This volume covers opera in Italy, France, England and the Americas during the long nineteenth century (1789-1914). The book is divided into four sections that are thematically, rather than geographically, conceived: Places-essays centering on contexts for operatic culture; Genres and Styles-studies dealing with the question of how operas in this period were put together; Critical Studies of individual works, exemplifying particular critical trends; and Performance.
Edited by:
Steven Huebner
Imprint: Routledge
Country of Publication: United Kingdom
Dimensions:
Height: 246mm,
Width: 174mm,
Weight: 1.043kg
ISBN: 9781032918655
ISBN 10: 1032918659
Series: The Ashgate Library of Essays in Opera Studies
Pages: 566
Publication Date: 14 October 2024
Audience:
Professional and scholarly
,
Undergraduate
Format: Paperback
Publisher's Status: Active
"Contents: Introduction; Part I Contexts: Some difficulties in the historiography of Italian opera, Fabrizio Della Seta; Metaphors for Meyerbeer, Cormac Newark; Italian romanticism and Italian opera: an essay in their affinities, Gary Tomlinson; Verismo: origin, corruption and redemption of an operatic term, Andreas Giger; Felice Romani, librettist by trade, Alessandro Roccatagliati; Frederick Gye and 'the dreadful business of opera management', Gabriella Dideriksen and Matthew Ringel; Opera audiences in Paris 1830-1870, Steven Huebner; Verdian opera burlesqued: a glimpse into mid-Victorian theatrical culture, Roberta Montemorra Marvin. Part II Composition and Analysis: History and works that have no history: reviving Rossini's Neapolitan operas, Philip Gossett; 'La solita forma and 'the uses of convention""', Harold S. Powers; A key for chi? Tonal areas in Puccini, Roger Parker and Allan W. Atlas; 'Tristan' in the composition of 'Pelléas', Carolyn Abbate. Part III Criticism: 'Dormez donc, mes chers amours': Hérold's La Somnambule (1827) and dream phenomena on the Parisian lyric stage, Sarah Hibberd; 'TB sheets': love and disease in La Traviata, Arthur Groos; Masked balls, Ralph Hexter; Return of the repressed: the prima donna from Hoffmann's Tales to Offenbach's Contes, Heather Hadlock; Smyth the anarchist: fin-de-siècle radicalism in The Wreckers, Suzanne B. Robinson. Part IV Performance: Knowing the score: Italian opera as work and play, Philip Gossett; Ornamenting Verdi's arias: the continuity of a tradition, David Lawton; 'La cantate delle passioni:' Giuditta Pasta and the idea of operatic performance, Susan B. Rutherford; The sea and the stars and the wastes of the desert, Roger Parker; Name Index."
Steven Huebner, Professor, McGill University, Canada
