Performing Arts in Changing Societies is a detailed exploration of genre development within the fields of dance, theatre, and opera in selected European countries during the decades before and after 1800.
Gaetano Donizetti: A Research and Information Guide offers an annotated reference guide to the life and works of this important Italian opera composer.
In this widely ranging collection of essays, a group of contemporary psychoanalyst/authors turn their finely-honed listening skills and clinical experience to plumb the depths and illuminate themes of character, drama, myth, culture, and psychobiography in some of the world's most beloved operas.
Shortly after Wolfgang Amadeus Mozart's death, his widow Constanze sent a manuscript copy of one of his most beloved operas, Die Zauberflote, to the court of the Elector of Cologne.
Giovanni Battista Rubini (1794-1854) was a legendary tenor and the first 19th-century non-castrati male singer to become an international star of opera.
Embodying Voice: Singing Verdi, Singing Wagner articulates the process of developing an operatic voice, explaining how and why the training of such a voice is as complex and sophisticated as it is mysterious.
During the years preceding the composition of Tristan and Isolde, Wagner's aesthetics underwent a momentous turnaround, principally as a result of his discovery of Schopenhauer.
Felice Giardini and Professional Music Culture in Mid-Eighteenth-Century London explores Giardini's influence on British musical life through his multifaceted career as performer, teacher, composer, concert promoter and opera impresario.
Filmmakers' fascination with opera dates back to the silent era but it was not until the late 1980s that critical enquiries into the intersection of opera and cinema began to emerge.
During the years preceding the composition of Tristan and Isolde, Wagner's aesthetics underwent a momentous turnaround, principally as a result of his discovery of Schopenhauer.
Amanda Glauert revisits Beethoven's songs and studies his profound engagement with the aesthetics of the poets he was setting, particularly those of Herder and Goethe.
Studies in the history of French nineteenth-century stage music have blossomed in the last decade, encouraging a revision of the view of the primacy of Austro-German music during the period and rebalancing the scholarly field away from instrumental music (key to the Austro-German hegemony) and towards music for the stage.
The Oxford Handbook of Music and Medievalism provides a snapshot of the diverse ways in which medievalism--the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages--powerfully transforms many of the varied musical traditions of the last two centuries.
When Joseph II placed his opera buffa troupe in competition with the re-formed Singspiel, he provoked an intense struggle between supporters of the rival national genres, who organized claques to cheer or hiss at performances, and encouraged press correspondents to write slanted notices.
Detailed overview of Handel's final 22 operas - including major masterpieces such as Orlando, Ariodante and Alcina and the brilliant lighter works Partenope, Serse and Imeneo - by the world's leading authority.
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.
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.
Summarizing the recent resurgence of scholarly interest in Strauss, this volume focuses on genres, social context, and perennially controversial topics.
The Beginner's Guide to Opera Stage Management is the first book to cover theatrical stage management practices specifically for opera productions, providing an invaluable step-by-step guide.
An authoritative, accessible reference work that brings together current knowledge and new interpretive insights into Haydn''s music and cultural influence.
The study of opera in the second half of the eighteenth century has flourished during the last several decades, and our knowledge of the operas written during that period and of their aesthetic, social, and political context has vastly increased.
This study seeks to explore the role and significance of aria insertion, the practice that allowed singers to introduce music of their own choice into productions of Italian operas.
