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Changing the Score
This study seeks to explore the role and significance of aria insertion, the practice that allowed singers to introduce music of their own choice into productions of Italian operas. Each chapter investigates the art of aria insertion during the nineteenth century from varying perspectives, beginning with an overview of the changing fortunes of the practice, followed by explorations of individual prima donnas and their relationship with particular insertion arias: Carolina Ungher's difficulties in finding a "perfect" aria to introduce into Donizetti's Marino Faliero; Guiditta Pasta's performance of an aria from Pacini's Niobe in a variety of operas, and the subsequent fortunes of that particu...
The Angel's Cry
French in 1986, is now available in Arthur Denner's fluid and sensitive English translation. Predictably, Poizat's route is not at all a conventional one. Rather than taking as his point of departure the intentions of composers and librettists, he is primarily concerned with the expectations and desires of the audience. He reports on an informal group interview with overnight standees on the Paris Opera House steps as they compare notes on how opera became an addiction.
Technology and the Diva
Focuses on the operatic soprano as the diva and her relationships with technology from the 1820s to the digital age.
The Prima Donna and Opera, 1815-1930
An examination of the female opera singer during the nineteenth and twentieth centuries.
Singers of Italian Opera
Adelina Patti was the most highly regarded singer in history. She earned nearly $5,000 a night and had her own railway carriage. Yet a minor comic singer would perform for the cost of his food and a pair of shoes to wear on stage. John Rosselli's wide-ranging study introduces all those singers, members of the chorus as well as stars, who have sung Italian opera from 1600 to the twentieth century. Singers are shown slowly emancipating themselves from dependence on great patrons and entering the dangerous freedom of the market. Rosselli also examines the sexist prejudices against the castrati of the eighteenth century and against women singers. Securely rooted in painstaking scholarship and sprinkled with amusing anecdote, this is a book to fascinate and inform opera fans at all levels.
En Travesti
En Travesti addresses the ways in which opera empowers women by challenging conventional gender hierarchies. Terry Castle, Helene Cixous, Lowell Gallagher and Elizabeth Wood are among the contributors. Includes 20 musical examples.
The Third Line
This text offers clear guidance in making music visual. It proposes that performers study the opera's score third line - movement, focus, facial expression and vocal inflections that can be naturally derived from the interaction of text and music - to transform the score into reality on the stage.
Women Writing Opera
At the same time it demonstrates how the Revolution fostered many dreams and ambitions for women that would be doomed to disappointment in the repressive post-Revolutionary era.".
Voicing Gender
Documents the changes in approaches to gender in opera in the early 19th century.
DEMENTED
Demented--opera slang for an insanely great performance--is Ethan Mordden's provocative inside look at opera's great women singers, from Beverly Sills to Birgit Nilsson to Leontyne Price. 24 photographs.
