Medievalism, or the reception or interpretation of the Middle Ages, was a prominent aesthetic for German opera composers in the first half of the nineteenth century.
Sigismund von Neukomm war weit mehr als nur ein Schüler von Joseph Haydn – er war ein musikalischer Weltbürger, dessen Kompositionen von Europa bis Südamerika reichten und Kulturen miteinander verbanden.
Tauchen Sie ein in das faszinierende Leben von Jacopo Peri, dem visionären Musiker und Komponisten, der als „Vater der Oper“ in die Geschichte einging.
Part of a series of sixteen volumes that provides for the first time ever a comprehensive set of works from a full century of musical theater in the United States of America.
The Operatic Archive: American Opera as History extends the growing interdisciplinary conversation in opera studies by drawing on new research in performance studies and the philosophy of history.
From the very beginning of the nineteenth century, many elements of Spanish culture carried an air of 'exoticism' for the French-and nothing played more important of a role in shaping the French idea of Spain than the country's musical tradition.
Latin America and the Transports of Opera studies a series of episodes in the historical and textual convergence of a hallowed art form and a part of the world often regarded as peripheral.
It has been said that zarzuela means to Spain what operetta means to Vienna, Offenbach to Paris, Gilbert and Sullivan to London, and the musical to Broadway.
In 1759, the court of the Italian Duchy of Parma adopted the inspiration of cultural creators who recommended a reform of Italian opera along French lines.
Opera has been performed in Australia for more than two hundred years, yet none of the operas written before the Second World War have become part of the repertoire.
Through historical and contemporary examples, this book critically explores the relevance and expressions of multicultural representation in western European operatic genres in the modern world.
Opera After the Zero Hour: The Problem of Tradition and the Possibility of Renewal in Postwar West Germany presents opera as a site for the renegotiation of tradition in a politically fraught era of rebuilding.
Unlike collections of essays which focus on a single century or whose authors are drawn from a single discipline, this collection reflects the myriad performance options available to London audiences, offering readers a composite portrait of the music, drama, and dance productions that characterized this rich period.
This classic text, first published in 1972, has withstood the test of time as a teaching aid for English-speaking singers, teachers, coaches, and accompanists, in order that their art may be more communicative to the public.
Bizet's Carmen Uncovered exposes the myths and stereotypes that so often surround this much loved opera by exploring its first staging, and the particularly Spanish contexts in which the opera was conceived, written, and staged.
The art of the early republic abounds in representations of deception: the villains of Gothic novels deceive their victims with visual and acoustic tricks; the ordinary citizens of picaresque novels are hoodwinked by quacks and illiterate but shrewd adventurers; and innocent sentimental heroines fall for their seducers' eloquently voiced half-truths and lies.
From the outset, French opera generated an enormous diversity of literature, familiarity with which greatly enhances our understanding of this unique art form.
From the very beginning of the nineteenth century, many elements of Spanish culture carried an air of 'exoticism' for the French-and nothing played more important of a role in shaping the French idea of Spain than the country's musical tradition.
