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Cather Studies, Volume 12
Over the five decades of her writing career Willa Cather responded to, and entered into dialogue with, shifts in the terrain of American life. These cultural encounters informed her work as much as the historical past in which much of her writing is based. Cather was a multifaceted cultural critic, immersing herself in the arts, broadly defined: theater and opera, art, narrative, craft production. Willa Cather and the Arts shows that Cather repeatedly engaged with multiple forms of art, and that even when writing about the past she was often addressing contemporary questions. The essays in this volume are informed by new modes of contextualization, including the increasingly popular view of ...
Queering the Pitch
When the first edition of Queering the Pitch was published in early 1994, it was immediately hailed as a landmark and defining work in the new field of Gay Musicology. In light of the explosion of Gay Musicology since 1994, a new edition of Queering the Pitch is timely and needed. In this new work, the editors are including a landmark essay by Philip Brett on Gay Musicology, its history and scope. The essay itself has become a cause celebre, and this will be its first full appearance in print. Along with this new historical essay, the editors are contributing a new introduction that outlines the changes that have occurred over the last decade as Gay Musicology has grown.
The Song of the Lark
Willa Cather’s third novel, The Song of the Lark, depicts the growth of an artist, singer Thea Kronborg. In creating Thea’s character, Cather was inspired by the Swedish-born immigrant and renowned Wagnerian soprano Olive Fremstad, although Thea’s early life also has much in common with Cather’s own. Set from 1885 to 1909, the novel traces Thea’s long journey from her fictional hometown of Moonstone, Colorado, to her source of inspiration in the Southwest, and to New York and the Metropolitan Opera House. As she makes her own way in the world from an unlikely background, Thea distills all her experiences and relationships into the power and passion of her singing, despite the cost....
Willa Cather Remembered
The Willa Cather whom friends and acquaintances knew is not well known to contemporary readers. Bourgeois and midwestern, she was not a member of the Social Registerøsociety like Edith Wharton nor of the avant-garde or expatriate circles, as was Gertrude Stein, nor was she a member of the "lost generation" of the younger F. Scott Fitzgerald and Ernest Hemingway. In the 1920s Cather turned fifty and was intent on fully developing her talent, writing six major novels during that decade. Willa Cather Remembered comprises reminiscences of the author written between the 1920s and 1980s by people ranging from close friends to journalistic observers and acquaintances. The materials are drawn from ...
"O ma Carmen"
"Qu'est-ce que c'est?" (What is it?) mezzo-soprano Celestine Galli-Marie asked when offered the title role in the 1875 premier of Bizet's new opera, Carmen. She was only the first in a long line of performers to ask. In the 140+ years since, each singer has crafted her own portrayal of the inscrutable Gypsy. The famous soprano Geraldine Farrar wrote: "Each one of us probably sees something that the others have not seen--or thinks she does--and that 'something' is her individual Carmen." This book explores the history of operatic portrayals of Bizet's elusive enchantress, tracing the development of vocal and dramatic interpretations from generation to generation around the globe.
Willa Cather and Others
After many years as one of the premier scholars of English Renaissance literature, Jonathan Goldberg turns his attention to the work of American novelist Willa Cather. With a focus on Cather’s artistic principle of “the thing not named,” Willa Cather and Others illuminates the contradictions and complexities inherent in notions of identity and shows how her fiction transforms the very categories—regarding gender, sexuality, race, and class—around which most recent Cather scholarship has focused. The “others” referred to in the title are women, for the most part Cather’s contemporaries, whose artistic projects allow for points of comparison with Cather. They include the Wagner...
Opera News
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Geraldine Farrar
From 1906 until 1922, Geraldine Farrar was the Metropolitan Opera's most popular and glamorous prima donna. Convinced that music must always serve the drama, she often sacrificed tonal beauty to dramatic effect, and her acting was noted for its intensity and realism. Nevertheless, Farrar was a superb singer, possessing a beautiful lyric soprano voice. Farrar was also a star of the silent screen, appearing in 14 films from 1915 to 1920. In retirement, she was mentor and friend to the African American soprano Camilla Williams, enabling Williams to become the first African American to have a regular contract with a major American opera company. This biography and critical analysis of Farrar's career provides a detailed account of her major contributions to the history of opera.
The Prima Donna and Opera, 1815-1930
An examination of the female opera singer during the nineteenth and twentieth centuries.
