| Organisers: | Maria Elisabeth Dorninger, Institut für Germanistik, Universität Salzburg
Stefan Engels, Institut für Kirchenmusik, Kunstuniversität Graz
Nils Holger Petersen, Centre for the Study of the Cultural Heritage of Medieval Rituals, Københavns Universitet |
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| Moderator/Chair: | Maria Elisabeth Dorninger, Institut für Germanistik, Universität Salzburg |
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| Paper 812-a | Faith and 'Correct Belief': Annotations to Judas Descriptions in Passion Plays
(Language: English)
Maria Elisabeth Dorninger, Institut für Germanistik, Universität Salzburg
Index terms: Liturgy, Performance Arts - Drama |
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| Paper 812-b | 'Le Saint-Office fera son devoir!': The Holy Inquisition on the Operatic Stage
(Language: English)
Carlos M. Solare, Seminar für Musikwissenschaft, Freie Universität, Berlin
Index terms: Liturgy, Performance Arts - Drama |
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| Abstract | Paper -a:
In medieval passion plays conceptions of orthodoxy and heresy can be observed. Heretic thoughts are often connected to and expressed by Jewish figures in the passion plays. In these plays the opposition between Christianity and Judaism is reflected, thereby not regarding Jesus and the apostles as being Jews themselves. Whereas marked Jewish figures often depict heretic thoughts in general, the presentation of the apostle Judas teaches right faith to Christians in the form of a negative example.
Paper -b:
A relaxed censorship within a laicized state made it possible that the tribunal of the Holy Office was featured in several works written for the Paris Opera during the 19th Century. Taking scenes from Gaetano Donizetti's Dom Sébastien and Giuseppe Verdi's Don Carlos as case studies, my paper will endeavour to show how these composers translated in musical means the atmosphere of fear, oppression and religious fanaticism that is associated with the Spanish Inquisition.
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