National traditions in nineteenth-century opera
Author(s)
Bibliographic Information
National traditions in nineteenth-century opera
(The Ashgate library of essays in opera studies)
Ashgate, c2010
- v. 1
- v. 2
Available at 16 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
-
Kobe University Library for Humanities
v. 1766-1-ASH//1020201100918,
v. 2766-1-ASH//2020201100919
Note
Vol. 1. Italy, France, England and the Americas -- v. 2. Central and Eastern Europe
Vol. 2 edited by Michael C. Tusa
Includes bibliographical references and index
Description and Table of Contents
- Volume
-
v. 1 ISBN 9780754628996
Description
This volume covers opera in Italy, France, England and the Americas during the long nineteenth century (1789-1914). The book is divided into four sections that are thematically, rather than geographically, conceived: Places-essays centering on contexts for operatic culture; Genres and Styles-studies dealing with the question of how operas in this period were put together; Critical Studies of individual works, exemplifying particular critical trends; and Performance.
Table of Contents
- Contents: Introduction
- Part I Contexts: Some difficulties in the historiography of Italian opera, Fabrizio Della Seta
- Metaphors for Meyerbeer, Cormac Newark
- Italian romanticism and Italian opera: an essay in their affinities, Gary Tomlinson
- Verismo: origin, corruption and redemption of an operatic term, Andreas Giger
- Felice Romani, librettist by trade, Alessandro Roccatagliati
- Frederick Gye and 'the dreadful business of opera management', Gabriella Dideriksen and Matthew Ringel
- Opera audiences in Paris 1830-1870, Steven Huebner
- Verdian opera burlesqued: a glimpse into mid-Victorian theatrical culture, Roberta Montemorra Marvin. Part II Composition and Analysis: History and works that have no history: reviving Rossini's Neapolitan operas, Philip Gossett
- 'La solita forma and 'the uses of convention"', Harold S. Powers
- A key for chi? Tonal areas in Puccini, Roger Parker and Allan W. Atlas
- 'Tristan' in the composition of 'Pelleas', Carolyn Abbate. Part III Criticism: 'Dormez donc, mes chers amours': Herold's La Somnambule (1827) and dream phenomena on the Parisian lyric stage, Sarah Hibberd
- 'TB sheets': love and disease in La Traviata, Arthur Groos
- Masked balls, Ralph Hexter
- Return of the repressed: the prima donna from Hoffmann's Tales to Offenbach's Contes, Heather Hadlock
- Smyth the anarchist: fin-de-siecle radicalism in The Wreckers, Suzanne B. Robinson. Part IV Performance: Knowing the score: Italian opera as work and play, Philip Gossett
- Ornamenting Verdi's arias: the continuity of a tradition, David Lawton
- 'La cantate delle passioni:' Giuditta Pasta and the idea of operatic performance, Susan B. Rutherford
- The sea and the stars and the wastes of the desert, Roger Parker
- Name Index.
- Volume
-
v. 2 ISBN 9780754629061
Description
This volume offers a cross-section of English-language scholarship on German and Slavonic operatic repertories of the "long nineteenth century," giving particular emphasis to four areas: German opera in the first half of the nineteenth century; the works of Richard Wagner after 1848; Russian opera between Glinka and Rimsky-Korsakov; and the operas of Richard Strauss and JanA!cek. The essays reflect diverse methods, ranging from stylistic, philological, and historical approaches to those rooted in hermeneutics, critical theory, and post-modernist inquiry.
Table of Contents
- Contents: Introduction
- Part I German Opera in the Early 19th Century: The arias of Marzelline: Beethoven as a composer of opera, Philip Gossett
- New light(s) on Weber's Wolf's Glen scene, Anthony Newcomb
- Richard Wagner and Weber's Euryanthe, Michael C. Tusa. Part II Wagner: The Ring and the conditions of interpretation: Wagner's writing, 1848 to 1852, James Treadwell
- ...wie ein rother Faden: on the origins of 'leitmotif' as critical construct and musical practice, Thomas Grey
- The structure of the Ring and its evolution, Robert Bailey
- Dramatic recapitulation in Wagner's GAtterdAmmerung, William Kinderman
- Wagner, 'On modulation' and Tristan, Carolyn Abbate
- Death drive: Eros and Thanatos in Wagner's Tristan und Isolde, Linda Hutcheon and Michael Hutcheon
- Constructing Nuremberg: typological and proleptic communities in Die Meistersinger, Arthur Groos
- Amfortas's Prayer to Titurel and the role of D in Parsifal: the tonal spaces of the drama and the enharmonic C-flat/B, David Lewin
- Strange love or, how we learned to stop worrying and love Wagner's Parsifal, John Deathridge. Part III Russian Opera: On Ruslan and Russianness, Marina Frolova-Walker
- Mussorgsky's Boris on the stage of the Maryinsky Theater: a chronicle of the first production, Robert William Oldani
- Mussorgsky's libretti on historical themes: from the two Borises to Khovanshchina, Caryl Emerson
- The semiotics of symmetry, or Rimsky-Korsakov's operatic history lesson, Simon Morrison. Part IV Strauss and JanA!cek: Strauss and the pervert, Sander L. Gilman
- Fin-de-siecle fantasies: Elektra and the culture of supremacism, Lawrence Kramer
- JanA!cek's speech-melody theory in concept and practice, Paul Wingfield
- Evasive realism: narrative construction in Dostoyevsky's and JanA!cek's 'From the House of the Dead', Geoffrey Chew and Robert Vilain
- Name Index.
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