Книга Пять прямых линий. Полная история музыки - Эндрю Гант
Шрифт:
Интервал:
Закладка:
912
Matthias Brzoska, ‘Meyerbeer: Robert le Diable and Les Huguenots’, in David Charlton (ed.), The Cambridge Companion to Grand Opera (Cambridge: Cambridge University Press, 2003), p. 192.
913
Berlioz, The Memoirs of Hector Berlioz, p. 513.
914
Gottfried Samuel Fraenkel, ‘Berlioz, the Princess and Les Troyens’, in Music & Letters vol. 44, no. 3 (July 1963), p. 249–256.
915
Berlioz, The Memoirs of Hector Berlioz, p. 452.
916
Abbate and Parker, p. 280.
917
Edith Wharton, The Age of Innocence (1920; Oxford: Oxford World’s Classics, 2008), p. 4.
918
Убийство на почве страсти (фр.).
919
Mina Curtiss, Bizet and His World (London: Secker & Warburg, 1959), p. 391.
920
Winton Dean, Georges Bizet: His Life and Work (London: J. M. Dent, 1965), p. 115.
921
Curtiss, p. 391.
922
См. Julian Barnes, The Man in the Red Coat (London: Jonathan Cape, 2019), p. 28.
923
Philip Ross Bullock, Pyotr Tchaikovsky (London: Reaktion Books, 2016), p. 67.
924
«Волшебная история», «высокий музыкальный фарс», «романтическая опера» (фр.).
925
Jules Massenet, H. V. Barnett (trans.), My Recollections (London: Small, Maynard, 1919), ch. 3.
926
Letter to Minna, Berlin (1837); см. Richard Wagner, Stewart Spencer and Barry Millington (eds. and trans.), Selected Letters of Richard Wagner (London: J. M. Dent, 1987), p. 45.
927
Richard Taruskin, ‘The Stone Guest and Its Progeny’, in Opera and Drama in Russia as Preached and Practiced in the 1860s (Rochester, NY: University of Rochester Press, 1981), p. 258.
928
Lyle K. Neff, Story, Style, and Structure in the Operas of César Cui (doctoral thesis, Indiana University, 2002).
929
Цит. по: Стравинский И. Музыкальная поэтика. С. 125.
930
Igor Stravinsky, Poetics of Music in the Form of Six Lessons (Cambridge, MA: Harvard University Press, 1947), ch. 5.
931
Derek Katz, ‘Two Czech Operas, Rarely Performed’, The New York Times (19 August 2001).
932
Bryan Magee, Aspects of Wagner (rev. edn, Oxford: Oxford University Press, 1988), p. 32.
933
Цит. по: Ницше Ф. Полн. собр. соч.: В 13 т. М.: Культурная революция, 2005. Т. 6. С. 332.
934
Friedrich Nietzsche, Nietzsche contra Wagner (1889).
935
Magee, p. 48.
936
Callow, p. xv.
937
Magee, p. 32.
938
Там же.
939
Friedrich Nietzsche, Götzen-Dämmerung, oder, Wie man mit dem Hammer philosophiert (The Twilight of the Idols) (1889), ch. 10.
940
Roger Allen, Wilhelm Furtwängler: Art and the Politics of the Unpolitical (London: Boydell Press, 2018), p. 3.
941
Callow, p. 177.
942
Richard Wagner and Franz Liszt, Francis Hueffer (trans.), Correspondence of Wagner and Liszt, 1841–1853 Volume 1 (1888; Cambridge: Cambridge University Press, 2010), p. 175.
943
Callow, p. xx.
944
Там же, p. 20.
945
Там же, p. 44.
946
Franz Lachner (Munich 1864); see ‘In Focus: Richard Wagner, Der fliegende Holländer’, essay for the New York Metropolitan Opera production (March 2020).
947
Ernest Newman, Wagner Nights (3rd edn, London: The Bodley Head, 1968), p. 203 n.
948
Callow, p. 64.
949
Собственное программное описание Вагнера, цит. по: Newman, p. 137.
950
См. Christopher A. Reynolds, Wagner, Schumann, and the Lessons of Beethoven’s Ninth (Oakland, CA: University of California Press, 2015), p. 80.
951
Callow, p. 77.
952
Abbate and Parker, p. 290.
953
Цит. по: Вагнер Р. Избранные работы. С. 181, 183, 237.
954
Richard Wagner, Das Kunstwerk der Zukunft (1849), in Strunk, Treitler (ed.), p. 147, 148, 160.
955
Magee, p. 15.
956
Callow, p. 154.
957
Allen, p. 68.
958
Richard Wagner, John Deathridge (trans.), The Ring of the Nibelung (London: Penguin Classics, 2019), p. 409.
959
Newman, p. 428.
960
Wagner, Deathridge (trans.), p. xxxvii.
961
Richard Wagner, Andrew Porter (trans.), The Ring of the Nibelung (London: Faber & Faber, 1977), p. xvii.
962
Abbate and Parker, p. 362.
963
W. Beatty-Kingston, ‘Our Musical Box’ (1 May 1882), in Clement Scott (ed.), The Theatre (London: Charles Dickens and Evans, Crystal Palace Press, 1882), p. 293.
964
Claude Debussy in Le Figaro (1902); см. Emily Kilpatrick, ‘The “calling cards” of L’Heure espagnole’, in The Operas of Maurice Ravel (Cambridge: Cambridge University Press, 2015), p. 145–171.
965
Newman, p. 8.
