The Oxford Handbook of Opera

The Oxford Handbook of Opera

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Description

What is opera? Contributors to The Oxford Handbook of Opera respond to this deceptively simple question with a rich and compelling exploration of opera's adaption to changing artistic and political currents. Fifty of the world's most respected scholars cast opera as a fluid entity that continuously reinvents itself in a reflection of its patrons, audience, and creators. The synergy of power, performance, and identity recurs thematically throughout the volume's major topics: "Words, Music, and Meaning"; "Performance and Production"; "Opera and Society"; and "Transmission and Reception." Individual essays engage with repertoire from Monteverdi, Mozart, and Meyerbeer to Strauss, Henze, and Adams in studies of composition, national identity, transmission, reception, sources, media, iconography, humanism, the art of collecting, theory, analysis, commerce, singers, directors, criticism, editions, politics, staging, race, and gender. The title of the penultimate section, "Opera on the Edge," suggests the uncertainty of opera's future: is opera headed towards catastrophe or have social and musical developments of the last hundred years stimulated something new and exciting-and, well, operatic? In an epilogue to the volume, a contemporary opera composer speaks candidly about opera composition today. The Oxford Handbook of Opera is an essential companion to scholars, educators, advanced students, performers, and knowledgeable listeners: those who simply love opera.show more

Product details

  • Hardback | 1216 pages
  • 182.88 x 248.92 x 60.96mm | 1,950.44g
  • Oxford University Press Inc
  • New York, United States
  • English
  • 49 halftones, 2 line drawings, 50 music examples
  • 0195335538
  • 9780195335538
  • 825,511

About Helen M. Greenwald

Helen M. Greenwald is a musicologist, cellist, and translator on the faculty of the New England Conservatory. Her work has appeared in such journals as 19th-Century Music, Acta Musicologica, Music & Letters, Journal of the American Musicological Society, Current Musicology, the Mozart-Jahrbuch, Nineteenth-Century Music Review, Notes, Studi musicali toscani, Newsletter of the Resource Internationale d'Iconographie Musicale, and Cambridge Opera Journal.show more

Review quote

It will provide a lot of background and history of the genre to readers ... deserve a place in specialist music libraries. * Stella Thebridge, Reference Reviews * Greenwald and her large cast are to be congratulated on having produced a major contribution to opera scholarship. No single theme or thesis is propounded; rather, the book convers and exceptionally wide range of issues intelligently investigated. * Daniel Snowman, Opera * The best writers here are erudite, witty, thoughtful, a little weird. They can analyse and explain but they are are still prepared to surrender to the impact of a greedy, usually overtly emotional art form * Anna Picard, The Times Literary Supplement *show more

Table of contents

CONTENTS ; List of Figures ; List of Musical Examples ; List of Tables ; List of Contributors ; Acknowledgements ; A Note about Translations and Music Examples ; INTRODUCTION: Helen M. Greenwald ; PART I. WHAT IS OPERA? ; 1. Tim Carter: What is Opera? ; 2. Emanuele Senici: Genre ; 3. Derek B. Scott: Musical Theater(s) ; 4. Monika Hennemann: Operatorio? ; 5. Lydia Goehr: The Concept of Opera ; PART II. WORDS, MUSIC, AND MEANING ; The Libretto and the Score ; 6. Vincent Giroud: Oft-Told Tales ; 7. Marina Frolova-Walker: The Problem of National Style ; 8. Damien Colas: Musical Dramaturgy ; 9. Andreas Giger: Versification ; 10. John Warrack: The German Libretto of the Early Nineteenth Century ; 11. William Drabkin: Analyzing Opera ; Humanism, Verisimilitude, and Voice ; 12. Wendy Heller: Opera between the Ancients and the Moderns ; 13. Thomas Betzwieser: Verisimilitude ; 14. Michal Grover-Friedlander: Voice ; 15. Julian Rushton: Characterization ; 16. Lawrence Kramer: Meaning ; PART III: PERFORMANCE AND PRODUCTION ; 17. Hilary Poriss: Divas and Divos ; 18. Martha Feldman: Castrato Acts ; 19. Mark Everist: Rehearsal Practices ; 20. Simon Williams: Acting ; 21. Ryan Minor: The Chorus ; 22. Alessandro Di Profio: The Orchestra ; 23. Linda Tomko: Dance ; 24. Katherine Syer: Production Aesthetics and Materials ; 25. Veronica Isaac: Costumes ; 26. Ulrich Mueller: Regietheater/ Director's Theater ; 27. Mary Hunter: Historically Informed Performance ; PART IV: OPERA AND SOCIETY ; 28. Marianne Betz: Opera Composition and Cultural Environment ; 29. Valeria De Lucca: Patronage ; 30. Georgia Cowart: Audiences ; 31. Daniela Macchione: Autographs, Memorabilia, and the Aesthetics of Collecting ; 32. Marc Weiner: Politics ; 33. Jesse Rosenberg: Religion ; 34. John Graziano: Race ; 35. Alexandra Wilson: Gender ; 36. W. Anthony Sheppard: Exoticism ; 37. Francesco Izzo: Censorship ; PART V: TRANSMISSION AND RECEPTION ; 38. Louise Stein: How Opera Traveled ; 39. James Parakilas: The Operatic Canon ; 40. Paul Watt: Critics ; 41. Thomas Christensen: Soundings Offstage ; 42. Marcia J. Citron: Visual Media ; 43. Helen M. Greenwald: Operatic Images ; 44. Linda Fairtile: Sources ; 45. Charles Brauner: Reconstructions ; 46. Patricia Brauner: Editing Opera ; 47. Philip Gossett: Writing the History of Opera ; PART VI: OPERA ON THE EDGE ; 48. Joy H. Calico: 1900-1945 ; 49. Robert Fink: After the Canon ; EPILOGUE ; 50. Jake Heggie: Composing Opera Today ; Index of Musical Works ; General Indexshow more

Review Text

The best writers here are erudite, witty, thoughtful, a little weird. They can analyse and explain but they are are still prepared to surrender to the impact of a greedy, usually overtly emotional art form Anna Picard, The Times Literary Supplementshow more