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Musical narration, performance and excess; the creation of horror in the Swedish opera Tintomara by Lars Johan Werle
Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.ORCID iD: 0000-0003-1731-0366
(English)In: Act: Zeitschrift für Musik & Performance, ISSN 2191-253X, E-ISSN 2191-253XArticle in journal (Refereed) Accepted
Abstract [en]

Lars Johan Werle and Leif Söderström’s opera Tintomara (Stockholm 1973) is characterized by a montage of musical styles. This article examines how the music, by means of this technique, not only oscillates between the roles of narration and performance, but also serves to create shock and surprise. Taking Werle’s experience as a film music composer in the 1960s into consideration, I suggest that the opera can be read as a combination of opera aesthetics and the aesthetics of horror film music. The music adds a level of meaning not only to the meanings created by verbal and visual media, but also to Carl Johan Love Almqvist’s novel The Queen’s Tiara, on which the libretto is based.

Keyword [en]
opera, narrativity, performance theory
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URN: urn:nbn:se:su:diva-124446OAI: diva2:888438
Barocken som estetik och experiment i opera efter 1960. Lars Johan Werles musikdramatiska produktion analyserad och tolkad utifrån begreppet performativitet
Swedish Research Council
Available from: 2015-12-22 Created: 2015-12-22 Last updated: 2016-01-28

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Ethnersson Pontara, Johanna
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