The Futurist opera Victory over the Sun, first staged in 1913 in St Petersburg, was a key event of the Russian avant-garde, notorious for its libretto, its unconventional score and its pioneering abstract sets and costumes designed by Kazimir Malevich.
John Deathridge presents a different and critical view of Richard Wagner based on recent research that does not shy away from some unpalatable truths about this most controversial of composers in the canon of Western music.
This book approaches opera fantasias - instrumental works that use themes from a single opera as the body of their virtuosic and flamboyant material - both historically and theoretically, concentrating on compositions for and by woodwind-instrument performers in Italy in the nineteenth century.
William Kinderman's detailed study of Parsifal, described by the composer as his "e;last card,"e; explores the evolution of the text and music of this inexhaustible yet highly controversial music drama across Wagner's entire career.
Awards: Irving Lowens Award, Society for American Music (SAM), 2019 Music in American Culture Award, American Musicological Society (AMS), 2018 Certificate of Merit for Best Historical Research in Recorded Country, Folk, Roots, or World Music, Association for Recorded Sound Collections (ARSC), 2018 Outstanding Achievement in Humanities and Cultural Studies: Media, Visual, and Performance Studies, Association for Asian American Studies (AAAS), 2019 The Chinatown opera house provided Chinese immigrants with an essential source of entertainment during the pre-World War II era.
Opera for the People is an in-depth examination of a forgotten chapter in American social and cultural history: the love affair that middle-class Americans had with continental opera (translated into English) in the 1870s, 1880s, and 1890s.
Heinrich August Marschners Opern gelten musikgeschichtlich und kompositionstechnisch als "Mittler" zwischen Carl Maria von Weber und Richard Wagner; Marschners Werke galten im 19.
A regiment of women warriors strides across the battlefield of German culture - on the stage, in the opera house, on the page, and in paintings and prints.
Giacomo Puccini (1858-1924) is the world's most frequently performed operatic composer, yet he is only beginning to receive serious scholarly attention.
The Lost Tradition of Dvork's Operas: Myth, Music, and Nationalism examines Antonn Dvork's operas, specifically Jakobn and Rusalka, from a critical standpoint, focusing on such criteria as tonal structures, thematic material and motives, subject matter, Czech folklore and musical influences, textual language, nationalism, characters, compositional history, performance history, and reception.
The Modern Castrato: Gaetano Guadagni and the Coming of a New Operatic Age chronicles the career of the most significant castrato of the second half of the eighteenth-century.
Walsh's book should be a vade mecum for anyone who would teach the Carmina Burana on any level and be of considerable value in general to medievalists, comparatists, and those in related disciplines.
This book asks what theological messages theologically educated Catholics in late-eighteenth-century Prague might have perceived in Mozart's late opera seria La clemenza di Tito.
Jonathan Harvey (1939-2012) was one of Britain's leading composers: his music is frequently performed throughout Europe, the United States (where he lived and worked) and Japan.
Performed throughout Europe during the 1700s, Italian heroic opera, or opera seria, was the century's most significant musical art form, profoundly engaging such figures as Handel, Haydn, and Mozart.
This book explores how the Enlightenment aesthetics of theater as a moral institution influenced cultural politics and operatic developments in Vienna between the mid-eighteenth and early nineteenth centuries.
Vincenzo Bellini on Stage and Screen, 1935-2020 offers nine case studies of the history of Vincenzo Bellini's operas on stage, on screen, and in sound, video and performance art.
