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Wagner, Richard, --- Heroes in opera --- Opera

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European drama --- Heroes in literature --- Heroes in opera --- Mythology, Greek, in literature --- History and criticism --- Mythology [Greek ] in literature --- Congresses

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"Bien ancré dans l'actualité de son époque, l'opéra sauvetage se développe rapidement en France durant la Révolution de la fin du XVIIIe siècle pour rapidement passer de mode sous l'Empire. Évoluant principalement dans le genre de l'opéra-comique, ce type d'ouvrage lyrique incarne pleinement la devise "liberté, égalité, fraternité" des nouveaux citoyens français. Les intrigues des opéras sauvetage s'inspirent en effet fréquemment de faits historiques ou de faits divers contemporains mettant en avant l'héroïsme des personnages principaux face à leurs oppresseurs. Le geste de libération à la fin de chaque opéra sauvetage, généralement exécuté par un groupe représentant le peuple, s'inscrit parfaitement dans l'idéologie du mouvement révolutionnaire. Ce désir de mettre sur un pied d'égalité les individus de tous les horizons permit à ce répertoire lyrique de rencontrer un véritable succès en son temps."--Page 4 of cover.

Opera --- Opéra comique --- Political aspects --- Themes, motives. --- Opéra comique --- Heroes in opera --- France --- History --- Music and the revolution --- Influence --- Opéra comique - France --- France - History - Revolution, 1789-1799 - Music and the revolution --- France - History - Revolution, 1789-1799 - Influence

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The retired psychiatrist and former music graduate John Cordingly examines twelve operatic heroes under six sub-categories of personality disorder. He justifies his view that they are not 'mad' by tracing the histories of mental disorder, sexuality and Byronism, and by placing each opera within its cultural context. He also considers what professional treatment is needed according to modern criteria.

His gallery of heroes includes the hubristic Otello and Godunov, the psychopathic Iago and Claggart, the schizoid Wozzeck and Grimes, the borderline Werther and Herman, the narcissisticDon Giovanni and Onegin, and the repressed and melancholic Faust and Aschenbach. Each is considered within the overall design of their respective work. Cordingly also probes the reception of each opera and draws comparisons with cases from life. The book is a landmark in being the first of its kind and weaves a fascinating tapestry of concerns. It is also eminently readable.

JOHN CORDINGLY (author) is a Fellow of the Royal College of Psychiatrists. CLAIRE SEYMOUR (editor) is Head of Senior College at Queen's College London and the author of The Operas of Benjamin Britten [Boydell Press].

Heroes in opera --- Opera --- Comic opera --- Lyric drama --- Opera, Comic --- Operas --- Drama --- Dramatic music --- Singspiel --- Psychological aspects. --- History and criticism --- Byronism. --- character analysis. --- cultural contexts. --- mental disorder. --- mental health. --- opera. --- operatic analysis. --- operatic heroes. --- personality disorder. --- professional treatment. --- psychiatric report. --- psychological analysis. --- sexuality.