The Ashgate library of essays in opera studies: [4] National traditions in nineteenth-century opera, Volume 1 : Italy, France, England and the Americas
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
Farnham [u.a.]
Ashgate
2010
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XXVIII, 537 S. Ill. |
| ISBN: | 9780754628996 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents
Acknowledgements
vii
Series Preface
ix
Introduction
xi
PARTI CONTEXTS
1 Fabrizio
Della Seta
(1998),
Some Difficulties in the Historiography of Italian
Opera , Cambridge Opera Journal,
10,
pp.
3-13. 3
2
Cormac Newark
(2002),
Metaphors for Meyerbeer , Journal of the Royal
Musical Association,
127,
pp.
23-43. 15
3
Gary Tomlinson
(1986),
Italian Romanticism and Italian Opera: An Essay
in Their Affinities ,
19th-century
Music,
10,
pp.
43-60. 37
4
Andreas Giger
(2007),
Verismo:
Origin, Corruption and Redemption of an
Operatic Term , Journal of the American Musicological Society,
60,
pp.
271-315. 55
5
Alessandro Roccatagliati
(1996),
Felice
Romani,
Librettist by Trade ,
Cambridge Opera Journal,
8,
pp.
113-45.
Trans, by Karen Henson.
101
6
Gabriella Dideriksen
and Matthew
Ringel (1995),
Frederick
Gye
and
The Dreadful Business of Opera Management ,
19th-century
Music,
19,
pp.
3-30. 135
7
Steven Huebner
(1989),
Opera Audiences in Paris
1830-1870 ,
Music
&
Letters,
70,
pp.
206-25. 163
8
Roberta Montemorra Marvin
(2003),
Verdian Opera Burlesqued: A Glimpse
into Mid-Victorian Theatrical Culture , Cambridge Opera Journal,
15,
pp.
33-66
and publisher s errata pp.
209-11.
1
83
PART II COMPOSITION AND ANALYSIS
9
Philip Gossett
(1992),
History and Works That Have No History: Reviving
Rossini s Neapolitan Operas , in
Katherine
Bergeron and Philip V. Bohlman
(eds),
Disciplining Music: Musicology and its Canons, Chicago: University
of Chicago Press, pp.
95-115. 221
10
Harold S. Powers
(1987),
Ία
solita
forma and The Uses of Convention ,
Acta
Musicologica,
59,
pp.
65-90. 243
11
Roger Parker and Allan W. Atlas
(1992),
A Key for Chi1? Tonal Areas in
Puccini ,
19th-century
Music,
15,
pp.
229-34. 269
12
Carolyn
Abbate
(1981),
Tristan in the Composition of
Pelléas
19th-century
Music,
5,
pp.
117-41. 275
National
Traditions
in Nineteenth-Century Opera, Volume I
PARTIU
CRITICISM
13
Sarah Hibberd
(2004),
Dormez donc, mes chers amours : Hérold s
La Somnambule
(1827)
and Dream Phenomena on the Parisian Lyric Stage ,
Cambridge Opera Journal,
16,
pp.
107-32. 303
14
Arthur Groos
(1995),
ТВ
Sheets : Love and Disease in
La traviata ,
Cambridge Opera Journal,
7,
pp.
233-60. 329
15
Ralph Hexter
(2002),
Masked Balls , Cambridge Opera Journal,
14,
pp.
93-108. 357
16
Heather Hadlock
(1994),
Return of the Repressed: The
Prima
Donna from
Hoffmann s Tales to Offenbach s
Contes ,
Cambridge Opera Journal,
6,
pp.
221-43. 373
17
Suzanne Robinson
(2008),
Smyth the Anarchist:
Fin-de-siècle
Radicalism in
The Wreckers , Cambridge Opera Journal,
20,
pp.
149-79. 397
PART IV PERFORMANCE
18
Philip Gossett
(1996),
Knowing the Score: Italian Opera as Work and Play ,
in D.C. Greetham and W. Speed Hill
(eds),
Text: Transactions of the Society
for Textual Scholarship,
8,
Ann Arbor: University of Michigan Press, pp.
1-24. 431
19
David Lawton
(2001),
Ornamenting Verdi s Arias: The Continuity of a
Tradition , in Alison Latham and Roger Parker
(eds),
Verdi in Performance,
Oxford: Oxford University Press, pp.
49-78. 455
20
Susan B. Rutherford
(2007),
La cantante delle passioni : Giuditta
Pasta and the
Idea of Operatic Performance , Cambridge Opera Journal,
19,
pp.
107-38. 485
21
Roger Parker
(1998),
The Sea and the Stars and the Wastes of the Desert ,
University of Toronto Quarterly,
67,
pp.
750-60. 517
Name Index
529
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