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Explicitly or not, the historical musicology of post-Revolutionary France has focused on Paris as a proxy for the rest of the country. This distorting lens is the legacy of political and cultural struggle during the long nineteenth century, indicating a French Revolution unresolved both then and now. In light of the capital's power as the seat of a centralizing French state (which provincials found 'colonizing') and as a cosmopolitan musical crossroads of nineteenth-century Europe, the struggles inherent in creating sustainable musical cultures outside Paris, and in composing local and regionalist music, are ripe for analysis. Replacement of 'France' with Paris has encouraged normative histo...
Opera has always been controversial, not only because of how vastly expensive it is to produce. It has historically been a vital and complex mixture of high art and commerce, socially elite and popular or middle-class, the new and the increasingly old. When a city wants a new landmark building, an opera house is very often the solution: why should this still be the case? The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by looking at how it evolved from a market entirely driven by novelty to one of the most arthritically canonic art forms still in existence. This new collection addresses questions that are key to opera's pa...
These essays explore various topics in European history ranging from a study of the medieval Abbey of Bury St. Edmunds to an essay on the issue of the restoration of the Kaiser prior to Hitler's assumption of power. Enno Kraeh contributes a personal narrative of philosophical journey through the study of history. Three of the essays address literary and cultural themes dealing with German theatre politics, belle epoque opera, and Polish drama. The volume has strong representation on Austrian history, including essays on diplomacy, the Anschluss, and Austrian anti-Semitism.
Although books have been written about various opera houses throughout the world, no one work has covered more than a relatively small number of the larger, well known companies and houses, and none have made more than brief mention of the smaller houses. No book has comprehensively listed opera repertories. Little, in sum, has been written about any of the smaller companies and houses located in non-English-speaking countries. This is the most comprehensive reference book ever written on opera companies and houses in Western Europe, Canada, Australia and New Zealand--over 300, from the well known to the smaller. Each entry includes a history of the opera house or company, the works (title and composer) and type of productions offered, company staff, world and country premieres, repertory, and practical information on the theater's address, nearby hotel accommodations and how to order tickets. Most entries conclude with a bibliography.
Here for the first time are in-depth profiles of 139 major opera companies from around the globe, representing 35 countries, from Argentina to Yugoslavia, and including little-known information on opera in the People's Republic of China, Israel, Japan, the Republic of South Africa, and Turkey. Briefly noted in an appendix are an additional 24 companies from ten countries, three of them not included in the main section. The profiles provide directory and access information, a survey of the company's history, and, wherever possible, a chronological listing of directors and managers, and a concise bibliography for further reference. An annotated research bibliography contains general sources, such as reference books, opera annals, architectural studies, discographies, and relevant studies of conductors and performers. A chronology of the foundings of the opera companies and an index complete the volume. Much of the information is singularly available in this source, which will be welcomed by scholars, researchers, and opera lovers.
In this riveting landmark biography, Brown illuminates the life and career of the author of "Madame Bovary," shedding light on not only the novelist but also his milieu--the Paris and Normandy of the revolution of 1848 and of the Second Empire.
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Opera is the only guide to the research writings on all aspects of opera. This second edition presents 2,833 titles--over 2,000 more than the first edition--of books, parts of books, articles and dissertations with full bibliographic descriptions and critical annotations. Users will find the core literature on the operas of 320 individual composers and details of operatic life in 43 countries. All relevant works through to November 1999 have been considered, covering more than fifteen years of literature since the first edition was published.