<\/p>\n
The Genealogy of the \u201cM\u00e4rchenoper\u201d in German Music of Romanticism: With a focus on E. Humperdinck: YAMAMOTO, Mariko<\/h3>\nAbstract<\/strong><\/h5>\n![\"\"](\"https:\/\/www.waseda.jp\/inst\/cro\/assets\/uploads\/2024\/11\/bcc7cfdaf927b947f369aabd9c69897c-3.jpg\")
The term \u201cM\u00e4rchenoper\u201d (\u201cfairy-tale operas\u201d) is narrowly defined as \u201coperas based on M\u00e4rchen (fairy tales),\u201d but in a broader sense it can be understood as \u201coperas that include elements such as materials from folklore, the appearance of fairies, and magic.\u201d The most widely known M\u00e4rchenoper is probably Engelbert Humperdinck\u2019s \u201cHansel and Gretel.\u201d<\/p>\n
In view of the historical and regional differences and changes in M\u00e4rchenoper, this presentation will focus especially on \u201cHansel and Gretel\u201d and Humperdinck\u2019s other operas from two perspectives: 1) folklore culture and Grimms\u2019 fairy tales in 19th-century German culture; and 2) historical developments regarding R. Wagner\u2019s music dramas. This will help highlight the multi-layered characteristics of M\u00e4rchenoper in the German-speaking world. At the same time, I would like to approach the reality of M\u00e4rchenoper by focusing on the actual performance of M\u00e4rchenoper from the perspective of opera reception.<\/p>\n
<\/p>\n
Profile of Presenter<\/h5>\n
![\"\"](\"https:\/\/www.waseda.jp\/inst\/cro\/assets\/uploads\/2024\/11\/5185160b219fb0dd3ce8d18b08713c6a-2-610x441.jpg\")
Mariko YAMAMOTO is a professor at Seitoku University and is on the board of directors of Japan Vocalists Forum. She studied singing and then musicology at Kunitachi College of Music, Ochanomizu University, and the Musicological Institute at the University of Hamburg (as a DAAD Scholar). She received her Ph.D. in musicology at Ochanomizu University. Her research interests are Gustav Mahler\u2019s symphonic and vocal works as well as German Romantic operas. She is a co-author of the book Choiki suru Ikai<\/em> (Beyond the boundaries of the other world<\/em>) (2013). Her recent articles include \u201cOn the autograph letter of G. Mahler (1889) in the collection of Seitoku University and his musical activities at that time,\u201d (Ongaku Bunka Kenkyu<\/em> (Journal of Music Culture<\/em>), 23 (2024)).<\/p>\n <\/p>\n
Keywords Report: SATO, Suguru<\/h3>\nAbstract<\/h5>\n
This project examines the broadcast programs of the Salzburg Festivals, focusing primarily on their planning and impact on listeners, with a particular analysis of the years 1925 to 1938.<\/p>\n
\u25c7Keywords: Salzburg Festival \/ radio programs \/ Austria<\/p>\n
Profile of Speaker<\/h5>\n
Professor at Nihon University. Ph.D. (Literature). Visiting Research Fellow at the Waseda Institute for Research in Opera and Music Theatre. Special research fields: German Studies (Music and Literature). Sato is the author of \u201cClemens Krauss\u2019s Musical Activities of the 1930s in Berlin\u201d (2021) and \u201cA Study of the Radio Series \u201cUnsterbliche Musik deutscher Meister\u201d (1944\/45) in Nazi Germany\u201d (2023), translator of \u201cDas Reichsorchester. Die Berliner Philharmoniker und der Nationalsozialismus\u201d by Misha Aster (Joint translation, Japanese translation, 2009) and coauthor of \u201cHandbook for Opera and Music Theatre Studies – Reading Keywords\u201d (2017) and \u201cOpera and Music Theatre Studies Today – Dynamism of Creation and Spread\u201d (2021).<\/p>\n
Registration<\/strong>
\nRegistration is required by December 6th\u00a0 (Fri.). Please register through the following URL:
\nhttps:\/\/list-waseda-jp.zoom.us\/meeting\/register\/tJMsf-6hqzgtHtcUyCuHk4kMf9HIABosTMG7<\/a><\/p>\n*Please show your full name on the display, mute yourself, and turn off the video, except when talking; refrain from taking screenshots, recordings, etc., and follow the moderator\u2019s instructions.<\/p>\n
Contact<\/strong><\/h5>\nWaseda Institute for Research in Opera and Music Theatre (WIROM), Comprehensive Research Organization, Waseda University: https:\/\/prj-opera-mt.w.waseda.jp\/<\/u><\/p>\n
e-mail address: operaken-uketsuke[at]list.waseda.jp\u3000([at] = @)
\n(This information will be sent later by\u00a0Facebook <\/a>and X (Twitter).<\/a> You can see it there, too.<\/p>\n","protected":false},"excerpt":{"rendered":"\u25c7Time and Date\uff1aDecember 7th (Sat.) 2024, Research Report 16:30 – 18:00, Keywords Report 18:10 – 19 […]<\/p>\n","protected":false},"author":4,"featured_media":9946,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[95],"tags":[87,82,73],"class_list":["post-17617","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-en","tag-arts-en","tag-events-en","tag-research-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/17617","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/comments?post=17617"}],"version-history":[{"count":2,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/17617\/revisions"}],"predecessor-version":[{"id":17627,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/17617\/revisions\/17627"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/media\/9946"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/media?parent=17617"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/categories?post=17617"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/tags?post=17617"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
The term \u201cM\u00e4rchenoper\u201d (\u201cfairy-tale operas\u201d) is narrowly defined as \u201coperas based on M\u00e4rchen (fairy tales),\u201d but in a broader sense it can be understood as \u201coperas that include elements such as materials from folklore, the appearance of fairies, and magic.\u201d The most widely known M\u00e4rchenoper is probably Engelbert Humperdinck\u2019s \u201cHansel and Gretel.\u201d<\/p>\n
In view of the historical and regional differences and changes in M\u00e4rchenoper, this presentation will focus especially on \u201cHansel and Gretel\u201d and Humperdinck\u2019s other operas from two perspectives: 1) folklore culture and Grimms\u2019 fairy tales in 19th-century German culture; and 2) historical developments regarding R. Wagner\u2019s music dramas. This will help highlight the multi-layered characteristics of M\u00e4rchenoper in the German-speaking world. At the same time, I would like to approach the reality of M\u00e4rchenoper by focusing on the actual performance of M\u00e4rchenoper from the perspective of opera reception.<\/p>\n
<\/p>\n
Profile of Presenter<\/h5>\n
<\/p>\n This project examines the broadcast programs of the Salzburg Festivals, focusing primarily on their planning and impact on listeners, with a particular analysis of the years 1925 to 1938.<\/p>\n \u25c7Keywords: Salzburg Festival \/ radio programs \/ Austria<\/p>\n Professor at Nihon University. Ph.D. (Literature). Visiting Research Fellow at the Waseda Institute for Research in Opera and Music Theatre. Special research fields: German Studies (Music and Literature). Sato is the author of \u201cClemens Krauss\u2019s Musical Activities of the 1930s in Berlin\u201d (2021) and \u201cA Study of the Radio Series \u201cUnsterbliche Musik deutscher Meister\u201d (1944\/45) in Nazi Germany\u201d (2023), translator of \u201cDas Reichsorchester. Die Berliner Philharmoniker und der Nationalsozialismus\u201d by Misha Aster (Joint translation, Japanese translation, 2009) and coauthor of \u201cHandbook for Opera and Music Theatre Studies – Reading Keywords\u201d (2017) and \u201cOpera and Music Theatre Studies Today – Dynamism of Creation and Spread\u201d (2021).<\/p>\n Registration<\/strong> *Please show your full name on the display, mute yourself, and turn off the video, except when talking; refrain from taking screenshots, recordings, etc., and follow the moderator\u2019s instructions.<\/p>\n Waseda Institute for Research in Opera and Music Theatre (WIROM), Comprehensive Research Organization, Waseda University: https:\/\/prj-opera-mt.w.waseda.jp\/<\/u><\/p>\n e-mail address: operaken-uketsuke[at]list.waseda.jp\u3000([at] = @) \u25c7Time and Date\uff1aDecember 7th (Sat.) 2024, Research Report 16:30 – 18:00, Keywords Report 18:10 – 19 […]<\/p>\n","protected":false},"author":4,"featured_media":9946,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[95],"tags":[87,82,73],"class_list":["post-17617","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-en","tag-arts-en","tag-events-en","tag-research-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/17617","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/comments?post=17617"}],"version-history":[{"count":2,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/17617\/revisions"}],"predecessor-version":[{"id":17627,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/17617\/revisions\/17627"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/media\/9946"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/media?parent=17617"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/categories?post=17617"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/tags?post=17617"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Mariko YAMAMOTO is a professor at Seitoku University and is on the board of directors of Japan Vocalists Forum. She studied singing and then musicology at Kunitachi College of Music, Ochanomizu University, and the Musicological Institute at the University of Hamburg (as a DAAD Scholar). She received her Ph.D. in musicology at Ochanomizu University. Her research interests are Gustav Mahler\u2019s symphonic and vocal works as well as German Romantic operas. She is a co-author of the book Choiki suru Ikai<\/em> (Beyond the boundaries of the other world<\/em>) (2013). Her recent articles include \u201cOn the autograph letter of G. Mahler (1889) in the collection of Seitoku University and his musical activities at that time,\u201d (Ongaku Bunka Kenkyu<\/em> (Journal of Music Culture<\/em>), 23 (2024)).<\/p>\nKeywords Report: SATO, Suguru<\/h3>\n
Abstract<\/h5>\n
Profile of Speaker<\/h5>\n
\nRegistration is required by December 6th\u00a0 (Fri.). Please register through the following URL:
\nhttps:\/\/list-waseda-jp.zoom.us\/meeting\/register\/tJMsf-6hqzgtHtcUyCuHk4kMf9HIABosTMG7<\/a><\/p>\nContact<\/strong><\/h5>\n
\n(This information will be sent later by\u00a0Facebook <\/a>and X (Twitter).<\/a> You can see it there, too.<\/p>\n","protected":false},"excerpt":{"rendered":"