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| | Russian Opera and the Symbolist Movement: INTRODUCTION |
 | | This book concerns the efforts of Russian composers to create Symbolist operas, efforts that were evaluated in their own time as successes, as failures, and, perhaps most frequently, as successful failures. |
 | | In the chapter, I argue that the opera is a parody of a parody, an amplification, in short, of the stylistic and thematic transgressions of the roman-à-clef. |
 | | In his opera, the outwardly self-assured hero Ruprecht stumbles from confusion to confusion, the occult practitioner Agrippa of Nettesheim is exposed as a pretender, and the heroine Renata waits in vain for a superhuman entity to liberate her from the confines of a subhuman reality. |
| www.ucpress.edu /books/pages/9385/9385.intro.html (11986 words) |
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