This book offers essays on a number of the author's favourite operas, well known and little known.
First published in 1994.
the relationship between opera and the media that these operas foreground remain chiefly the same, including the crucial question of how opera recasts its cultural relevance and rethinks its critical potential through its engagement ...
... opera seria, the audience was made to wait until well into the first act to hear the primo uomo 105 To use the terms of aesthetician Kendall Walton, what was so striking about Il disertore was that – with respect to the genre of ...
... Der Rosenkavalier). Ten. The Marschallin's majordomo, called Struhan. Created (1911) byAnton Erl; Ten. Herr von Faninal's major-domo. Created (1911) by Fritz Soot (who was also the Italian Singer). 2. (Strauss: Capriccio). Bass. He ...
A more extreme example that illustrates the usefulness of a draft in recovering lost music is Verdi's Una vendetta in dominò, an early version of Un ballo in maschera that was effectively smothered in its cradle by censorship.
... Mozart In 1819 Bishop again returned to Mozart in his Covent Garden production of the Marriage of Figaro . Bishop apparently made his own adaptation of the text . His " poetical talents , " the Inquisitor had declared ( July 1817 ) ...
The volume brings a wide-ranging, theoretically informed, interdisciplinary approach to questions about how blackness has been represented in these operas, issues surrounding characterization of blacks, interpretation of racialized roles by ...
... Stompor 1978; Baselt 1979; Braun 1985; Roberts 1990; Dean / Knapp 1995, 38439, 71; Pegah 2004 [with slightly different solutions]; see also n. ... 46: “Keiser miBfielen die unerwarteten Erfolge des jungen Debutanten [i.e. Handel].
Tyson, Alan (1992), Wasserzeichen-Katalog, Neue Mozart Ausgabe, X/33/Abteilung 2, Kassel: Bârenreiter. Waldoff, Jessica (1995), 'The Music of Recognition on Mozart's Operas', PhD diss., Cornell University. Waldoff, Jessica (1998) ...
Pitch Symbolism in Britten's Operas,” in Rethinking Britten, ed. Philip Rupprecht (Oxford: Oxford ... Harper-Scott, Ideology in Britten's Operas, 134, also notes that these rhythms derive from the music to Billy's execution. 42.