Abstract: Entrances, Set Pieces, and Exits: Reflections on the Structure of Verdi\u27s Otello

Abstract for a paper given at a joint meeting of the American Institute for Verdi Studies and the Greater New York chapter of the American Musicological Society, Feb. 4, 1989

Graduate Sessions 6: Televisuality

The Televisuality symposium was organized by Jon Yoder and the students of Architectural Theory + Design Research, a core component to the graduate curriculum in the School of Architecture

Abstracts

Abstracts of papers about Giuseppe Verdi and his works, presented at joint meetings of the AIVS and Greater NY Chapter of the American Musicological Society, 1979-81 (Hepokoski, Lawton, Chusid, Hornick, Nádas, Tomlinson, Garrison, Powers), at the 1982 national meeting of the American Musicological Society (Harwood), and at an NEH-sponsored summer seminar at NYU in 1980 (Beams, Cole, Cordell, Davis, Fry, King, Mason, McCauley, Town)

Unsound Seeds

With this image of a curtain hiding and at the same time heightening some terrible secret, Max Kalbeck began his review of the first Viennese performance of Richard Strauss’s Salome. Theodor W. Adorno picked up the image of the curtain in the context of Strauss’s fabled skill at composing non-musical events, when he identified the opening flourish of Strauss’s Salome as the swooshing sound of the rising curtain. If this is so, the succès de scandale of the opera was achieved, in more than one sense, as soon as the curtain rose at Dresden’s Semperoper on 10 December 1905. Critics of the premiere noted that the opera set ‘boundless wildness and degeneration to music’; it brought ‘high decadence’ onto the operatic stage; a ‘composition of hysteria’, reflecting the ‘disease of our time’, Salome is ‘hardly music any more’.The outrage did not end there