical Philosophy, and the Rescue of a Fraught Legacy’, Opera Quarterly 30 (2014), 267285.

3 See Smith Stephen Decatur, ‘Badiou and Wagner: From Fidelity to Prophecy’, Opera Quarterly 29 (2013), 335341, as well as the collection of position papers by Michael Gallope, Brian Kane, Naomi Waltham-Smith and Kenneth Reinhard that follow.

4 See Jankélévitch Vladimir, Music and the Ineffable, trans. Carolyn Abbate (Princeton, 2003).

5 Foster Hal, ‘What’s the Problem with Critical Art?’, review of Jacques Rancière, Aisthesis: Scenes from the Aesthetic Regime of Art, London Review of Books 35/19 (10 October 2013), 14.

6 Badiou , Five Lessons, 83.

7 Badiou , Five Lessons, 8283.

8 Badiou , Five Lessons, 83.

9 Smith Matthew Wilson, ‘A Note from the Guest Editor’, Opera Quarterly 30/2–3 (2014), 170.

10 Smith, ‘A Note’, 169.

11 See Smith Matthew Wilson, The Total Work of Art: From Bayreuth to Cyberspace (New York, 2007).

12 Smith , Total Work of Art, 3.

13 ‘Is Strauss perpetrating all of the time what Wagner, advised by Cosima, might have been doing at the end of Die Meistersinger, deflecting attention away from devastation by engaging us in a paean to holy German art?’ (104).

14 See boulezian.blogspot.co.uk.

15 Bekker Paul, The Changing Opera, trans. Arthur Mendel (London, 1935), 257.

16 It should also be said that Tristan’s Shadow suffers from remarkably poor copy editing. ‘Tragaldalbas’ and ‘Der geborgte Ehemann’ are given separate index entries. The claim, ‘As chapter 6 showed, operatic phantasmagoria depended on a particular operatic erotics’, surely refers to chapter 4 (‘Erotic Acoustics’) (190). Sentences at times seem to be missing words, leaving one to puzzle over proposals like, ‘But, in keeping with his divine attribute of fire, Loge is accurate messaging that can take place in signification (the subject of hermeneutics), but instead everything to do with the deception and distortion that can plague the signifying process’ (170).

17 See Davies James Q., Romantic Anatomies of Performance (Berkeley, 2014); and Dolan Emily I., The Orchestral Revolution: Haydn and the Technologies of Timbre (Cambridge, 2013).

18 Paige Kirsten, in Notes: Quarterly Journal of the Music Library Association 70 (2014), 708.

* Arman Schwartz, University of Birmingham; .

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Cambridge Opera Journal
  • ISSN: 0954-5867
  • EISSN: 1474-0621
  • URL: /core/journals/cambridge-opera-journal
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