Expressionist Opera in the Aftermath of the First World War and the Weimar Republic

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This project will explore the place of expressionist opera in Weimar culture. According to the standard account, expressionism in 1920s Germany was directly challenged by the Neue Sachlichkeit (new objectivity), which addressed current social issues in an appeal to the masses. This led to the increased popularity of the Zeitoper (opera of the times), which resonated with these apparently anti-expressionist ideas. Expressionist operas, however, were still prominent in what, following Peter Gay, has become known as Weimar culture and works such as Berg's 'Wozzeck' (1925) connected with audiences and proved commercially successful. However, Weimar-era expressionist operas have received limited scholarly attention compared to the Zeitoper, particularly in regard to their cultural context. Studying these works will help form a more comprehensive account of the period that challenges the dominant narrative. In order to gauge the position of expressionist opera within Weimar culture, I will explore the reception of three expressionist operas, consider the surrounding cultural debates towards expressionism, and examine comparative attitudes towards expressionist opera and Zeitoper. This project will also consider how the horrors of the war affected people's attitudes towards expressionism.Opera studies formed a significant part of my BA in the modules Opera and Politics, Bringing Opera to Life and Revolutionary Opera, the latter of which I attended alongside my enrolled modules. My MRes, which is funded by the Midlands4Cities Masters Studentship, is also centred around opera studies. As a result, my knowledge of the history of opera and the surrounding cultural debates is extensive, which will be seminal to understanding my PhD case studies in relation to their context. I recently completed a Masters essay that explores expressionist traits within Bartók's opera, 'Bluebeard's Castle' (1911), in which I challenge how expressionism can be identified within opera. Through reception studies and formal analysis, my PhD will build on this research by working towards a clearer definition of expressionist opera in the early twentieth century. I recently performed in the world premiere of an experimental opera that used technology to enhance audience interaction; combined with my academic knowledge, this has given me an open-minded insight into opera from multiple perspectives.