The Oxford handbook of opera:
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| Sprache: | English |
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| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | XXXII, 1177 Seiten Illustrationen, Notenbeispiele |
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| 245 | 1 | 0 | |a The Oxford handbook of opera |c edited by Helen M. Greenwald |
| 246 | 1 | 3 | |a Opera |
| 264 | 1 | |a Oxford ; New York |b Oxford Univrtsity Press |c 2022 | |
| 264 | 4 | |c © 2014 | |
| 300 | |a XXXII, 1177 Seiten |b Illustrationen, Notenbeispiele | ||
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| 500 | |a Includes bibliographical references and index | ||
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Datensatz im Suchindex
| _version_ | 1804150749055156224 |
|---|---|
| adam_text | Contents
List of Figures
xi
List of Music Examples
xvii
List of Tables
xix
List of Contributors
xxi
Acknowledgments
xxxiii
A Note about Translations and Music Examples
xxxv
Introduction
ι
Helen M. Greenwald
PART I WHAT IS OPERA?
ι.
What Is Opera?
15
Tim Carter
2.
Genre
33
Emanuele Senici
3.
Musical Theater^)
53
Derek B. Scott
4.
Operatorio?
73
Monika Hennemann
5.
The Concept of Opera
92
Lydia Goehr
PART II WORDS, MUSIC, AND MEANING
The Libretto and The Score
6.
Oft-Told Tales
137
Vincent Giroud
VI
CONTENTS
7.
The Language of National Style
156
Marina Frolova-Walker
8.
Musical Dramaturgy
177
Damien Colas
9.
Versification
206
Andreas Giger
10.
The German Libretto of the Early Nineteenth Century
227
John Warrack
11.
Analysis
245
William Drabkin
Humanism, Verisimilitude, and Voice
12.
Opera between the Ancients and the Moderns
275
Wendy Heller
13.
Verisimilitude
296
Thomas Betzwieser
14.
Voice
318
Michal Grover-Friedlander
15.
Characterization
334
Julian Rushton
16.
Meaning
352
Lawrence Kramer
PART III PERFORMANCE AND PRODUCTION
17.
Divas and
Divos
373
Hilary Poriss
18.
Castrato
Acts
395
Martha Feldman
19.
Rehearsal Practices
419
Mark Everist
CONTENTS
VU
20.
Acting
442
Simon Williams
21. The Chorus 460
Ryan
Minor !
22.
The Orchestra 4so
Alessandro Di Profio
23. Dance 510
Linda J.
Tomko
24.
Production Aesthetics and
Materials
531
Katherine
Syer
25.
Costumes
553
Veronica Isaac
26.
Regietheater/Director
s
Theater
582
Ulrich Müller
27.
Historically Informed Performance
606
Mary Hunter
PART IV OPERA AND SOCIETY
28.
Opera Composition and Cultural Environment
629
Marianne Betz
29.
Patronage
648
Valeria
De
Lucca
30.
Audiences
666
Georgia Cowart
31.
Autographs, Memorabilia, and the Aesthetics of Collecting
685
Daniela
Macchione
32.
Politics
706
Marc A. Weiner
33.
Religion
732.
Jesse Rosenberg
Vlil
CONTENTS
34.
Race and Racism
754
John
Graziano
35.
Gender
774
Alexandra Wilson
36.
Exoticism
795
W. Anthony Sheppard
37.
Censorship
817
Francesco Izzo
PART V TRANSMISSION AND RECEPTION
38.
How Opera Traveled
843
Louise K. Stein
39.
The Operatic Canon
862
James
Parakilas
40.
Critics
881
Paul Watt
41.
Soundings Offstage
899
Thomas Christensen
42.
Visual Media
921
Marcia
J.
Citron
43.
Operatic Images
941
Helen M. Greenwald
44.
Sources
969
Linda B. Fairtile
45.
Reconstructions
989
Charles S.
Brauner
46.
Editing Opera
1012
Patricia B.
Brauner
47.
Writing the History of Opera
1032
Philip Gossett
CONTENTS
IX
PART VI OPERA ON THE EDGE
48. 1900-1945 1049
Joy H. Calico
49.
After the Canon
1065
Robert Fink
EPILOGUE
50.
Composing Opera
1089
Jake Heggie
Index of Musical Works
1111
General Index
1127
List of Figures
3.1
Les Misérables,
the world
s
longest running musical, at the Queens
Theatre, London, January
2009.
Photo Derek B. Scott.
61
4.1
Joseph Urban. Costume drawings for a staged performance of
Mendelssohn s Die
erste Walpurgisnacht
at the Boston Opera,
1910.
Joseph
Urban Archive, Rare Book and Manuscript Library, Columbia University.
79
4.2
Oskar Achenbach,
Ananias. Painting for a dramatized performance
of Mendelssohn s
Paulus in Düsseldorf, 1870,
using tableaux
vivants.
Theaterwissenschaftliche Sammlung Universität zu Köln. 80
4.3 Front
page of libretto booklet for a dramatized production of
Mendelssohn s Elijah by the Moody-Manners Opera Company in
London,
1920.
The British Library, Northcott
155. 83
4.4
Photograph of
Urbans
set drawing for the prologue of
Liszťs
Saint
Elizabeth at the Metropolitan Opera,
1918.
Joseph Urban Archive, Rare
Book and Manuscript Library, Columbia University.
86
4.5
Program for the production of Liszt
s
Saint Elizabeth at the Metropolitan
Opera,
1918.
Joseph Urban Archive, Rare Book and Manuscript Library,
Columbia University.
87
10.1
Friedrich
Kind,
Freischütz-Buch (1843),
title page. Collection of
John Warrack.
231
17.1
Isaac Robert Cruikshank, hand-colored etching, The Cambridge
Musical Squeeze!! -or- Double-Bass
Entré
to the Ochestra [sic]?
©
Victoria and Albert Museum, London.
389
18.1
Extract from
Farinelli^
presentation manuscript. Reproduced
by permission of the
Musiksammlung der Österreichischen
Nationalbibliothek,
Vienna, Mus.Hs.19111,
fols.
51^52^ 400
18.2 Senesino,
depicted with soprano Faustina
Bordoni, in a
caricature drawn
by Venetian artist and librarian Anton Maria Zanetti
il Vecchio (entited
Francesco Bernardio
detto il
Senesino
e
Faustina
Bordoni).
Reproduced
from Zanetti s album by permission of the
Istituto di Storia dell Arte della
Fondazione Giorgio Cini,
Venice.
403
18.3
For physiological and hormonal reasons,
castrati
also often had long
limbs, which are evident in this depiction of
Farinelli in a
painting by
Bartolomeo
Nazari in
the first year of Farinellis London sojourn,
1734,
when the singer was twenty-nine years old. Image courtesy of the Royal
College of Music, London.
409
ХИ
LIST OF FIGURES
19.1
Halévy,
Charles
VI, duo
for
Isabelle de Bavière
and Odette, Respect
à
ce Roi, morceau détaché in GB-SO, fol. 24V. Collection
of
MarkEverist.
430
19.2
Charles
VI,
Opéra en
5
actes, Paroles de Ms Germain et Casimir Delavigne.
Musique de F. Halévy. Partition avec Ace de Piano, arrangée par Ch.
Schwenke.
Prix Aùfnet
I
a Paris, chez MCE SCHLESINGER, Rue Richelieu,
97» 45· 431
19.3
Halévy, Charles
VI,
duo for Isabelle de Bavière and Odette, Respect à ce
Roi,
manuscript
vocal
line of recitative
in GB-SO, fol. 23V. Collection
of
Mark Everist.
432
19.4
Flotow,
Ľ
âme en peine, duo for Léopold and
Paola,
Ô
doux transport,
morceau détaché in GB-SO, fol.
55г.
Collection
of Mark
Everist.
434
19.5
L AME en PEINE
/
Opéra
/
En Deux Actes
/
Paroles de Mr de S1 Georges
/
Musique
/
DE
/
F. DE FLOTOW.
/
Prix net
12Ч
PARIS, chez F. BONOLDI,
13
Rue Taitbout,
29. 435
19.6
Flotow, L âme en peine, duo for Léopold and
Paola,
ô
doux transport,
MS
addition in GB-SO, fol. 47V. Collection
of
Mark Everist.
436
19.7
Flotow, L âme en peine, duo for Léopold and
Paola,
Ô
doux transport
Dolorès
Nau
s rôle, F-Po Mat.19.
357 (7). 437
21.1
Mark
Morris s
production
of
Orfeo ed Euridice.
Photo: Ken Howard/
Metropolitan
Opera.
461
22.1
Orchestra
seating
plans
in Dresden,
Paris,
and Vienna with a proposed
arrangement
by
Alexandre Choron. Alexandre Choron and Adrien de
Lafage, Manuel complet de musique vocale et instrumentale,
libro VI,
Paris: Roret,
1836-1838.
With appreciation for the assistance of the
Institut
de
recherche
sur le patrimoine musical en France (IRPMF, Paris).
490
22.2
Théâtre de l Opéra. Opéra de Charles
VI,
paroles de MM. Casimir et
Germain Delavigne, musique de M. F. Halévy. Cinquième acte, dernière
décoration. In L illustration,
March
18,1843,41.
Collection
of
Alessandro
Di Prono.
491
22.3
Théâtre
de
ľOpéra-Comique.
Une scène
ď
Angélique
et
Médor
(dAmbroise
Thomas).
In
L illustration,
June
10,1843,237.
Collection of
Alessandro Di Prono.
492
22.4
Théâtre-Italien. Une scène de
Don Pasquale,
deuxième acte. In
L illustration,
April
1,1843,72.
With appreciation for the assistance of the
Institut de
recherche
sur le patrimoine musical en France (IRPMF, Paris).
492
22.5
Verdi
conducting the
orchestra in a performance
of
Aida. In Le monde
illustré,
April
3,1880.
Collection
of
Alessandro Di Prono.
493
24.1
Pages of a Radamisto promptbook used in London, in
1720,
featuring
annotations that clarify details about entrances and exits, the placement
of singers, and even sound effects.
©
Victoria and Albert Museum.
536
LIST OF FIGURES
Xlii
24.2
Model for
Angelo
Quaglio
Iľs
set designs for Act I of Tristan
und
Isolde. Photo by Rudolf Betz, reproduced courtesy of the
Deutsches
Theatermuseum.
The model is housed at the
Ludwig
II Museum at
Herrenchiemsee.
545
25.1
Red velvet
tonnelet,
1741. ©
Victoria and Albert Museum, S.92-1978.
558
25.2
Hand-colored lithograph of
André Deshayes
as Achilles and James
Harvey D Egville as Ulysses in D Egvilles ballet
Achille etDéidamie
at
King s Theatre
1804. ©
Victoria and Albert Museum, E.4973-1968.
559
25.3
William Richmond Blake, Portrait of Mrs. Luke Ionides,
1882. ©
Victoria
and Albert Museum,
Е.юб2:і,
2-2003.
565
25.4
Black and white photograph showing Julia Gwynne as
Saphir,
1881.
©
Victoria and Albert Museum,
8.146:144-2007. 569
25.5
Daisy Wallpaper block printed in distemper colors, William Morris,
1864. ©
Victoria and Albert Museum, E.2222-1913.
570
25.6
Black and white photograph showing Alice Barnett as Lady Jane, i88i.
©
Victoria and Albert Museum,
8.146:143-2007. 570
25.7
Photograph of George
Grossmith
as Reginald Bunthorne in Patience at
the Opera
Comique,
1881. ©
Victoria and Albert Museum,
8.146:183-2007. 571
25.8
Photograph of Rutland
Barrington
as Archibald Grosvenor in Patience at
the Opera
Comique.
©
Victoria and Albert Museum,
8.146:181-2007. 572
25.9
Photograph of Oscar Wilde taken by the American photographer
Napoleon Sarony. Wilde is dressed in knee breeches, quilted jacket and
loose neck tie,
1882.
National Portrait Gallery, NPG P24.
573
25.10
Richard Temple as Colonel Calverley, Durward Lely as Lieutenant
the Duke of Dunstable, and Frank Thornton as Major Murgatroyd
in Patience, at the Opera
Comique.
©
Victoria and Albert Museum,
8.146:163-2007. 574
26.1
Joachim
Herz,
Leipzig,
1976, Götterdämmerung,
Act III, funeral march for
Siegfried. From the
Herz Nachlass
with the kind permission of Dr. Kristel
Pappel-Herz.
597
26.2
Joachim
Herz,
Leipzig,
1973, Rheingold,
finale. From the
Herz
Nachlass
with the kind permission of Dr. Kristel Pappel-Herz.
598
28.1
George Whitefield Chadwick, The Padrone: Opening page of autograph
score. From the archives at New England Conservatory, Boston.
642
30.1
Jean-Antoine
Watteau,
The Pilgrimage to Cythera (Berlin:
Charlottenburg
Palace), oil on canvas, ca.
1718-1719.
Art Resource.
679
32.1
During
a j ourney
to Cornwall, the Irish princess Isolde
(Birgit
Nilsson)
broods on her betrayal by the Cornish knight Tristan, while the sailors
mock her. Tristan
und
Isolde, Metropolitan Opera,
1971,
set design by
Günther
Schneider-Siemssen. Photo: Frank Dunand
/ ©
the Metropolitan
Opera Guild.
715
XIV
LIST OF FIGURES
35.1
Imperial League of Opera advertisement.
MILO i,
no.
г
(November
1929),
British Library shelfmark P.433/36.
©
The British Library Board.
789
35.2
Nineteenth-century bronze of
Milo
of
Croton,
sculptor unknown,
Holland Park, London. Photograph
©
Alexandra Wilson.
791
36.1
Cindy Sadler as
Baba
the Turk in the Princeton Festival
2011
production
of Igor Stravinsky s The Rake s Progress. Reproduced with the permission
of the Princeton Festival.
808
36.2
Marilyn
Horne
as Samira in the Metropolitan Opera premiere
production of John Coriglianos The Ghosts of Versailles. Reproduced with
the permission of the Metropolitan Opera Archives.
809
41.1
Title page to Henry
Playford
s
The Banquet of Music
(1687).
Reproduction
courtesy of the Newberry Library.
902
41.2
Song from Bononcinis Camilla
(1707).
Reproduction courtesy of the
Newberry Library.
903
41.3
Title page to Cluer s
Pocket
edition of Handel s Julius Caesar
(1724).
Reproduction courtesy of the Newberry Library.
904
41.4
Transcription for harpsichord of the
Chaconne
de
Phaeton
de Mr. de
Lully,
in d Anglebert, Pièces de clavecin
(1689).
Collection
of
Thomas Christensen.
906
41.5
Excerpt of
Johann Adam Hiller s
Ha, deiner Liebe droht
from Die
Liebe
auf dem Lande (1768).
Reproduction courtesy of the Newberry Library.
909
41.6
Title page of an opera potpourri for four hands by G. W. Marks
(ca.
i860).
Collection of Thomas Christensen.
911
42.1
Griffi
s
Tosca,
Act I in
Sant Andrea Della Valle,
with
Plàcido
Domingo.
©
Rada
Films.
930
42.2
Grifñ s Tosca,
Act II in Palazzo
Farnese,
with Ruggero Raimondi and
Catherine Malfitano.
©
Rada
Films.
930
42.3
Griffi s
Tosca,
Act III atop
Castel SantAngelo,
with Domingo.
©
Rada
Films.
931
42.4
Jacquot s
Tosca,
black-and-white cutaway to recording studio in Act I,
with Antonio
Pappano,
conductor, and Orchestra
&
Chorus of the Royal
Opera House, Covent Garden.
©
Avatar Films.
933
42.5
Jacquot s
fosca,
entrance of
Tosca
in Act I, with Angela Gheorghiu.
©
Avatar Films.
934
42.6
Jacquot s
Tosca,
Trionfai di nova speme in
Act III, with
Roberto Alagna
and Gheorghiu. © Avatar Films.
934
42.7
Jacquot s
Tosca,
grainy shot of
casetta
in Act I.
©
Avatar Films.
935
42.8
Jacquot s
Tosca,
black-and-white cutaway to Ruggero Raimondi in
Act I.
©
Avatar Films.
937
43.1
Thomas Rowlandson, John Bull at the Italian Opera, Print (London,
October
2,1811).
Hand-colored etching, ink and wash on paper. Harry
Beard Collection, Victoria and Albert Museum, S.4652-2009.
©
Victoria
and Albert Museum, London.
945
LIST OF FIGURES XV
43.2 AI Hirschfeld, Pavarotti,
drawing.
©
AL
HIRSCHFELD.
Reproduced
by arrangement with Hirschfeld s exclusive representative, The
MARGOT FEIDEN
GALLERIES LTD., NEW YORK. WWW.
ALHIRSCHFELD.COM.
946
43.3
Raphael, The Meeting of Leo the Great and
Attila
(1514).
Photo: Vatican
Museums.
955
49.1
Jonathan Swift, A Cantata. The Works of Jonathan Swift, Dean of St.
Patricks, Dublin, edited by John Hawkesworth (London:
1754),
VII:
435. 1079
50.1
Jake Heggie, Moby-Dick, first page of Prelude. The composer
s
autograph
score.
1104
50.2
Jake Heggie, Moby-Dick, Ahabs Walk (Act I, scene
1,
mm.
1-10).
The
composer
s
autograph score.
1105
50.3
Whaleboats against a starry sky.
©
Karen Almond, Dallas Opera.
1108
50.4
The Pequod with sailors in the rigging.
©
Karen Almond, Dallas Opera.
1108
List of Music Examples
3.1
Melody of Tramp
!
Tramp
Î
Tramp
!
(George Root,
1864)
and that of Do
You Hear the People Sing?
(Les Misérables,
Act II). The latter has been
put in the same key as the former in order to aid comparison.
64
3.2
Harmonies in
Vissi d arte,
Tosca,
Act II and The Point of No Return,
Phantom, Act II. The latter has been raised a tone to aid comparison.
66
3.3
Melody of Come to Me, Bend to Me
,
Brigadoon, Act I and Music of the
Night, Phantom, Act I.
66
8.1
Handel, Orlando
(1733).
Angelic
а-О
riandò
duet. Without changing
tempo, Handel sounds two opposite affects in succession, contrasting
them through melody and orchestration.
184
8.2
Berlioz,
Benvenuto
Cellini
(1837).
Act II Finale. This brief excerpt from a
concertato
shows the transition to the allegro
assai.
Here Berlioz depicts
the tumult of the crowd following the assassination of the Capuchin, at
the moment when time is slowed through a succession of three fermatas.
189
8.3
Wagner,
Das Rheingold (1854).
Gewitterzaubermotif (storm-magic motif),
associated with Donner s call for the storm.
196
8.4 Johann
Sebastian Bach, St. Matthew Passion
(1727). Laßt ihn, haltet,
bindet nicht!
from No. 27a So
ist mein Jesus nun gefangen.
Here we
see Bach s layering of two opposing affects between the two soloists
(compassion) and the crowd (indignation).
200
9.1
Verdi s setting of the last two verses of
cabaletta
text in the
Jacopo-Lucrezia duet. I due
Vosean,
Act II, scene
2. 218
9.2
Verdi s setting of
Nel tuo paterno amplesso.
I
due Foscari,
Act II,
scene
3,
in
the autograph and his correction in the Naples copy.
219
9.3
Verdi s setting of
Non so le tetre immagini. Il corsaro,
Act I,
scene
4. 220
10.1
Louis
Spohr, Faust, Overture, mm.
1-4. 235
11.1
Mozart, Le nozze di Figaro,
Act I, no.
3
( Se vuoi ballare ),
mm.
23-42. 252
11.2
Wagner, Die
Götterdämmerung,
Prelude,
mm.
1-8. 258
11.3
Wagner,
Das Rheingold,
scene
4,
Alberich s curse on the ring.
260
11.4
Wagner,
Das Rheingold,
scene
4, Tarnhelm
leitmotif.
261
11.5
Wagner,
Das Rheingold,
scene
4,
seven measures before Donner s
Hört,
ihr Riesen! 263
XVIII
LIST OF MUSIC EXAMPLES
11.6
Wagner,
Das Rheingold,
scene
4, Hört, ihr Riesen!
mm.
1-18. 264
11.7
Wagner,
Das Rheingold,
scene
4, Hört, ihr Riesen!
mm.
19-35. 265
11.8
Wagner,
Das Rheingold,
Variants of the Renunciation
of Love leitmotif, (a) Scene
1: Woglinde: Nur wer der Minne Macht
entsagt. (b)Scene 1: Alberich: So verfluch ich die Liebe!
(e) Scene
2: Loge: Gerathen ist ihm der
Ring! (d) Scene
4: Wotan: kehr uns die
Jugend zurück! 266
12.1 Francesco
Cavalli, La virtù de strali d amore,
Act III, scene
26,
trio for
Amore, Venere,
and
Psiche,
I-
Vnm,
It.
IV,
373 [=9897],
f,
119
r-v.
287
15.1
Verdi, II trovatore,
Part I, scene
2,
mm.
7-33. 344
15.2
Verdi, Don Carlos (original five-act version), Act IV, scene
1;
Act III,
scene
1
(four-act version), mm.
58-68. 346
15.3
Wagner,
Götterdämmerung,
Act III, scene
1,
mm,
363-387. 348
32.1
Richard Wagner, Tristan
und
Isolde, Act I, scene
5.
Isolde:
...
seine
Waffen
hatt
ich geweiht... 722
32.2 Richard Wagner, Tristan und Isolde,
Act III, scene
1.
Kurwenal: Das Volk, getreu dem trauten Herrn... 723
32.3 Richard Wagner, Tristan und Isolde.
Act II, scene
3. Tristan: Mein
Freund war der... die mich gedrängt. 724
45.1
Reduction of
final
four measures of
Luciano
Berio,
Turandoti completamento (del terzo atto).
Milan:
Ricordi.
©
Casa Ricordi—Milano.
1001
46.1
II barbiere di Siviglia,
autograph,
Finale Primo,
mm.
394-395. 1019
46.2
II barbiere di Siviglia (Ricordi/Kalmus, n.d.).
1019
46.3
II barbiere di Siviglia, ed. Zedda (Ricordi,
1969). 1020
46.4
II barbiere di Siviglia,
ed. Brauner (Bärenreiter, 2008). 1020
50.1
Jake Heggie, Moby-Dick: Queequeg
s
Chant (Act I, mm.
131-136). 1103
List of Tables
9.1
Ambiguity of prosody in Brogni s
En mon âme. Halévy, La Juive,
Act IV,
scene
3. 207
9.2
Prosodie
interpretation of
Έη
mon âme
according to Benloew
208
9-3
Prosodie
interpretation of
Rodrigue s
O Roi,
j arrive de Flandre. Verdi,
Don Carlos,
Act II,
tableau
1,
scene
6. 209
9.4
Prosodie
interpretations of Robinson s Air
du cheval. Adam, Le brasseur
de
Preston, Act II, scene
18. 210
9.5
Poetic analysis of Agathe s aria. Weber,
Der Freischütz,
Act II, scene
2. 212
9.6
Poetic analysis of
Ännchens Romanze
from Weber s
Der Freischütz,
Act III, scene
3. 213
9.7
Poetic analysis of Beckmesser s first Bar. Wagner, Die
Meistersinger von
Nürnberg,
Act II, scene
6. 215
9.8
Beginning of Walther s Prize Song as it appears in the
1862
fair copy of
the libretto. Wagner, Die
Meistersinger von Nürnberg,
Act III, scene
2. 215
9.9
Beginning of
Walther
s
Prize Song as it appears in the final version of
the libretto. Wagner, Die
Meistersinger von Nürnberg,
Act III, scene
2. 216
9.10
Beckmesser s scanning of the first Bar. Wagner, Die
Meistersinger von
Nürnberg,
Act
И,
scene
б. гіб
9-11
Prosody of two ceremonial numbers from
Les vêpres siciliennes,
Act
V,
scene
2,
in the original French and Italian translations.
221
9.12
Prosody of Eboli s
Au palais des fées
in the original French and the
Italian translation. Don Carlos, Act II, tableau
2,
scene
1. 221
19.1
Performance and rehearsal schedule at the Paris
Opéra,
November
1835. 423
45.1
Three versions of
L incoronazione di Poppea.
992
45.2
Michael Kaye s reconstruction of
Les contes d Hoffmann,
Act
V.
1005
46.1
Musical numbers in
II barbiere di Sivìglia.
1017
|
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| isbn | 9780195335538 |
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| spelling | The Oxford handbook of opera edited by Helen M. Greenwald Opera Oxford ; New York Oxford Univrtsity Press 2022 © 2014 XXXII, 1177 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Oper (DE-588)4043582-9 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Oper (DE-588)4043582-9 s DE-604 Greenwald, Helen M. (DE-588)1050972295 edt Digitalisierung BSB Muenchen 21 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026252396&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | The Oxford handbook of opera Opera Oper (DE-588)4043582-9 gnd |
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| title | The Oxford handbook of opera |
| title_alt | Opera |
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| title_full | The Oxford handbook of opera edited by Helen M. Greenwald |
| title_fullStr | The Oxford handbook of opera edited by Helen M. Greenwald |
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| title_short | The Oxford handbook of opera |
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