Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon | Inhalt, Autor und bibliografische Daten

Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon - Details zu Inhalt, Autor und Veröffentlichung

Mit Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon liegt ein Buch von Mario Vieira de Carvalho vor, das der Kategorie Sachbuch zugeordnet wird und sich für alle eignet, die gezielt nach Literatur mit diesem Schwerpunkt suchen. Die vorhandene Beschreibung macht deutlich, worauf Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon den Fokus legt: Under the perspective of the theory of systems and communication theory, this book investigates institucional, political, social and cultural aspects of the opera in Portugal, taking particularly into account the Lisbon Opera House (Teatro Nacional de São Carlos). The opera is seen as a system of social communication in structural connexion with the transformations of the public sphere. From the 19th century to the end of the 20th century, on the basis of a huge amount of empirical sources (archivistic material, periodicals, literary works, legislation, etc.) the author identifies different models of communication whose emergence cannot be separated from the social and political environment. The prevalence of a 'coloquial structure' of communication during the romantic era (until the end of the 19th century), in which the illusionistic presentation of the opera performance as a whole was far from being stabilised, cannot be understood without considering the difficulties of establishing in Portugal a strong bourgeois public sphere, as well as helps to better understand those difficulties. Only at the beginning of the 20th century 'perfect illusion' on the stage and empathy of the audience - the bourgeois model of communication introduced by the enlightened theory and praxis of opera since the 1770's years - has begun to be stabilised in Portugal. Although the enligthened discourse of the educative role of theatre and opera appears in Portugal quite uptodate, in 1771, in a petition of businessmen that Joseph I and his minister Pombal approved, the social and political forces at work did not allow the transference of those ideas into the praxis. With the end of the period of enlightened Despotism and the coronation of Maria I (1777), the influence of the Catholic Church in the Court became so strong as in earlier times, so that the building of the Opera House (Teatro São Carlos) in 1793, a project in which the businessmen of Lisbon were again engaged, had to be justified has a source of income for a charity institution ('Casa Pia'). The enlightened discourse from the 1770's was thus abandoned to give place to the old concept introduced since 1588 by Philip II of Spain, I of Portugal, according to which every theatrical performances were considered forms of entertainment morally suspect that might be only tolerated if part of the revenues revert to charity. The change of the 'coloquial structure' of communication to an effective 'presentational structure', including the ideal of 'perfect illusion' on the stage, the reception of the opera performance as a whole, and the silence, concentration and empathy of the spectator, takes place definitively only after the establishment of the Republic (1910). In this sense, the Republican programme on the cultural field can be seen as a late fully realisation and development of the ideas of the Enlightenment, in that it committed to all art forms a decisive role in the education of the people. The potential of the Republican reforms was, however, interrupted by the Fascist putch of 1926. In the era of 'Estado Novo' the Opera House became above all, since its reopening in 1940, a representative theatre, a kind of 'official reception hall' in which the power and financial elites exhibit themselves and demonstrated their 'heterogeneity' (G. Bataille) before the common people. Such transformations of the sociocommunicative systems are analysed having in view the key motive of the relation music-words in the opera, notably, the lack of a tradition of opera in Portuguese language. Hostility to theater for religious reasons caused the ban of theatre perfomances in Portuguese language from the court since Gil Vicente's dead. Since mid 16th century and until the beginning of 18th century, a kind of court self-censorship did not allow but performances of tragicomedies in Latin language produced by the colleges of Jesuits. Under the reign of João V, from the beginning of the 18th century to 1750, only Italian opera began to be represented at the court. In the meanwhile, retaking a tradition interrupted since Gil Vicente's death, a kind of 'Singspiel' (or musical comedy) in Portuguese language had begun to be represented in 1733 in a public theatre. This musical comedies, with a satirical content and represented by puppets, disappear although tragically from the stage in 1739, when the Inquisition ordered the burning of their author, the playwright António José da Silva, "The Jew" (the author of the music was António Teixeira). As to the Teatro de São Carlos, although being the first State Theatre since its inauguration in 1793, it became an Italian Theatre, in which even Portuguese composers had to write their music on Italian librettos. The whole repertoire was ever sung in Italian language during the 19th century. Despite its 'nationalistic claims' also the Estado Novo did not given any relevant support to the building of a tradition of Portuguese opera. The absence of such a tradition - expressed even in the extreme rarity of translations into Portuguese of repertoire originally created in other languages - is one of the factors that has blocked until today the development of an own opera culture in Portugal Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon wurde am 1999 publiziert und dem Verlag Bärenreiter mit Verlagsort Kassel zugeordnet.

Was diese Ausgabe besonders interessant macht

Verlagsname und Verlagsort - Bärenreiter und Kassel - helfen dabei, die Ausgabe eindeutig zu identifizieren. Für Recherchen nach Veröffentlichungszeitraum ist Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon mit dem Datum 1999 eindeutig zuordenbar. Die Ausgabe ist in Deutsch verfügbar und damit gezielt für Leserinnen und Leser mit entsprechender Sprachpräferenz interessant. Im Kontext des Gesamtwerks von Mario Vieira de Carvalho lässt sich Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon gezielt bibliografisch und thematisch einordnen. Innerhalb von Sachbuch bietet Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon eine klar erkennbare thematische Zuordnung.

Thematische Einordnung von Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon

Wer wissen möchte, worauf Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon inhaltlich abzielt, findet in dieser Zusammenfassung einen ersten Ansatzpunkt: Under the perspective of the theory of systems and communication theory, this book investigates institucional, political, social and cultural aspects of the opera in Portugal, taking particularly into account the Lisbon Opera House (Teatro Nacional de São Carlos). The opera is seen as a system of social communication in structural connexion with the transformations of the public sphere. From the 19th century to the end of the 20th century, on the basis of a huge amount of empirical sources (archivistic material, periodicals, literary works, legislation, etc.) the author identifies different models of communication whose emergence cannot be separated from the social and political environment. The prevalence of a 'coloquial structure' of communication during the romantic era (until the end of the 19th century), in which the illusionistic presentation of the opera performance as a whole was far from being stabilised, cannot be understood without considering the difficulties of establishing in Portugal a strong bourgeois public sphere, as well as helps to better understand those difficulties. Only at the beginning of the 20th century 'perfect illusion' on the stage and empathy of the audience - the bourgeois model of communication introduced by the enlightened theory and praxis of opera since the 1770's years - has begun to be stabilised in Portugal. Although the enligthened discourse of the educative role of theatre and opera appears in Portugal quite uptodate, in 1771, in a petition of businessmen that Joseph I and his minister Pombal approved, the social and political forces at work did not allow the transference of those ideas into the praxis. With the end of the period of enlightened Despotism and the coronation of Maria I (1777), the influence of the Catholic Church in the Court became so strong as in earlier times, so that the building of the Opera House (Teatro São Carlos) in 1793, a project in which the businessmen of Lisbon were again engaged, had to be justified has a source of income for a charity institution ('Casa Pia'). The enlightened discourse from the 1770's was thus abandoned to give place to the old concept introduced since 1588 by Philip II of Spain, I of Portugal, according to which every theatrical performances were considered forms of entertainment morally suspect that might be only tolerated if part of the revenues revert to charity. The change of the 'coloquial structure' of communication to an effective 'presentational structure', including the ideal of 'perfect illusion' on the stage, the reception of the opera performance as a whole, and the silence, concentration and empathy of the spectator, takes place definitively only after the establishment of the Republic (1910). In this sense, the Republican programme on the cultural field can be seen as a late fully realisation and development of the ideas of the Enlightenment, in that it committed to all art forms a decisive role in the education of the people. The potential of the Republican reforms was, however, interrupted by the Fascist putch of 1926. In the era of 'Estado Novo' the Opera House became above all, since its reopening in 1940, a representative theatre, a kind of 'official reception hall' in which the power and financial elites exhibit themselves and demonstrated their 'heterogeneity' (G. Bataille) before the common people. Such transformations of the sociocommunicative systems are analysed having in view the key motive of the relation music-words in the opera, notably, the lack of a tradition of opera in Portuguese language. Hostility to theater for religious reasons caused the ban of theatre perfomances in Portuguese language from the court since Gil Vicente's dead. Since mid 16th century and until the beginning of 18th century, a kind of court self-censorship did not allow but performances of tragicomedies in Latin language produced by the colleges of Jesuits. Under the reign of João V, from the beginning of the 18th century to 1750, only Italian opera began to be represented at the court. In the meanwhile, retaking a tradition interrupted since Gil Vicente's death, a kind of 'Singspiel' (or musical comedy) in Portuguese language had begun to be represented in 1733 in a public theatre. This musical comedies, with a satirical content and represented by puppets, disappear although tragically from the stage in 1739, when the Inquisition ordered the burning of their author, the playwright António José da Silva, "The Jew" (the author of the music was António Teixeira). As to the Teatro de São Carlos, although being the first State Theatre since its inauguration in 1793, it became an Italian Theatre, in which even Portuguese composers had to write their music on Italian librettos. The whole repertoire was ever sung in Italian language during the 19th century. Despite its 'nationalistic claims' also the Estado Novo did not given any relevant support to the building of a tradition of Portuguese opera. The absence of such a tradition - expressed even in the extreme rarity of translations into Portuguese of repertoire originally created in other languages - is one of the factors that has blocked until today the development of an own opera culture in Portugal Die Struktur des Werkes wird besonders gut über folgende Inhaltsübersicht sichtbar: Die Sinnentleerung des gesungenen Wortes: Zur Musik- und Theaterentwicklung in Portugal bis zur Entstehung des Teatro de São Carlos | Der Dienst an Gott und die Opernfeindlichkeit | Die Einführung der italienischen Oper und die Auflösung einer Art portugiesischen Singspiels | Widersprüche der portugiesischen Aufklärung | Die Gründung des Teatro de São Carlos als Hoftheater für die Bourgeoisie | Das Wort dem Publikum: Das Teatro de São Carlos im 19. Jahrhundert | Die liberale Revolution und dfie Konsolidierung des Opernwesens als Repräsentation und Unterhaltung | Das Teatro de São Carlos als 'öffentliche Promenade' der Romantik | Die engen Beziehungen zwischen Bühne und Zuschauerraum | Illusion und Wirklichkeit | Die Oper und die Theaterreform des Setembrismo | Das Theaterleben in Lissabon um 1835 und die September-Revolution | Die verzögerte Verbürgerlichung in der Musik und im Theater | Nationalschauspiel als italienische Oper | Der Ausschluß der Oper vom Theater | Italienische Gesangskunst und Unterdrückung der nationalen Kreativität | Die Unterordnung des Nationalschauspiels unter das 'Italienische Theater' | Italienische Gesangskunst als Kulturbedürfnis | Gesang gegen Thaterspiel | Singen und 'heulen' | Offenbachs Wirkung auf die Entwicklung des Realismus in der Literatur | Offenbachs Theater und die Kritik an den herrschenden Kommunikationsverhältnissen | Der mißglückte Weg zum Wort-Ton-Drama: Vom Vorabend der Republik bis zum Aufstieg des Faschismus | Das Teatro de São Carlos am Vorabend der Republik | Die Einführung Wagners als Ausdruck des Bedürfnisses nach 'Zivilisation' | Wagner-Aufführungen als Moment der Opernkonkurrenz | Opernunterhaltung und Snobismus | Das Bewußtwerden von 'Oper? und 'Drama' | Die Bilanz anläßlich der Lohengrin Erstaufführung 1883 | Kunst ‘mit Ideen’ und ‘ohne Ideen’ | Die italienische Darstellungspraxis | Die Charakterisierung der Szene | Die Qualitäten des Orchesters | Die Entdeckung der Fabel | Über die Fähigkeiten und Fertigkeiten der Darsteller | Zum Gesamtkunstwerk | Die Aneignung der ‘absoluten Musik’ | Zur Entwicklung des Konzertwesens | Wagners Schaffen in konzertanter Popularisierung | Opernbetrieb und sinfonisches Erbe | ‘Absolute Musik’ und ‘musikalisches Drama’ | Wagners kulturideologische Wirkung | Wagners Eindringen in die Literatur und die Presse | Vom Nationalgefühl der Dekadenz bis zum Führerprinzip | Parsifal versus Siegfried | Christentum, Schopenhauer und Gobineau – versus Feuerbach | Emotion versus Verstand | Neothomismus versus Rationalismus | Das Teatro de São Carlos in den Zwanziger Jahren | Kulturbedürfnis und Snobismus | Der wirtschaftliche Erfolg von Wagners Werke im Rahmen der italienischen Opernpraxis | Weitere Entwicklungen in den Auseinandersetzungen um ‘Oper’ und ‘Drama’ | Das tote Wort: Das Teatro de São Carlos unter dem Faschismus | Die Wiedereröffnung des Teatro de São Carlos 1940 als ‘Empfangssalon Portugals’ | Oper als Ästhetisierung der Politik | Ein ‘völkisches’ Kommunikationsmodell | Exkurs: Zum Aufstieg des Faschismus in Portugal | Ein repräsentatives Kommunikationsmodell | Musikkultur als Staatspropaganda | Fremdsprache oder verdeckte Zensur | Antifaschistischer Widerstand und Politisierung der Kunst | Auf der Suche nach dem gesungenen Wort: Zu den Entwicklungsperspektiven des Musiktheaters in Lissabon | Repertoire der Musikbühnen in Lissabon von 1733 bis 1792 | Regierungszeit von João V.: Hof (PR) (1733-1741) | Regierungszeit von João V.: öffentliche Theater (TC) (1733-1741 | Regierungszeit von João V.: öffentliche Theater (TBA) (1733-1741) | Regierungszeit von José I.: Hoftheater (1752-1777) | Regierungszeit von José I.: öffentliche Theater (1765-1774) | Regierungszeit von Maria I.: Hof (1777-1792) | Regierungszeit von Maria I.: öffentliche Theater (1784-1792) | Erst- bzw. Uraufführungen im São Carlos von 1793 bis 1816 | Erst- bzw. Uraufführungen im São Carlos von 1817 bis 1924 | Struktur der Spielzeiten des São Carlos von 1882 bis 1924 | Erst- bzw. Uraufführungen im São Carlos von 1925 bis 1998 | Quellen- und Literaturverzeichnis | Personenregister Für die thematische Suche und semantische Zuordnung sind insbesondere diese Tags relevant: Opera, Teatro Nacional de São Carlos, Portugal, history

Edition und bibliografische Einordnung

Die verlegerische und zeitliche Einordnung wird durch Bärenreiter, Kassel und 1999 präzise ergänzt. Im Open-Library-Kontext ist das Werk über OL4076553W sowie die Editionszuordnungen OL4020307M referenzierbar.

Die zentralen Metadaten zu Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon

1. Veröffentlicht am: 1999
2. Thematische Tags: Opera, Teatro Nacional de São Carlos, Portugal, history
3. Open-Library-Editions-IDs: OL4020307M
4. Ort der Veröffentlichung: Kassel
5. Verfügbare Sprache dieser Ausgabe: Deutsch
6. Verlag: Bärenreiter
7. Externe Work-Referenz: OL4076553W
8. Inhaltsübersicht: Die Sinnentleerung des gesungenen Wortes: Zur Musik- und Theaterentwicklung in Portugal bis zur Entstehung des Teatro de São Carlos | Der Dienst an Gott und die Opernfeindlichkeit | Die Einführung der italienischen Oper und die Auflösung einer Art portugiesischen Singspiels | Widersprüche der portugiesischen Aufklärung | Die Gründung des Teatro de São Carlos als Hoftheater für die Bourgeoisie | Das Wort dem Publikum: Das Teatro de São Carlos im 19. Jahrhundert | Die liberale Revolution und dfie Konsolidierung des Opernwesens als Repräsentation und Unterhaltung | Das Teatro de São Carlos als 'öffentliche Promenade' der Romantik | Die engen Beziehungen zwischen Bühne und Zuschauerraum | Illusion und Wirklichkeit | Die Oper und die Theaterreform des Setembrismo | Das Theaterleben in Lissabon um 1835 und die September-Revolution | Die verzögerte Verbürgerlichung in der Musik und im Theater | Nationalschauspiel als italienische Oper | Der Ausschluß der Oper vom Theater | Italienische Gesangskunst und Unterdrückung der nationalen Kreativität | Die Unterordnung des Nationalschauspiels unter das 'Italienische Theater' | Italienische Gesangskunst als Kulturbedürfnis | Gesang gegen Thaterspiel | Singen und 'heulen' | Offenbachs Wirkung auf die Entwicklung des Realismus in der Literatur | Offenbachs Theater und die Kritik an den herrschenden Kommunikationsverhältnissen | Der mißglückte Weg zum Wort-Ton-Drama: Vom Vorabend der Republik bis zum Aufstieg des Faschismus | Das Teatro de São Carlos am Vorabend der Republik | Die Einführung Wagners als Ausdruck des Bedürfnisses nach 'Zivilisation' | Wagner-Aufführungen als Moment der Opernkonkurrenz | Opernunterhaltung und Snobismus | Das Bewußtwerden von 'Oper? und 'Drama' | Die Bilanz anläßlich der Lohengrin Erstaufführung 1883 | Kunst ‘mit Ideen’ und ‘ohne Ideen’ | Die italienische Darstellungspraxis | Die Charakterisierung der Szene | Die Qualitäten des Orchesters | Die Entdeckung der Fabel | Über die Fähigkeiten und Fertigkeiten der Darsteller | Zum Gesamtkunstwerk | Die Aneignung der ‘absoluten Musik’ | Zur Entwicklung des Konzertwesens | Wagners Schaffen in konzertanter Popularisierung | Opernbetrieb und sinfonisches Erbe | ‘Absolute Musik’ und ‘musikalisches Drama’ | Wagners kulturideologische Wirkung | Wagners Eindringen in die Literatur und die Presse | Vom Nationalgefühl der Dekadenz bis zum Führerprinzip | Parsifal versus Siegfried | Christentum, Schopenhauer und Gobineau – versus Feuerbach | Emotion versus Verstand | Neothomismus versus Rationalismus | Das Teatro de São Carlos in den Zwanziger Jahren | Kulturbedürfnis und Snobismus | Der wirtschaftliche Erfolg von Wagners Werke im Rahmen der italienischen Opernpraxis | Weitere Entwicklungen in den Auseinandersetzungen um ‘Oper’ und ‘Drama’ | Das tote Wort: Das Teatro de São Carlos unter dem Faschismus | Die Wiedereröffnung des Teatro de São Carlos 1940 als ‘Empfangssalon Portugals’ | Oper als Ästhetisierung der Politik | Ein ‘völkisches’ Kommunikationsmodell | Exkurs: Zum Aufstieg des Faschismus in Portugal | Ein repräsentatives Kommunikationsmodell | Musikkultur als Staatspropaganda | Fremdsprache oder verdeckte Zensur | Antifaschistischer Widerstand und Politisierung der Kunst | Auf der Suche nach dem gesungenen Wort: Zu den Entwicklungsperspektiven des Musiktheaters in Lissabon | Repertoire der Musikbühnen in Lissabon von 1733 bis 1792 | Regierungszeit von João V.: Hof (PR) (1733-1741) | Regierungszeit von João V.: öffentliche Theater (TC) (1733-1741 | Regierungszeit von João V.: öffentliche Theater (TBA) (1733-1741) | Regierungszeit von José I.: Hoftheater (1752-1777) | Regierungszeit von José I.: öffentliche Theater (1765-1774) | Regierungszeit von Maria I.: Hof (1777-1792) | Regierungszeit von Maria I.: öffentliche Theater (1784-1792) | Erst- bzw. Uraufführungen im São Carlos von 1793 bis 1816 | Erst- bzw. Uraufführungen im São Carlos von 1817 bis 1924 | Struktur der Spielzeiten des São Carlos von 1882 bis 1924 | Erst- bzw. Uraufführungen im São Carlos von 1925 bis 1998 | Quellen- und Literaturverzeichnis | Personenregister
9. Buchtitel: Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon
10. Primäre Kategorie: Sachbuch
11. Internationale Standardbuchnummer (ISBN-10): 3761813546
12. Kurzbeschreibung: Under the perspective of the theory of systems and communication theory, this book investigates institucional, political, social and cultural aspects of the opera in Portugal, taking particularly into account the Lisbon Opera House (Teatro Nacional de São Carlos). The opera is seen as a system of social communication in structural connexion with the transformations of the public sphere. From the 19th century to the end of the 20th century, on the basis of a huge amount of empirical sources (archivistic material, periodicals, literary works, legislation, etc.) the author identifies different models of communication whose emergence cannot be separated from the social and political environment. The prevalence of a 'coloquial structure' of communication during the romantic era (until the end of the 19th century), in which the illusionistic presentation of the opera performance as a whole was far from being stabilised, cannot be understood without considering the difficulties of establishing in Portugal a strong bourgeois public sphere, as well as helps to better understand those difficulties. Only at the beginning of the 20th century 'perfect illusion' on the stage and empathy of the audience - the bourgeois model of communication introduced by the enlightened theory and praxis of opera since the 1770's years - has begun to be stabilised in Portugal. Although the enligthened discourse of the educative role of theatre and opera appears in Portugal quite uptodate, in 1771, in a petition of businessmen that Joseph I and his minister Pombal approved, the social and political forces at work did not allow the transference of those ideas into the praxis. With the end of the period of enlightened Despotism and the coronation of Maria I (1777), the influence of the Catholic Church in the Court became so strong as in earlier times, so that the building of the Opera House (Teatro São Carlos) in 1793, a project in which the businessmen of Lisbon were again engaged, had to be justified has a source of income for a charity institution ('Casa Pia'). The enlightened discourse from the 1770's was thus abandoned to give place to the old concept introduced since 1588 by Philip II of Spain, I of Portugal, according to which every theatrical performances were considered forms of entertainment morally suspect that might be only tolerated if part of the revenues revert to charity. The change of the 'coloquial structure' of communication to an effective 'presentational structure', including the ideal of 'perfect illusion' on the stage, the reception of the opera performance as a whole, and the silence, concentration and empathy of the spectator, takes place definitively only after the establishment of the Republic (1910). In this sense, the Republican programme on the cultural field can be seen as a late fully realisation and development of the ideas of the Enlightenment, in that it committed to all art forms a decisive role in the education of the people. The potential of the Republican reforms was, however, interrupted by the Fascist putch of 1926. In the era of 'Estado Novo' the Opera House became above all, since its reopening in 1940, a representative theatre, a kind of 'official reception hall' in which the power and financial elites exhibit themselves and demonstrated their 'heterogeneity' (G. Bataille) before the common people. Such transformations of the sociocommunicative systems are analysed having in view the key motive of the relation music-words in the opera, notably, the lack of a tradition of opera in Portuguese language. Hostility to theater for religious reasons caused the ban of theatre perfomances in Portuguese language from the court since Gil Vicente's dead. Since mid 16th century and until the beginning of 18th century, a kind of court self-censorship did not allow but performances of tragicomedies in Latin language produced by the colleges of Jesuits. Under the reign of João V, from the beginning of the 18th century to 1750, only Italian opera began to be represented at the court. In the meanwhile, retaking a tradition interrupted since Gil Vicente's death, a kind of 'Singspiel' (or musical comedy) in Portuguese language had begun to be represented in 1733 in a public theatre. This musical comedies, with a satirical content and represented by puppets, disappear although tragically from the stage in 1739, when the Inquisition ordered the burning of their author, the playwright António José da Silva, "The Jew" (the author of the music was António Teixeira). As to the Teatro de São Carlos, although being the first State Theatre since its inauguration in 1793, it became an Italian Theatre, in which even Portuguese composers had to write their music on Italian librettos. The whole repertoire was ever sung in Italian language during the 19th century. Despite its 'nationalistic claims' also the Estado Novo did not given any relevant support to the building of a tradition of Portuguese opera. The absence of such a tradition - expressed even in the extreme rarity of translations into Portuguese of repertoire originally created in other languages - is one of the factors that has blocked until today the development of an own opera culture in Portugal
13. Umfang: 432 Seiten
14. Verfasst von: Mario Vieira de Carvalho

Auffindbarkeit und bibliografische Präzision

Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon profitiert für die Auffindbarkeit besonders von der Verbindung zwischen Mario Vieira de Carvalho, Sachbuch und den Tags Opera, Teatro Nacional de São Carlos, Portugal, history, weil dadurch eine starke semantische Einordnung entsteht.

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