Пять прямых линий. Полная история музыки - Эндрю Гант

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.