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Między wizją a praktyką. Początki niemieckiej opery romantycznej w ujęciu E.T.A. Hoffmanna

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Kornatowska B.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2019
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vol. 52
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issue 1
401-413
EN
This article is devoted to the theory of new German opera created by E.T.A Hoffmann and the first attempt to putting it into practice. His short story entitled The Poet and the Composer (1813) and released in the Leipzig “Allgemeine Musikalische Zeitung” is a romantic opera, written in two voices, which draws inspiration from the supernatural world and aims at a coherent poetic vision. E.T.A Hoffmann realised in Undine (1816) some of the postulates articulated in the analysed short story and in the correspondence from that time, using Friedrich de la Motte Fouqué’s libretto based on the fairy tale novella bearing the same title, thereby showing the way to further development of the genre.
PL
Artykuł poświęcony jest stworzonej przez E.T.A. Hoffmanna teorii nowej opery niemieckiej oraz pierwszej próbie przełożenia jej na praktykę. Jego opowiadanie Poeta i kompozytor (1813), które ukazało się na łamach lipskiej „Allgemeine Musikalische Zeitung”, to rozpisany na dwa głosy program opery romantycznej, która ma czerpać inspirację ze świata nadprzyrodzonego, a także dążyć do spójnej poetyckiej wizji. Część postulatów wyartykułowanych w analizowanym opowiadaniu oraz w korespondencji z tamtego czasu E.T.A. Hoffmann zrealizował w Ondynie (1816) do libretta Friedricha de la Motte Fouquégo na podstawie baśni literackiej pod tym samym tytułem, wytyczając tym samym kierunek dalszego rozwoju gatunku.
2
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Sielanka – dualizm – katastrofa. O związku tytułowego bohatera Cierpień młodego Wertera J. W. Goethego z naturą

100%
Kornatowska B.
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
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2023
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issue 12
187-200
EN
This article explores a reading of J. W. Goethe’s novel The Sufferings of Young Werther in terms of the protagonist’s relationship with nature. The chronological analysis of Werther’s nature writings incorporated in his letters to Wilhelm addresses his experiences, attitudes, feelings and reactions in relation to the natural world, their influence on his views, as well as the relationship between Werther’s individualism and social position and his ecological awareness. Werther sees nature either as an aesthetic object and a source of authenticity and freedom, or as a destructive force that threatens man. From this perspective, it appears that the source of the protagonist’s predicament and tragic end is his inability to apprehend the full scope of nature, the overwhelming effect of a dualistic view that makes him perceive nature as either unilaterally benevolent and auspicious or, radically destructive and causing decay.
PL
Artykuł poświęcony jest lekturze powieści J. W. Goethego Cierpienia młodego Wertera pod kątem relacji tytułowego bohatera z naturą. W chronologicznej analizie nature writing Wertera w listach do Wilhelma uwzględnione zostały jego przeżycia, postawy, uczucia i reakcje związane ze światem natury, ich wpływ na jego poglądy, a także związki między indywidualizmem i pozycją społeczną Wertera a jego ekologiczną świadomością. Werter postrzega naturę albo jako obiekt estetyczny i źródło autentyczności oraz wolności, albo jako niszczycielską siłę zagrażającą człowiekowi. Z tej perspektywy okazuje się, że źródłem problemów i tragicznego końca bohatera jest jego nieumiejętność objęcia świadomością pełni natury, przemożny wpływ dualistycznego poglądu, który każe mu odbierać naturę jako radykalnie korzystną i dobroczynną lub pochłaniającą, poddającą wszystko rozkładowi.
3
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„Nie wierz tak niedorzecznej baśni” . O tożsamości postaci „Królewny Śnieżki” Roberta Walsera i Heinza Holligera

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Kornatowska B.
Poznańskie Studia Polonistyczne. Seria Literacka
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2022
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issue 42
171-184
EN
This article is devoted to the characters in Heinz Holliger’s opera Snow White (1998) based on Robert Walser’s dramolette (1901) of the same title. Taking into account the chronology of the plot, the analysis and interpretation focuses on the evolution of the relationships of the characters struggling with the baggage of a difficult past written in the Grimms’ fairy tale. Snow White, the Queen, the Prince and the Huntsman juggle with each other’s versions of events, swapping positions at the expense of the characters’ individual contours, succumbing to the changeability of their feelings and opinions, not stopping in their search for a post-tale identity which would allow them to coexist harmoniously. The discussion emphasises the psychoanalytical approach and criticism of language characteristic of the period in which the dramolette was written. The interpretation of the libretto is complemented by the presentation of selected musical aspects, corresponding with the character of Walser’s text and determining the final meaning of the operatic work.
4
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Hans Werner Henze, Ingeborg Bachmann: „Der Prinz von Homburg”. Operowa adaptacja dzieła Kleista

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Kornatowska B.
Przestrzenie Teorii
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2012
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issue 18
41-50
EN
The article aims at showing how complex can be the relationship between literary prototype and operatic work. It analyses the adaptation of Heinrich von Kleist’s drama by two outstanding postwar artists: the Austrian author Ingeborg Bachmann (1926–1973) and the German composer Hans Werner Henze (1926–2012). They not only adjust the dramatic text to the needs of the operatic medium. They also, very much in the spirit of their times (1958), try to rethink, to “save” as they put it, a work of art misused by the ideology of Wilhelminism and the Third Reich. In their interpretation they turn their back on military and political content of the drama, focus their attention on the person of the Prince, glorifying him as a dreamer and outsider.
5
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Wspomnienia głosem pisane. O autobiografiach śpiewaków

100%
Kornatowska B.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2012
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vol. 16
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issue 2
140-154
EN
The article Memories sung in words — singers' autobiographies aims at identifying main topics and patterns present in autobiographical writings of classical singers. Discovering of vocal talent and musicality, desire to become a singer, role of voice teachers and men-tors (conductors, stage directors etc.), highlights of the career, fears and failures, vocal crises, dealing with criticism and negative judgements, daily routines aimed on vocal fitness, balancing private and professional life, cultural and historical background — all these aspects are discussed here on two remarkable examples: ... und ich wäre so gern Primadonna gewesen. Erinnerungen (Berlin 1994, English: In My Own Voice. Memoirs. New York 2009) by Christa Ludwig, one of the greatest mezzo-sopranos of postwar opera, and Zeit eines Lebens. Auf Fährtensuche (Stuttgart 2000) by Dietrich Fischer-Dieskau, one of the most famous Lieder performers, often called in Germany ‘the voice of the 20th cen-tury’. Verbalizing the universe of their artistic and life experience they both express the essence of being a classical singer: ‘The singing profession is slavery! It only looks easy and enviable from the outside. You are showered with bravas and blossoms [...], but from the beginning the sword of Damocles always hangs over your head. After a certain age you no longer have the ease, and your voice is no longer as radiant. Indeed, you must stop singing just at the time when you finally know what singing is all about’ (Christa Ludwig, In My Own Voice. Memoirs).
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