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Drawing on care ethics and vulnerability theory, this study addresses the prominent role of intimacy in Sally Rooney’s Intermezzo (2024), set in contemporary Ireland. Written in a language that focuses on the protagonists’ interiority, bodily sensations, and emotional world, the novel vividly portrays a “radical” sense of intimacy which helps characters reassess their phobias and insecurities within their closest relationships. As will be argued, intimacy in Rooney’s Intermezzo is not just a matter of human connection, but of a personal transformation that allows protagonists to move away from the neoliberal and patriarchal values, norms, and stereotypes of today’s world. Haciendo uso de teorías sobre vulnerabilidad y ética del cuidado, este ensayo aborda el papel clave que Sally Rooney da a la intimidad en Intermezzo (2024), ambientada en la Irlanda contemporánea. Escrita en un lenguaje donde aflora lo interior, lo emocional y las sensaciones del propio cuerpo, la novela construye una noción “radical” de la intimidad, que da lugar a que los personajes reconsideren sus fobias e inseguridades en el ámbito de sus relaciones afectivas. Se explicará cómo, en Intermezzo, la intimidad no se limita a la conexión emocional, sino que lleva a los protagonistas a alejarse de ciertos valores, normas y prejuicios de la sociedad neoliberal y patriarcal de hoy en día.

Approximately 230 million years ago in the middle of the Carnian stage of the Upper Triassic, the sedimentary records in different regional basins display dramatic changes. Tropical carbonate platforms abruptly ended, and engorged river systems left widespread sand-rich layers across inland basins and coastal regions. This pulse lasted less than a million years in some basins, but constituted a permanent shift in others. Following this event, the Late Carnian has the earliest record of significant dinosaurs on land and the emergence of the calcareous nannoplankton in the oceans that now govern Earth＇s carbon cycle. This ＂most distinctive climate change within the Tri- assic＂ has been interpreted by some geoscientists as a global disruption of the Earth＇s land-ocean-biological system. The eruption of the Wrangellia large igneous province may have been the trigger for a sudden carbon-dioxide-induced warming and associated increased rainfall in some of these regions. Indeed, some workers have proposed that this ＂wet intermezzo＂ warming event is a useful analog to aid in predicting the effects of our future greenhouse on land ecosystems and ocean chemistry. However, the understanding of the onset, duration, global impacts and relatively rapid termination of this postulated warming pulse has been hindered by lack of a global dataset with inter-calibrated terrestrial and marine biostratigraphy, precise radio-isotopic ages, stable isotope records of temperature and the carbon system, and cycle-calibrated rates of regional and global change.

The question of whether music has meaning has been the subject of sustained debate ever since music became a subject of academic inquiry. Is music a language? Does it communicate specific ideas and emotions? What does music mean, and how does this meaning manifest itself? Working at the nexus of musicology, ethnomusicology, and music philosophy and aesthetics, the book presents a synthetic and innovative approach to musical meaning which argues deftly for the thinking of music as a discourse in itself—composed not only of sequences of gestures, phrases, or progressions, but rather also of the very philosophical and linguistic props that enable the analytical formulations made about music as an object of study. The book provides demonstrations of the pertinence of a semiological approach to understanding the fully-freighted language of Romantic music, stresses the importance of a generative approach to tonal understanding, and provides further insight into the analogy between music and language.

The Politics of Opera in Handel's Britain examines the involvement of Italian opera in British partisan politics in the first half of the eighteenth century, which saw Sir Robert Walpole's rise to power and George Frideric Handel's greatest period of opera production. McGeary argues that the conventional way of applying Italian opera to contemporary political events and persons by means of allegory and allusion in individual operas is mistaken; nor did partisan politics intrude into the management of the Royal Academy of Music and the Opera of the Nobility. This book shows instead how Senesino, Faustina, Cuzzoni and events at the Haymarket Theatre were used in political allegories in satirical essays directed against the Walpole ministry. Since most operas were based on ancient historical events, the librettos - like traditional histories - could be sources of examples of vice, virtue, and political precepts and wisdom that could be applied to contemporary politics.

52 years after their premiere, Hans Werner Henze's The Bassarids return, with Kent Nagano at the helm, to the Salzburg Festival for a rare revival of this modern classic in a highly dramatic psychological staging by Krzysztof Warlikowski. The opera, inspired by Euripides' tragedy The Bacchae, is as seductive as it is topical: When Dionysus - is he a charlatan? is he a demigod? - bursts into the intact world of ancient Thebes, he plunges a city into chaos. In stark contrast to his cousin, King Pentheus, who leads a life marked by purity and asceticism, Dionysus preaches intoxicating excess and sensuality. This personified battle between the rational and civilized side andthe instinctive, purely sensual side of human nature leads the royal family into disaster. Star conductor Kent Nagano, who was close to Henze, includes \"The Judgment of Calliope\" in the festival Bassarids, a 20-minute section included in the original score, which adds a new dimension to the opera's presentation of the Dionysian cult. Henze's score manages a rare balance of experimental and traditional effects. By combining the best of both worlds, the world of the post-World War II avantgarde and the world of the Romantic, it develops an irresistible pulling power. Nagano leads the Wiener Philharmoniker with clarity and precision, ensuring transparency even with the largest orchestra volume. With \"an ensemble that without exception has an outstanding cast\", the musical realization is \"simply sublime\" (Der Standard). The young US tenor Sean Panikkar excels with displays of effortless heroic power as Dionysus - \"a triumph\" (BR Klassik). His opponent Pentheus is excellently sung by Russel Braun with carved diction and vocal focus. How Tanja Ariane Baumgartner and Vera-Lotte Böcker portray Agave and Autonoe is \"an art of singing and playing of the highest order\" (Neue Zürcher Zeitung). Willard White's Cadmus convinces with his strong personality. The Konzertvereinigung Wiener Staatsopernchor are the \"overwhelming protagonists of this new production\" (Süddeutsche Zeitung).

The Staatsoper Berlin is back in ist place of origin: Unter den Linden! After major renovations, it reopens with Schumann's Scenes from Goethe's Faust, conducted by Daniel Barenboim. Under the direction of Jürgen Flimm and in the sets of acclaimed German artist Markus Lüpertz, Schumann's orchestral work is transformed in a captivating drama. In the glow of the renovated opera hall Daniel Barenboim and the Staatskapelle Berlin perform alongside soloists such as Roman Trekel, Elsa Dreisig and René Pape. Besides the vocal parts, the main characters Faust, Gretchen and Mephistopheles are embodied by the renowned actors André Jung, Meike Droste and Sven-Eric Bechtolf.