02358cam a22003253u 450000100060000000300070000600500170001300600020003000700050003200800410003701000130007804000110009104100170010205000070011910000330012624500530015926400510021230000470026333600260031033700260033633800360036250000310039850501610042950802060059052011210079653400450191765300100196285600430197299900170201538268UtSlPG20260610133855.0mcr n260607r2011||||utu|||||o|||||||||||||| d  a09003317  aUtSlPG 7aen2iso639-1 4aML1 aGilman, Lawrence,d1878-193910aAspects of Modern Opera: Estimates and Inquiries 1aSalt Lake City, UT :bProject Gutenberg,c2011  a1 online resource :bmultiple file formats  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  aRelease date is 2011-12-100 aIntroductory: The Wagnerian aftermath -- A view of Puccini -- Strauss' "Salome": its art and its morals -- A perfect music-drama [Pelléas et Mélisande].  aProduced by Linda Cantoni and the Online Distributed
Proofreading Team at https://www.pgdp.net (This file was
produced from images generously made available by The
Internet Archive/American Libraries.)  a"Aspects of Modern Opera: Estimates and Inquiries" by Lawrence Gilman is a critical examination of modern operatic art, likely written in the early 20th century. The book discusses the influence of figures like Wagner, Puccini, and Strauss on contemporary opera, analyzing their contributions and the subsequent developments in the genre. It explores the evolution of operatic expression and the tensions between music and drama in modern works.  The opening of the text sets the stage for an in-depth inquiry into the aftermath of Wagner's impactful legacy on opera. Gilman reflects on the general decline of creative vitality in opera after Wagner's death, suggesting that while his influence has been substantial, it has also stifled originality among his successors. He critiques the limitations of several composers, particularly in the context of their inability to break free from Wagnerian principles, ultimately leading to a discussion of the few artists—like Puccini and Strauss—who successfully navigate their own paths in the evolving landscape of opera. (This is an automatically generated summary.)  nOriginal publication data not identified  aOpera40uhttps://www.gutenberg.org/ebooks/38268  c79107d79107