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
-
Kobe University Library for Humanities
v. 1766-1-ASH//1020201100918,
v. 2766-1-ASH//2020201100919 -
Faculty of Letters Library, University of Tokyo美学
v. 1H:3320:(4)4818287718,
v. 2H:3320:(5)4818287726 -
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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
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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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