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Opera as Institution
This volume brings together ten essays focusing on the diversity of operatic institutions, their protagonists, and historical fortunes in Europe from 1730 to 1917. Its aim is not to understand operatic institutions as locally distinct and isolated organizations, but rather to perceive them as a part of a historically fluctuating, transnational network: a network that was shaped among other things by individual professionals and groups in the opera business (and beyond), as well as by specific socio-cultural and political surroundings. The volume offers new perspectives on a wide range of topics, including networks of cultural exchange, singers as agents in shaping institutional structures, and the influence of socio-cultural, diplomatic, and political factors on operatic production across international borders.
Journal
None
Den oemotståndliga : en Christina Nilsson-biografi
Det här är berättelsen om hur en enkel torparflicka från Småland blev en av världens allra största stjärnor. Med sitt blonda hår, blå ögon och ljuva stämma blev Christina Nilsson känd som Den oemotståndliga. Ingegerd Björklunds biografi skildrar operasångerskans liv från det att hon uppträdde på marknader under smeknamnet Stina på Backen, via studietiden och debuten i Paris till det att hon blev en bejublad världsstjärna som uppträdde vid de europeiska hoven och på världens största operascener. Christina Nilssons liv handlade om utmaningar, möjligheter, kärlek till musiken, tragedi, rivalitet och livet som en ung och framgångsrik kvinna under 1800-talets andra hälft. Läs här om hennes enorma framgångar på scenerna i Europa och USA och hennes bekantskaper med kejsare och kungligheter. Den svenska sopranen Ingegerd Björklund har hela världen som sin arbetsplats och är därför väl förtrogen med de miljöer som hon skildrar i biografin om Christina Nilsson. Björklund är förutom författare filosofie doktor, operasångerska, musikdirektör och bildkonstnär.
The Marriage between Perfume and the Lyric Stage
“But what is this scent of balmy air? What this ray of light in my tomb? I seem to see an angel, amid a scent of roses” sings Florestan in Fidelio, Beethoven’s only opera. The role of scents, smells, fragrances, and odours in opera has long been neglected, just as how much opera and its stars have influenced the world of perfumery from the nineteenth century to the present day. In the first book-length study on the topic, Professor Mary May Robertson explores the relationship between opera, perfumes, and their respective protagonists in order to map out the previously undiscussed connection between the two. Through compelling close readings of librettos and rigorous research through thousands of bottles of perfume, the reader will come to appreciate and recognise the influences and exchanges between operas and perfumes and their ultimate marriage in the previously unrecognised genre of Operatic Perfumes, which is to say, perfumes named after operas, composers, and their divas.
Musical Opinion
Issues for include section: The Organ world.
Daily Report
None
Musical America
Includes "Directory: Foreign."
British and International Music Yearbook
The directory of the classical music industry.
