THE DIALECTICAL ANTITHESIS
All these heady considerations notwithstanding, Fidelio had a negligible impact on the operatic culture of its time, nor did Beethoven loom very large in the consciousness of the theater-going public. Within that world, within that consciousness, and within Beethoven's own career, the work was something of an aberration. Its pedigree was decidedly off the main operatic line, which remained Italian or at least Italianate. So it would remain, arguably, for another hundred years, or as long as opera retained its cultural potency. In this sense, at least, Beethoven did not come anywhere near “receiving Mozart's spirit,” to recall the behest of Count Waldstein, his early patron. To claim, as many (beginning with Wagner) have done, that Beethoven's impact on opera came belatedly, through Wagner, is to regard Wagner as in some sense Beethoven's direct or ordained successor. As we shall see, there were many claimants to that title.
- Citation (MLA):
- Richard Taruskin. "Chapter 1 Real Worlds, and Better Ones." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 4 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-001002.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 1 Real Worlds, and Better Ones. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 4 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-001002.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 1 Real Worlds, and Better Ones." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 4 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-001002.xml