The Oxford Handbook of Opera offers a series of trenchant, cutting-edge, and previously unpublished essays on the most important and compelling issues confronting those who think and write about opera. The handbook emphasizes not only operas themselves, but such broad concerns of the discipline as genre, voice, national style, performance, censorship, staging, film, editions, and aesthetics.
The Oxford Handbook of Opera offers a series of trenchant, cutting-edge, and previously unpublished essays on the most important and compelling issues confronting those who think and write about opera. The handbook emphasizes not only operas themselves, but such broad concerns of the discipline as genre, voice, national style, performance, censorship, staging, film, editions, and aesthetics.
Helen M. Greenwald is Chair of Music History & Musicology at New England Conservatory. She is the author of numerous articles on vocal music from the 18th -20th centuries and program notes for major arts organizations, such as the Boston Symphony Orchestra, the Royal Opera at Covent Garden, and the Metropolitan Opera. She is the editor of the critical edition of Verdi's Attila (Ricordi and the University of Chicago Press, 2012) and co-editor of the critical edition of Rossini's Zelmira (Fondazione Rossini, 2005).
Inhaltsangabe
Introduction Helen M. Greenwald PART I WHAT IS OPERA? 1. What is Opera? Tim Carter 2. Genre Emanuele Senici 3. Musical Theater(s) Derek B. Scott 4. Operatorio? Monika Hennemann 5. The Concept of Opera Lydia Goehr PART II WORDS, MUSIC, AND MEANING The Libretto and the Score 6. Oft-Told Tales Vincent Giroud 7. The Language of National Style Marina Frolova-Walker 8. Musical Dramaturgy Damien Colas 9. Versification Andreas Giger 10. The German Libretto of the Early Nineteenth Century John Warrack 11. Analysis William Drabkin Humanism, Verisimilitude, and Voice 12. Opera between the Ancients and the Moderns Wendy Heller 13. Verisimilitude Thomas Betzwieser 14. Voice Michal Grover-Friedlander 15. Characterization Julian Rushton 16. Meaning Lawrence Kramer PART III PERFORMANCE AND PRODUCTION 17. Divas and Divos Hilary Poriss 18. Castrato Acts Martha Feldman 19. Rehearsal Practices Mark Everist 20. Acting Simon Williams 21. The Chorus Ryan Minor 22. The Orchestra Alessandro Di Profio 23. Dance Linda J. Tomko 24. Production Aesthetics and Materials Katherine Syer 25. Costumes Veronica Isaac 26. Regietheater/Director's Theater Ulrich Müller 27. Historically Informed Performance Mary Hunter PART IV OPERA AND SOCIETY 28. Opera Composition and Cultural Environment Marianne Betz 29. Patronage Valeria De Lucca 30. Audiences Georgia Cowart 31. Autographs, Memorabilia, and the Aesthetics of Collecting Daniela Macchione 32. Politics Marc A. Weiner 33. Religion Jesse Rosenberg 34. Race and Racism John Graziano 35. Gender Alexandra Wilson 36. Exoticism W. Anthony Sheppard 37. Censorship Francesco Izzo PART V TRANSMISSION AND RECEPTION 38. How Opera Traveled Louise K. Stein 39. The Operatic Canon James Parakilas 40. Critics Paul Watt 41. Soundings Offstage Thomas Christensen 42. Visual Media Marcia J. Citron 43. Operatic Images Helen M. Greenwald 44. Sources Linda B. Fairtile 45. Reconstructions Charles S. Brauner 46. Editing Opera Patricia B. Brauner 47. Writing the History of Opera Philip Gossett PART VI OPERA ON THE EDGE 48. 1900-1945 Joy H. Calico 49. After the Canon Robert Fink EPILOGUE 50. Composing Opera Jake Heggie Index of Musical Works General Index
Introduction Helen M. Greenwald PART I WHAT IS OPERA? 1. What is Opera? Tim Carter 2. Genre Emanuele Senici 3. Musical Theater(s) Derek B. Scott 4. Operatorio? Monika Hennemann 5. The Concept of Opera Lydia Goehr PART II WORDS, MUSIC, AND MEANING The Libretto and the Score 6. Oft-Told Tales Vincent Giroud 7. The Language of National Style Marina Frolova-Walker 8. Musical Dramaturgy Damien Colas 9. Versification Andreas Giger 10. The German Libretto of the Early Nineteenth Century John Warrack 11. Analysis William Drabkin Humanism, Verisimilitude, and Voice 12. Opera between the Ancients and the Moderns Wendy Heller 13. Verisimilitude Thomas Betzwieser 14. Voice Michal Grover-Friedlander 15. Characterization Julian Rushton 16. Meaning Lawrence Kramer PART III PERFORMANCE AND PRODUCTION 17. Divas and Divos Hilary Poriss 18. Castrato Acts Martha Feldman 19. Rehearsal Practices Mark Everist 20. Acting Simon Williams 21. The Chorus Ryan Minor 22. The Orchestra Alessandro Di Profio 23. Dance Linda J. Tomko 24. Production Aesthetics and Materials Katherine Syer 25. Costumes Veronica Isaac 26. Regietheater/Director's Theater Ulrich Müller 27. Historically Informed Performance Mary Hunter PART IV OPERA AND SOCIETY 28. Opera Composition and Cultural Environment Marianne Betz 29. Patronage Valeria De Lucca 30. Audiences Georgia Cowart 31. Autographs, Memorabilia, and the Aesthetics of Collecting Daniela Macchione 32. Politics Marc A. Weiner 33. Religion Jesse Rosenberg 34. Race and Racism John Graziano 35. Gender Alexandra Wilson 36. Exoticism W. Anthony Sheppard 37. Censorship Francesco Izzo PART V TRANSMISSION AND RECEPTION 38. How Opera Traveled Louise K. Stein 39. The Operatic Canon James Parakilas 40. Critics Paul Watt 41. Soundings Offstage Thomas Christensen 42. Visual Media Marcia J. Citron 43. Operatic Images Helen M. Greenwald 44. Sources Linda B. Fairtile 45. Reconstructions Charles S. Brauner 46. Editing Opera Patricia B. Brauner 47. Writing the History of Opera Philip Gossett PART VI OPERA ON THE EDGE 48. 1900-1945 Joy H. Calico 49. After the Canon Robert Fink EPILOGUE 50. Composing Opera Jake Heggie Index of Musical Works General Index
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