The Oxford Handbook of Opera
(Sprache: Englisch)
The Oxford Handbook of Opera offers a series of trenchant, cutting-edge, and previously unpublished essays on the most important and compelling issues confronting those who think and write about opera. The handbook emphasizes not only operas themselves, but...
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The Oxford Handbook of Opera offers a series of trenchant, cutting-edge, and previously unpublished essays on the most important and compelling issues confronting those who think and write about opera. The handbook emphasizes not only operas themselves, but such broad concerns of the discipline as genre, voice, performance, censorship, staging, film, editions, and aesthetics.
Klappentext zu „The Oxford Handbook of Opera “
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.
Inhaltsverzeichnis zu „The Oxford Handbook of Opera “
- 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
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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. Ph
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Autoren-Porträt
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 Résource Internationale d'Iconographie Musicale, and Cambridge Opera Journal.Bibliographische Angaben
- 2014, 1218 Seiten, mit Abbildungen, Maße: 17,4 x 25,5 cm, Gebunden, Englisch
- Herausgegeben: Helen M. Greenwald
- Verlag: Oxford University Press
- ISBN-10: 0195335538
- ISBN-13: 9780195335538
- Erscheinungsdatum: 13.01.2015
Sprache:
Englisch
Pressezitat
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
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