Book contents
- Harrison Birtwistle's Operas and Music Theatre
- Series page
- Harrison Birtwistle's Operas and Music Theatre
- Copyright page
- Dedication
- Contents
- Plates
- Acknowledgements
- A note on the text
- 1 The roots of Birtwistle's theatrical expression: from Pantomime to Down by the Greenwood Side
- 2 Punch and Judy: parody, allusion and the grotesque
- 3 The Mask of Orpheus: ‘lyrical formalism’, time and narrative
- 4 Yan Tan Tethera: pastoral labyrinths and the scene–agent ratio
- 5 The shadow of opera: dramatic narrative and musical discourse in Gawain
- 6 ‘A face like music’: shaping images into sound in The Second Mrs Kong
- 7 Corporeal music: Bow Down, The Io Passion and The Corridor
- 8 The Last Supper and The Minotaur: eyes ‘half filled and half deserted’
- Bibliography
- Index
Index
Published online by Cambridge University Press: 05 November 2012
Book contents
- Harrison Birtwistle's Operas and Music Theatre
- Series page
- Harrison Birtwistle's Operas and Music Theatre
- Copyright page
- Dedication
- Contents
- Plates
- Acknowledgements
- A note on the text
- 1 The roots of Birtwistle's theatrical expression: from Pantomime to Down by the Greenwood Side
- 2 Punch and Judy: parody, allusion and the grotesque
- 3 The Mask of Orpheus: ‘lyrical formalism’, time and narrative
- 4 Yan Tan Tethera: pastoral labyrinths and the scene–agent ratio
- 5 The shadow of opera: dramatic narrative and musical discourse in Gawain
- 6 ‘A face like music’: shaping images into sound in The Second Mrs Kong
- 7 Corporeal music: Bow Down, The Io Passion and The Corridor
- 8 The Last Supper and The Minotaur: eyes ‘half filled and half deserted’
- Bibliography
- Index
- Type
- Chapter
- Information
- Harrison Birtwistle's Operas and Music Theatre , pp. 457 - 469Publisher: Cambridge University PressPrint publication year: 2012