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Opera, as a stage and acting genre, also uses theatrical elements (costumes, dramaturgy, etc.) to convey the work. Opera composers typically use musical symbols as well. I collected these devices of Péter Eötvös’ best-known opera in my study based on literature research. Dramaturgically divided into three sequences, the work always examines its relationship with the other two central figures from the point of view of the central figure of the given part. One of the musical cornerstones of this is changing the internal relationships of triads. The two extreme notes of the triad are always constant (distance of a fifth), but the note located between them characterizes not only the quality of the chord, but also the state of the character connected to it. The unstable balance and reorganization of relationships is well represented by this construction principle. The author also uses the third-parallel, known since Mozart, as a classical musical representation of love. The choices of instrument also have symbolic power. The Prozorov family is represented by the group of woodwind instruments. A kind of irony on the part of the author is the use of cow bells to depict the behavior of the disgusting and unbearable Natasha. Soldiers are naturally represented by brass. Although Solioniy is a soldier, he is not accompanied by brass instruments, but by percussionists, hinting at his personality. The characters speak in different ways of the human voice. From prose to sung speech through to the melodies, there are all kinds of expressions of emotion. [ABSTRACT FROM AUTHOR]

This article argues that operatic attention to myth has evolved in new directions in recent years, in counterpoint to a trend for representing recent historical and celebrity narratives on stage. I analyze Péter Eötvös's opera Paradise Reloaded (Lilith) as an example of composers engaging 'distant pasts' as a vehicle to interrogate political presents. Using Jewish and secular myths of Lilith, Milton's Paradise Lost, and Imre Madách's The Tragedy of Man, Eötvös and librettist Albert Ostermaier construct a feminist-philosophical exploration of knowledge and truth, reflecting themes in modern European society from refugee crises to Putin's Russia. My approach is three-fold: I suggest that their musical and narrative modes both parody and rely on operatic conventions, centered on the transformation of Lilith from demon-seductress to protagonist. I locate the opera's utopian/dystopian soundworld in a lineage of 20th century European approaches to satire, irony, and the grotesque in music, exemplified in Shostakovich and Ligeti, drawing on Esti Sheinberg's theoretical framework. I situate this study within the 'living archive' of contemporary opera: the contrasting aesthetics of the opera's three key stagings -- Neue Oper Wien (2013), Theater Chemnitz (2015), and Theater Bielefeld (2020) -- and my interviews with Eötvös, Ostermaier, and others involved. Finally, I position Eötvös's own history as a lens to evaluate intersecting musical and political identities, engaging especially Anna Dalos and Rachel Beckles Willson's work on post-Cold War Central European composers. Ultimately, I propose that Paradise Reloaded offers a revival of Lilith mythology for the 21st century, demanding attention to how opera can navigate a dialectic of dystopian/utopian pasts, presents, and futures. [ABSTRACT FROM AUTHOR]

Presents news briefs related to music in the U.S. as of June 2006. Decision of Peter Eötvös, a composer and conductor of international stature, to deposit his working papers in the Paul Sacher Foundation in Basle; Launch of Informed Librarian Online's ILOSearch, a database index of articles from library periodicals designed to help library professionals keep up with their professional reading; Collection of marching band and drill team materials available for public use, offered by the Indiana University of Pennsylvania Music Library.

The article focuses on sordid tales of academic life with money laundering and human rights photographer Claudia Andujar or the classical composer Peter Eötvös or the translation of writers such as W.G. Sebald or Jenny Erpenbeck. It mentions antebellum colleges and universities are free of fortunes made on the back of Native Americans or slaves. It also mentions government funding created critical scholars or that there were not struggles over the soul of the university during the Cold War.

An atmosphere of sadness, anger and uncertainty dominated this year's Donaueschinger Musiktage. The passing in November 2014 of Armin Köhler, the artistic driving force behind the festival for the last 23 years, has left a hole that will be hard to fill. Meanwhile, due to state budget cuts Donaueschingen's orchestra-in-residence, the SWR Sinfonieorchester Freiburg und Baden-Baden, paid what will almost certainly be their final visit. Musically, however, it was business as usual, with the programme featuring a wide variety of world premieres, several of works that will certainly be heard many times again, alongside much experimentation of varying interest and executional success. [ABSTRACT FROM PUBLISHER]

An interview with Hungarian composer and conductor Péter Eötvös is presented. When asked about the meaning of being a Transylvanian, he describes it as belonging to a home that is a bit different from home. He argues that he created a self-image that made him feel secure without having any consequences. He also presents a brief background of his life as a musician.