By Linda Hutcheon,Michael Hutcheon
Giuseppe Verdi (1813–1901), Richard Strauss (1864–1949), Olivier Messiaen (1908–92), and Benjamin Britten (1913–76) all wrote operas past due in existence, items that demonstrate exact responses to the demanding situations of ageing. Verdi’s Falstaff, his simply comedic luck, combated Richard Wagner’s impact by means of introducing younger Italian composers to a brand new version of nationwide track. Strauss, however, being affected by own and political difficulties in Nazi Germany, composed the self-reflexive Capriccio, a “life overview” of opera and his personal legacy. notwithstanding it exhausted him bodily and emotionally, Messiaen on the age of seventy-five finished his in simple terms opera, Saint François d’Assise, which marked the top of his profession. Britten, in the meantime, being affected by cardiovascular disease, refused surgical procedure until eventually he had accomplished his masterpiece, Death in Venice. For all 4 composers, age, faraway from sapping their artistic energy, supplied impetus for a few of their most sensible accomplishments.
With its deft therapy of those composers’ ultimate years and works, Four final Songs offers a necessary examine the challenges—and opportunities—that current themselves as artists develop older.
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