The Oxford Handbook of the Operatic Canon (eBook, ePUB)

Redaktion: Newark, Cormac; Weber, William

• Format: ePub

Produktbeschreibung

Opera has always been a vital and complex mixture of commercial and aesthetic concerns, of bourgeois politics and elite privilege. In its long heyday in the eighteenth and nineteenth centuries, it came to occupy a special place not only among the arts but in urban planning, too ? this is, perhaps surprisingly, often still the case. The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by tracing its evolution from a market entirely driven by novelty to one of the most canonic art forms still in existence. Throughout the book, a lively assembly of musicologists, historians, and industry professionals tackle key questions of opera's past, present, and future. Why did its canon evolve so differently from that of concert music? Why do its top ten titles, all more than a century old, now account for nearly a quarter of all performances worldwide? Why is this system of production becoming still more top-heavy, even while the repertory seemingly expands, notably to include early music? Topics range from the seventeenth century to the present day, from Russia to England and continental Europe to the Americas. To reflect the contested nature of many of them, each is addressed in paired chapters. These complement each other in different ways: by treating the same geographical location in different periods, by providing different national or regional perspectives on the same period, or by thinking through similar conceptual issues in contrasting or changing contexts. Posing its questions in fresh, provocative terms, The Oxford Handbook of the Operatic Canon challenges scholarly assumptions in music and cultural history, and reinvigorates the dialogue with an industry that is, despite everything, still growing.

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Produktdetails

• Verlag: Oxford University Press
• Seitenzahl: 456
• Erscheinungstermin: 20. August 2020
• Englisch
• ISBN-13: 9780197510551
• Artikelnr.: 59978194

Autorenporträt

Cormac Newark is Head of Research at the Guildhall School of Music & Drama in London. He writes mainly on nineteenth-century French and Italian opera and literature, and is the author of Opera in the Novel from Balzac to Proust. He has published articles in journals including 19th-Century Music , the Cambridge Opera Journal, The Opera Quarterly, and the Journal of the Royal Musical Association. William Weber is Professor of History, Emeritus at California State University, Long Beach. He has contributed to the Oxford Handbook of the New Cultural History of Music (OUP, 2011) and is the author of several books, including The Rise of Musical Classics in 18th-Century England (OUP, 1992) and The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms.

Inhaltsangabe

* Note to the reader
* Contributors
* Acknowledgements
* General Introduction
* Idiosyncrasies of the operatic canon
* Cormac Newark and William Weber
* Part 1. History, geography
* Introduction to Chapters 1 and 2
* Foundations: France and Italy in the eighteenth century
* Michel Noiray and Franco Piperno
* Chapater 1.The practical and symbolic functions of pre-Rameau opera
at the Paris Opéra before Gluck
* Michel Noiray
* Chapter 2.Italian opera and the concept of "canon" in the late
eighteenth century
* Franco Piperno
* Introduction to Chapters 3 and 4
* From royal authority to public taste in Berlin, 1740-1815
* John Mangum and Katherine Hambridge
* Chapter 3. The repertory of the Italian Court Opera in Berlin,
1740-1786
* John Mangum
* Chapter 4.Catching up and getting ahead: The opera house as temple of
art in Berlin c. 1800
* Katherine Hambridge
* Introduction to Chapters 5 and 6
* Operatic practices at the London Opera: Pasticcio to repertory to
canon?
* Michael Burden and Jennifer Hall-Witt
* Chapter 5.From recycled performances to repertoire at the King's
Theatre in London, 1705-1820
* Michael Burden
* Chapter 6. Repertory opera and canonic sensibility at the London
opera, 1820-1860
* Jennifer Hall-Witt
* Introduction to chapters 7 and 8
* From capital-city opera house to provincial theaters in France
* Patrick Taïeb, Sabine Teulon Lardic and Yannick Simon
* Chapter 7.The evolution of French opera repertories in provincial
theaters: Three epochs, 1770-1900
* Patrick Taïeb and Sabine Teulon Lardic
* Chapter 8. The mingling of opera genres: Canonic opera at the Théâtre
des Arts in Rouen, 1882-1897
* Yannick Simon
* Introduction to chapters 9 and 10
* The Italian opera world and its canons
* Carlotta Sorba and Jutta Toelle
* Chapter 9. Theaters, markets, and canonic implications in the Italian
opera system, 1820-1880
* Carlotta Sorba
* Chapter 10.Operatic canons and repertories in Italy around 1900
* Jutta Toelle
* Introduction to chapters 11 and 12
* Opera in the Western Hemisphere, 1811-1910: New York, Buenos Aires,
and Montevideo
* Karen Ahlquist and Benjamin Walton
* Chapter 11. International opera in nineteenth-century New York: Core
repertories and canonic values
* Karen Ahlquist
* Chapter 12. Canons of real and imagined opera: Buenos Aires and
Montevideo, 1810-1860
* Benjamin Walton
* Introduction to chapters 13 and 14
* Tension between national and cosmopolitan canons in England and
Russia
* William Weber and Rutger Helmers
* Chapter 13.The survival of English opera in nineteenth-century
concert life
* William Weber
* Chapter 14.National and international canons of opera in Tsarist
Russia
* Rutger Helmers
* Part 2. Other views, other canons
* Introduction to chapters 15 and 16
* Singers and the operatic canon
* Kimberley White and Hilary Poriss
* Chapter 15.Setting the standard: Singers, theater practices, and the
operatic canon in nineteenth-century France
* Kimberley White
* Chapter 16.Redefining the standard: Pauline Viardot and Gluck's
Orphée
* Hilary Poriss
* Introduction to chapters 17 and 18
* Uses of the operatic canon
* Cormac Newark and Mark Berry
* Chapter 17. Canons of the Risorgimento then and now
* Cormac Newark
* Chapter 18. "Blow the opera houses into the air": Wagner, Boulez, and
modernist canons
* Mark Berry
* Introduction to chapters 19 and 20
* Re-writing the operatic canon
* Flora Willson and William Gibbons
* Chapter 19.Phantoms at the Opéra: Meyerbeer and de-canonization
* Flora Willson
* Chapter 20. The uses and disadvantages of opera history: Unhistorical
thinking in fin-de-siècle Paris
* William Gibbons
* Introduction to chapters 21 and 22
* Contiguous genres: Operetta and American musicals
* Micaela Baranello and Raymond Knapp
* Chapter 21. Viennese operetta canon formation and the journey to
prestige
* Micaela Baranello
* Chapter 22.Canons of the American musical
* Raymond Knapp
* Introduction to chapters 23 and 24
* Twentieth-century reproductive technology and the operatic canon
* Karen Henson and Hugo Shirley
* Chapter 23. Sound recording and the operatic canon: Three "drops of
the needle"
* Karen Henson
* Chapter 24. Opera on film and the canon
* Hugo Shirley
* Introduction to chapters 25 and 26
* Views of the operatic canon from the industry
* John Rockwell and Kasper Holten
* Chapter 25. Critical reflections on the operatic canon
* John Rockwell
* Chapter 26. Inside and outside the operatic canon, on stage and in
the boardroom
* Kasper Holten
* Bibliography