Chapter Ten “A Sad Optimism, the Happiness of the Resigned” Extremes of Operatic Expression in the 1930s

Chapters in this book

1. Frontmatter i
2. Contents vii
3. Illustrations ix
4. Preface xi
5. Notes to the Reader xv
6. Abbreviations xviii
7. Timeline of Modern Czech History xxi
8. Chapter One. Introduction: Nationalism, Modernism, and the Social Responsibility of Art in Prague 1
9. Chapter Two. Smetana, Hostinský, and the Aesthetic Debates of the Nineteenth Century 14
10. Chapter Three. Legacies, Ideologies, and Responsibilities: The Polemics of the Pre-Independence Years (1900–1918) 36
11. Chapter Four “Archetypes Who Live, Rejoice, and Suffer” Czech Opera in the Fin de Siècle 65
12. Chapter Five. The Pathology of the New Society: Debates in the Early Years of the First Republic (1918–24) 110
13. Chapter Six. Infinite Melody, Ruthless Polyphony: Czech Modernism in the Early Republic 155
14. Chapter Seven “A Crisis of Modern Music or Audience?” Changing Attitudes to Cultural and Stylistic Pluralism (1925–30) 191
15. Chapter Eight “I Have Rent My Soul in Two” Divergent Directions for Czech Opera in the Late 1920s 223
16. Chapter Nine. Heaven on Earth: Socialism, Jazz , and a New Aesthetic Focus (1930–38) 260
17. Chapter Ten “A Sad Optimism, the Happiness of the Resigned” Extremes of Operatic Expression in the 1930s 300
18. Chapter Eleven. The Ideological Debates of Prague Within a European Context 326
19. Appendix One. Personalia 339
20. Appendix Two. Premieres and New Productions at the National Theater, 1900–1938 349
21. Notes 355
22. Bibliography 389
23. Index 419