The series aims to represent all the major genres and styles of musical theater of the century, from ballad opera through melodrama, plays with incidental music, parlor entertainments, pastiche, temperance shows, ethnic theater, minstrelsy, and operetta, to grand opera.
Drawing on the concept of hypermediacy from media studies, this book situates opera within the larger context of contemporary media practices, and particularly those that play up the multiplicity, awareness and enjoyment of media.
French Music in Britain 1830-1914 investigates the presence, reception and influence of French art music in Britain between 1830 (roughly the arrival of 'grand opera' and opera comique in London) and the outbreak of the First World War.
The psychiatrist John Cordingly examines twelve operatic heroes under six sub-categories of personality disorder, placing them within the histories of mental disorder, sexuality, Byronism and their cultural contexts.
This biography tells the story of Alice May, a touring prima donna in the nineteenth century who travelled from England to Australia, New Zealand, India and the US, taking part in pioneering performances of the popular light operas of the day.
In its revised third edition, this volume argues that an appreciation of opera is based on understanding of several key aspects: history, language, theatrical production, the power of the conductor, vocal tradition and standard repertory.
Carmen and the Staging of Spain explores the Belle poque fascination with Spanish entertainment that refashioned Bizet's opera and gave rise to an international "e;Carmen industry.
Composer, pianist, and critic Claude Debussy's musical aesthetic represents the single most powerful influence on international musical developments during the long fin de si?
From the Wall Street Journal's opera critic, a history of how and why the New York City Opera went bankrupt-and what it means for the future of the arts.
In the first musicological study of Kurt Weill's complete stage works, Stephen Hinton charts the full range of theatrical achievements by one of twentieth-century musical theater's key figures.
In this erudite and elegantly composed argument, Karol Berger uses the works of Monteverdi, Bach, Mozart, and Beethoven to support two groundbreaking claims: first, that it was only in the later eighteenth century that music began to take the flow of time from the past to the future seriously; second, that this change in the structure of musical time was an aspect of a larger transformation in the way educated Europeans began to imagine and think about time with the onset of modernity, a part of a shift from the premodern Christian outlook to the modern post-Christian worldview.
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.
Drama, passion, a good dose of humour and, first and foremost, immortal melodies are the ingredients of the great masterpieces of Italian opera history.
The complete dramatic toolbox for the opera singer a step-by-step guide detailing how to create character, from auditions through to rehearsal and performance and formulate a successful career.
Parisian theatrical, artistic, social, and political life comes alive in Mark Everist's impressive institutional history of the Paris Odeon, an opera house that flourished during the Bourbon Restoration.
An der Schnittstelle von Opernforschung, Musikalienhandel und Verlagswesen widmen sich international ausgewiesene Wissenschaftlerinnen und Wissenschaftler der Verbreitung von musikalischen Operndrucken in der deutschsprachigen Verlagslandschaft des .
Musical Symbolism in the Operas of Debussy and Bartk explores the means by which two early 20th century operas - Debussy's Pellas et Mlisande (1902) and Bartk's Duke Bluebeard's Castle (1911) - transformed the harmonic structures of the traditional major/minor scale system into a new musical language.
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.
Written more than a century ago and initially regarded even by their creators as nothing more than light entertainment, the fourteen operas of Gilbert & Sullivan emerged over the course of the twentieth century as the world's most popular body of musical-theater works, ranking second only to Shakespeare in the history of English-language theater.
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.
