OPERA ACROSS MEDIA Signature Course M/W 3:00-4:20 Logan 901, Penthouse MUSI 25020/1, TAPS 26516/1, CMST 24617/1, SIGN 26058/1, ITAL 25020/1

Home , Martha (opera)

Instructor Prof. Martha Feldman Goodspeed 318 [email protected] 773 702 8484 Office hours: Monday, 4:30-5:30 (at Logan Café) or by appt. TAs Darren Kusar [email protected] Office hours: Wed. 4:30-5:30, place TBA

David Wilson [email protected] Office hours:

COURSE DESCRIPTION “Opera is a type of theater in which most or all of the characters sing most or all of the time.” So write Carolyn Abbate and Roger Parker in their recent history of opera. Opera, they note, is also both outlandishly expensive and widely beloved (and often fetishized). But there is something else opera is: an object of radical cultural translation, exported to and from different literary genres (novels, plays, fairy tales, myths, epics) and to different lands and

languages (French, Italian, Chinese, German, Spanish, Russian, Swedish, Korean), as well as being a form that has been continually remade in different genres, from Singspiel to opera buffa, opera seria to intermezzo, opera to operetta or farce, Peking opera to kunqu. Added to such exports and translations, especially since the late 19th to early 20th centuries, have been new mass reproduced and broadcast forms of opera, using new technological means.

What does the assemblage of cultural markers that have long characterized opera production and consumption have to do with the new affordances given opera in the era of film, digital HD live streaming, radio broadcasts, cinecasts, and podcasts, as well as experimental “mediatized” stagings of all kinds? Where do these stand amid the extremes of extravagant performance supposedly inherent to opera and “realism” supposedly intrinsic to cinema (a dichotomy that will quickly break down under scrutiny)? This course will address those questions by looking at opera as something that exists “across media,” thereby experiencing its rich possibilities for remaking and transformation.

Keystone works will include Verdi’s La traviata (1853) as directed for film by Zeffirelli (1981), Mozart’s Magic Flute (1791) as directed for television by Ingmar Bergman (1975), Offenbach’s The Tales of Hoffmann (1881), directed as “ballet opera” by Powell and Pressburger (1951), Don Giovanni (1787) as directed for film on location by Joseph Losey (1979), Fellini’s opera-infused film And the Ship Sails on (1981). Other works, many less canonical, will flesh out the course.

No prior background in music performance, theory, or notation is needed. Students may write papers based on their own skills and interests relevant to the course. All materials will be made available in English translation. The course is open to all College students.

BOOK FOR PURCHASE Carolyn Abbate and Roger Parker. A History of Opera. NY: Norton, 2012. Available at the Seminary Coop Bookstore.

REQUIRED SCREENINGS N.B. All screenings will take place in Cobb 307, the Film Screening Room, at 7 pm on Mondays.

On the even numbered weeks 2, 4, 6,and 8, films of whole operas will be screened, ones we will attend to both as works in their own right (insofar as such a thing is possible) and as mediated and remediated interpretations and recontextualizations. On odd numbered weeks and in week 10, films will pertain to operatic figures of various kind: a diva (Maria by Callas), a castrato (Farinelli), a Chinese operatic ghost (Human Demon Woman), an obsessive opera fan (Diva), and a cremated diva, buried at sea (E la nave va [And the Ship Sails on]). Following is the list of screenings. See the numbers after the authors and titles for the length of time the screening will take:

Week 2 Verdi, La traviata [Venice, 1853] (dir. Franco Zeffirelli, 1983), 1’45” Week 3 Maria by Callas: In Her Own Words (dir. Tom Volf, 2017), 1’59” Week 4 Mozart, The Magic Flute [Vienna, 1791] (dir. Ingmar Bergman, 1975), 2’15” Week 5 Farinelli (dir. Gérard Corbiau, 1994), 1’51” Week 6 Offenbach, The Tales of Hoffmann [Paris, 1881] (dir. Michael Powell and Emeric Pressburger, 1951), 2’16” Week 7 Woman Demon Human (dir. Huang Shuqin, 1987), 1’55” Week 8 Mozart, Don Giovanni [Prague, 1787] (dir. Joseph Losey, 1979), 3’5” Week 9 Diva (Jean-Jacques Beineix, 1982), 1’57” Week 10 E la nave va [And the Ship Sails on] (dir. Federico Fellini, 1983), 2’8”

ATTENDANCE AT OPERAS 1. Met HD screening of a live performance, details of place, time, and tickets to be arranged ASAP but will include attendance at one of the following plus a post addressing a question about the experience. Choose the one you will attend early. a. October 12, Puccini, Turandot b. October 26, Massenet, Manon c. November 9, Puccini, Madame Butterfly 2. One Lyric Opera of Chicago performance of Mozart and Da Ponte’s Don Giovanni, to take place at Thursday, Nov. 14 at 7 pm (tickets to be arranged)

COURSE REQUIREMENTS AND GRADING 1. Preparation of study questions 2. Overall attendance and engagement in class 3. Reading, listening, and watching operas 4. Attendance at screenings (9 in all) 5. Weekly paragraph-length posts on particular questions, to be supplied one class session in advance of their due date 6. Attendance at two operas, as above (i.e. one Met broadcast and one live) 7. A short midterm paper [“think piece”] (ca. 3-4 pp., roughly 1000-1200 words) 8. A final project, for which there are two options: a) A final paper on a topic of your choice (roughly 10 pp., or 2000-2500 words) b) A creative project inspired by and responding to the course, which will include a project narrative and bibliography, and if appropriate, a final class presentation. Advance approval by instructor required. Projects might include a performance, an original libretto scene, a dramaturgical or scenographic stage plotting of an act of an opera, etc.

GRADING Grades will be based on the following: • 45% preparation, attendance (including at screenings), engagement, and Canvas posts • 15% midterm paper

• 40% final project

CLASS COMMUNITY GUIDELINES: Electronic devices and other class protocols This is a wireless class. Please print out pages from readings and bring them to class in hard copy. Or make notes on passages you want to discuss, including relevant page numbers from readings.

The following are protocols for our classroom: • Take notes on paper, not on computer. • Cell phones must be turned off and stowed in backpacks or beneath your seat during class. If you are texting in class or otherwise using your phone in class, or looking things up on another device in class, you will be counted as absent (!). • No wireless earbuds. • Please eat before or after class (drinks only, please). Let us know if your schedule allows you no other time to eat. • Make every effort to avoid being late as this interrupts others’ listening and discussion. • Whenever possible use bathroom and water fountain between classes, so that you can concentrate continually throughout the time we have together and avoid leaving class.

Attendance in this class is essential and expected. Please use the bathroom and the water fountain before or after class whenever possible.

DISABILITY STATEMENT Students with physical or cognitive disabilities should speak with me early on about their needs. If this applies to you, please understand that you are responsible for informing me as early as possible about anything that may negatively affect your ability to perform in the course. Without timely prior notification, it may be difficult or impossible to adjust the due dates of assignments, to reschedule examinations, or to make other reasonable accommodations, as needed. Thank you in advance for working with me or a TA about this.

≠ WEEKLY PLAN N.B. Class sessions are oriented around the operas, operatic productions, and opera-inflected films, tv films, etc. that we will view and study. For bibliographic information on assigned readings and further readings, please see the Selective Bibliography at the end of this document.

WEEK 1

Oct. 2 Introduction: Opera as aesthetic object, fetish object, cultural object, dramaturgical form, event, and institution LISTENING/VIEWING: excerpts from early 20th century operatic shorts; audio examples of arias and ensemble pieces

WEEK 2 Oct. 7 Verdi’s La traviata, 1 READING AND DISCUSSION: libretto by Francesco Maria Piave, for Verdi’s La Traviata (Venice, 1753) RECOMMENDED READING: Abbate and Parker, The History of Opera, Introduction, 1-35 (highly recommended if you know nothing about opera) IN-CLASS LISTENING: Verdi, La traviata (1853), act 1

MONDAY NIGHT SCREENING: Giuseppe Verdi, La traviata [Venice, 1853], (dir. Franco Zeffirelli, 1983)

Oct. 9 Verdi’s La traviata, 2 READING: Abbate and Parker, A History of Opera, Chap. 15, “Verdi—Old Still,” 373-82 RECOMMENDED READING: Giorgio Biancorosso, “The Big Screen and Verdi’s Stage” IN-CLASS LISTENING: Verdi, La traviata, act 2; excerpts from the Marx Brothers, A Night at the Opera (1935)

Sat., Oct. 12: Puccini, Turandot, Met Live in HD

WEEK 3 Oct. 14 Verdi’s La traviata, 3 [Darren] READING: Heather Hadlock, “Violetta’s Passion, according to Zeffirelli” RECOMMENDED READING: Tambling, Opera, Ideology, and Film, pp. 00-00 IN-CLASS LISTENING/VIEWING: La traviata, act 3

MONDAY NIGHT SCREENING: Maria by Callas: In Her Own Words (dir. Tom Volf, 2017), 1’59”

Oct. 16 Callas’s Paris concert, 1958, and the Lisbon Traviata READING: Wayne Koestenbaum, The Queen’s Throat, “The Callas Cult” RECOMMENDED READING: Will Crutchfield, “The Story of a Voice” IN-CLASS LISTENING/VIEWING: Callas’s Paris concert, 1958: Bellini’s “Casta diva,” (Callas and Caballé compared); Puccini’s “Vissi d’arte,”; Lisbon Traviata “Addio del passato”

WEEK 4 Oct. 21 Mozart’s Die Zauberflöte [The Magic Flute], 1

READING: Emanuel Schikaneder, libretto for Mozart’s Die Zauberflöte [The Magic Flute], Vienna, 1791 IN-CLASS LISTENING/VIEWING: excerpts from Bergman’s Magic Flute

MONDAY NIGHT SCREENING: Mozart, The Magic Flute [Vienna, 1791] (dir. Ingmar Bergman, 1975), 2’15”

Oct. 23 Mozart’s Die Zauberflöte [The Magic Flute], 2

Sat., Oct. 26, Massenet, Manon, Met Live in HD

WEEK 5 Oct. 28 The Castrato READING/VIEWING: Martha Feldman, “Castrato Acts”; “https://www.youtube.com/watch?v=6MvJnEEMwTc, conversation on castrati with Roger Freitas, Suzanne Cusick, and Emily Wilbourne IN-CLASS LISTENING/VIEWING: selected castrato arias, staged and unstaged; reconstructed voices seen in strobes and televised projects

MONDAY NIGHT SCREENING: Farinelli (dir. Gérard Corbiau, 1994), 1’51”

Oct. 30 Mozart’s Die Zauberflöte [The Magic Flute], 3 [David] READING: Sheila Boniface Davies and James Q. Davies, “’So Take This Magic Flute and Blow. It Will Protect Us As We Go’: Impempe Yomlingo (2007–11) and South Africa’s Ongoing Transition”; https://www.nytimes.com/2007/04/09/arts/music/09flut.html IN-CLASS LISTENING/VIEWING: South African Magic Flutes, including South African artist William Kentridge’s production: https://www.youtube.com/watch?v=hKzcbbEb7l4 https://www.youtube.com/watch?v=RpyLM4t_5U8

WEEK 6 Nov. 4 The Tales of Hoffmann (Powell and Pressburger), 1: puppetry, automatons, and the uncanny READING: Marcia Citron, When Opera Meets Film, pp. 112-41 RECOMMENDED READING: Abbate, In Search of Opera, preface, vii-xvi IN-CLASS LISTENING/VIEWING: The Tales of Hoffmann (Powell and Pressburger)

MONDAY NIGHT SCREENING: Jacques Offenbach, The Tales of Hoffmann [Paris, 1881] (dir. Michael Powell and Emeric Pressburger, 1951), 2’16”

Nov. 6 The Tales of Hoffmann (Powell and Pressburger), 2, life and death READING: Babbington and Evans, “Matters of Life and Death in Powell and Pressburger's The Tales of Hoffmann” (1994) IN-CLASS LISTENING/VIEWING: The Tales of Hoffmann (Powell and Pressburger)

Friday, Nov. 8, 9 pm, midterm think piece due

Sat., Nov. 9, Puccini, Madame Butterfly, Met Live in HD

WEEK 7 Nov. 11 The Tales of Hoffmann (Powell and Pressburger), 3, opera/ film READING: Lesley Stern, “The Tales of Hoffmann: An Instance of Operality” (electronic resource) IN-CLASS LISTENING/VIEWING: The Tales of Hoffmann (Powell and Pressburger)

MONDAY NIGHT SCREENING: Woma n, Demon, Huma n (dir. Huang Shuqin, 1987), 1’55”

Nov. 13 Woma n, Demon, Huma n (1987) READING: Haiyan Lee, “Woman, Demon, Human: Spectral Journey Home,” in Chinese Films in Focus II, ed. Chris Berry. New York: Palgrave Macmillan, 2008, 243-49 RECOMMENDED READING: Berry and Farquhar, “Operatic Modes: Opera Film, Martial Arts, and Cultural Nationalism” LISTENING/VIEWING: excerpts from Woman, Demon, Human and excerpts from John Adams, Nixon in China (Houston, 1987) (Metropolitan Opera live recording)

Thurs., Nov. 14: class trip to Lyric Opera of Chicago, Mozart’s Don Giovanni

WEEK 8 Nov. 18 Don Giovanni, 1 READING: Lorenzo Da Ponte, libretto to Don Giovanni (1787) RECOMMENDED READING: Wayne Koestenbaum, The Queen’s Throat, Chap. 6, “The Unspeakable Marriage of Words and Music” IN-CLASS LISTENING/VIEWING: Don Giovanni, Overture, Introduzione, and “Catalogue aria”

MONDAY NIGHT SCREENING: Mozart, Don Giovanni [Prague, 1787] (Joseph Losey, 1979), 3’5”

Nov. 20 Don Giovanni, 2 READING: Roger Moseley, “The Quality of Quantities: Mozart, ‘Madamina, il catalogo è questo’ (Leporello), Don Giovanni, Act 1 (1787),” Cambridge Opera Journal 28, no. 2 (2016): 137–140

IN-CLASS LISTENING/VIEWING: Don Giovanni, act 2 sextet, etc.

WEEK 9 Nov. 25 Don Giovanni, 3 [Darren] READING: “Kierkegaard’s Don Giovanni,” in Piero Weiss, Opera: A History in Documents IN-CLASS LISTENING/VIEWING: excerpts from Act 2; excerpts from Juan (directed by Kaspar Holten, 2010)

MONDAY NIGHT SCREENING: Diva (Jean-Jacques Beineix, 1982)

Nov. 27 [no class, Happy Thanksgiving!]

WEEK 10 Dec. 2 The Diva, dead or alive [David] READING: Jonathan Sterne, “Afterword: Opera, Media, Technicity,” in Henson, Technology and the Diva; Melina Esse, “The Silent Diva: Farrar’s Carmen” RECOMMENDED READING: David Levin, “Is There a Text in this Libido? Diva and the Rhetoric of Contemporary Opera Criticism” IN-CLASS LISTENING/VIEWING: excerpts from Cecil B. DeMille, Carmen (1915) and A Burlesque on Carmen (Charlie Chaplin, 1915)

MONDAY NIGHT SCREENING: Week 10 E la nave va [And the Ship Sails on] (dir. Federico Fellini, 1983)

Dec. 4 And the Ship Sails on READING: Grover-Friedlander, Vocal Apparitions: The Attraction of Cinema to Opera, Chap. 6, “Fellini’s Ashes” RECOMMENDED READING: David Schroeder, Cinema’s Allusions, Opera’s Allure, Chap. 1, “Silent Opera, DeMille’s Carmen”; Chap. 11, “Bursting out into Opera: Fellini’s E la nave va, 127- 139; Melina Esse, “The Silent Diva: Farrar’s Carmen” IN-CLASS LISTENING/VIEWING: E la nave va [And the Ship Sails on] (dir. Federico Fellini, 1983)

Final paper due: Wed, Dec. 11 by 11 pm

Selective Bibliography

Databases and Encyclopedias RILM, online database of music periodical literature, including opera Grove Music Online, enormous encyclopedia of music, including the Grove Dictionary of Opera

Periodicals Cambridge Opera Journal The Opera Quarterly Avant-scène opera

Books Abbate, Carolyn and Roger Parker. A History of Opera. New York: Norton, 2012. Abbate, Carolyn. In Search of Opera. Princeton: Princeton University Press, 2001. Babbington, Bruce and Peter Evans, “Matters of Life and Death in Powell and Pressburger's The Tales of Hoffrnann,” in A Night in at the Opera: Media Representations of Opera, edited by Jeremy Tambling (London: John Libbey & Co., 1994), 145-67. Bianconi, Lorenzo and Giorgio Pestelli, eds., Opera Production and Its Resources. Trans. Lydia G. Cochrane. Chicago: University of Chicago Press, 1998. ___. Opera on Stage. Trans. Kate Singleton. Chicago: University of Chicago Press, 2002. Biancorosso, Giorgio. “The Big Screen and Verdi’s Stage.” In Verdi on Screen, ed. by Delphine Vincent. Lausanne: Editions L'Age d'Homme, 2015, pp. 187-206.

Brooks, Peter. The Melodramatic Imagination: Balzac, Henry James, and the Mode of Excess. New Haven: Yale University Press, 1976.

Buch, David J. Magic Flutes and Enchanted Forests: The Supernatural in Eighteenth-Century Musical Theater. Chicago: University of Chicago Press, 2008.

Cachopo, João Pedro. “Opera's Screen Metamorphosis: The Survival of a Genre or a Matter of Translation?” Opera Quarterly 30(4) (Autumn 2014): 315-329.

____. “The Aura of Opera Reproduced: Fantasies and Traps in the Age of the Cinecast.” The Opera Quarterly, 34, no. 4 (Autumn 2018): 266–283; https://doi- org.proxy.uchicago.edu/10.1093/oq/kbz006

Chion, Michel. Audio-Vision: Sound on Screen, ed. and trans. Claudia Gorbman. New York: Columbia University Press, 1994. Citron, Marcia J. When Opera Meets Film. Cambridge: Cambridge University Press, 2010.

_____. Opera on Screen. New Haven: Yale University Press, 2000. “Introduction,” pp. 1-19. Crutchfield, Will. “The Story of a Voice.” [on Callas] The New Yorker, Nov. 13, 1995. Davies, James Q. and Sheila Boniface Davies. “’So Take This Magic Flute and Blow. It Will Protect Us As We Go’: Impempe Yomlingo (2007–11) and South Africa’s Ongoing Transition.” The Opera Quarterly 28/1 (2012): 54-71.

Della Seta, Fabrizio. La traviata, Critical Edition Study Score. Chicago: University of Chicago Press, 2018. E-resource.

Esse, Melina. “The Silent Diva: Farrar’s Carmen.” In Technology and the Diva, 89-103, 187-190. ____. “Don't Look Now: Opera, Liveness, and the Televisual.” Opera Quarterly 26, no. 1 (July 2, 2010): 81-95. Everett, Yayoi U. “Opera as Film: Multimodal Narrative and Embodiment.” The Oxford Handbook of Music and the Body. Edited by Youn Kim and Sander L. Gilman. New York: Oxford University Press, 2018. Online publication July 2018. Feldman, Martha. “Castrato Acts.” The Oxford Handbook of Opera, edited by Helen M. Greenwald. Nov. 2014. Online. ____. Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy. Chicago: University of Chicago Press, 2007. ____. The Castrato: Reflections on Natures and Kinds. Ernest Bloch Lectures, no. 16. Oakland: University of California Press, 2015. Fryer, Paul. Opera in the Media Age: Essays on Art, Technology, and Popular Culture. Jefferson, NC: McFarland & Co., 2014. Greenwald, Helen M. The Oxford Handbook of Opera. New York: Oxford University Press, 2014. Grover-Friedlander, Michal. Vocal Apparitions: The Attraction of Opera to Cinema. Princeton: Princeton University Press, 2005. ____. Operatic Afterlives. Brooklyn: Zone Books, 2011. Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectator, and the Avant- Garde.” In Early Film, edited by Thomas Elsaesser and Adam Barker. London: British Film Institute, 1989. Hadlock, Heather. “Violetta’s Passion, according to Zeffirelli,” repercussions vol. 9, no. 1 (2001): 69-89.

____. “Women Playing Men in Italian Opera, 1810-1835,” in Women’s Voices across Musical Worlds, ed. Jane A. Bernstein. Boston: Northeastern University Press, 2004, 285-307.

Heidt, Todd. “Double Take: Béla Balázs and the Visual Disorientation of G. W. Pabst’s Dreigroschenoper.” seminar 50, no. 2 (May 2014): 178-196.

Henson, Karen, ed. Technology and the Diva: Sopranos, Opera, and Media from Romanticism to the Digital Age. Cambridge: Cambridge University Press, 2016.

Hinton, Stephen. Weill’s Musical Theater: Stages of Reform. Berkeley: University of California Press, 2012.

Holden, Amanda, ed. The New Penguin Opera Guide. New York: Penguin, 2001. Joe, Jeongwon. Opera as Soundtrack. Aldershot: Ashgate, 2013. ___. “Film Divas: The Problem and the Power of the Singing Women.” in Opera as Soundtrack, Aldershot: Ashgate, 2013. Pp. 119-152 Joe, Jeongwon and Rose Theresa, editors. Between Opera and Cinema. Critical and Cultural Musicology, general ed. Martha Feldman. New York: Routledge, 2002. Kerman, Joseph. Opera as Drama. 1956; rev. Berkeley: University of California Press, 1988. Kelly, Thomas Forrest Kelly. First Nights at the Opera. New Haven: Yale University Press, 2004. Koestenbaum, Wayne. The Queen’s Throat: Opera, Homosexuality, and the Mystery of Desire. New York: Vintage Books, 1993. Leonardi, Susan J. and Rebecca A. Pope. “Divas Do the Movies.” In The Diva’s Mouth: Body, Voice, Prima Donna Politics. New Brunswick, NJ: Rutgers University Press, 1996. Levin, David J., ed. Opera through Other Eyes. Stanford: Stanford University Press, 1993. Levin, David J. Unsettling Opera: Staging Mozart, Verdi, Wagner, and Zemlinsky. Chicago: University of Chicago Press, 2007. ____. “Is There a Text in this Libido? Diva and the Rhetoric of Contemporary Opera Criticism.” In Between Opera and Cinema, edited by Jeongwon Joe and Rose M. Theresa. New York: Routledge, 2002. Pp. 121-32, McClary, Susan. “Carmen on Film.” Chap. 7 in George Bizet: Carmen. New York: Cambridge Univ. Press, 1992. Pp. 130-146. Moindrot, Isabelle. “Mythologies of the Diva in Nineteenth-century French Theater.” In Technology and the Diva: Sopranos, Opera, and Media from Romanticism to the Digital Age. Ed. Karen Henson. Cambridge: Cambridge University Press, 2016. Pp. 24-36.

Moseley, Roger. “The Quality of Quantities: Mozart, ‘Madamina, il catalogo è questo’ (Leporello), Don Giovanni, Act 1 (1787).” Cambridge Opera Journal 28, no. 2 (2016): 137–140.

Powrie, Phil, et al. Carmen on Film. Bloomington: Indiana University Press, 2007. Rayns, Tony. “The Threepenny Opera: Doubles and Duplicities,” Sept. 18, 2007. https://www.criterion.com/current/posts/614-the-threepenny-opera-doubles-and-duplicities Ross, Alex. “Opera and Film.” The New York Times, 12 March 1995. Rosselli, John. Singers of Italian Opera: The History of a Profession. Cambridge: Cambridge University Press, 1992. Schroeder, David. Cinema’s Illusions, Opera’s Allure: The Operatic Impulse in Film. New York: Continuum, 2002. Senici, Emanuele. “Porn Style? Space and Time in Live Opera Videos.” The Opera Quarterly 26(1) (Winter 2010): 63-80. Steinberg, Michael P. “Don Giovanni against the Baroque, or, The Culture Punished.” In On Mozart, edited by James M. Morris. New York, NY: Cambridge University Press, 1994. Pp. 187-203. Stern, Lesley. “The Tales of Hoffmann: An Instance of Operality.” in Between Opera and Cinema, edited by Jeongwon Joe and Rose M. Theresa. New York: Routledge, 2002. Pp. 39-57. Tambling, Jeremy. “Film Aspiring to the Condition of Opera.” In Opera, Ideology, and Film. Basingstoke: Palgrave Macmillan, 1987. Pp. 41-67. ____. Opera, Ideology, and Film. Basingstoke: Palgrave Macmillan, 1987. Tambling, Jeremy, ed. A Night in at the Opera: Media Representations of Opera. London: John Libbey & Co., 1994. Tomlinson, Gary. Metaphysical Song: An Essay on Opera. Princeton: Princeton University Press, 1999. Wang, Dan. “The Voice of Feeling: Liberal Subjects, Music, and Cinematic Speech.” In Oxford Handbook of Voice Studies. Edited by Youn Kim and Sander M. Gilman. NY: Oxford University Press, 2019. Pp. 125-39. ____. “Scenes of Feeling: Music and the Imagination of the Liberal Subject.” PhD dissertation, University of Chicago, 2017. Weiner, Marc A. “Why Does Hollywood Like Opera?” In Between Opera and Cinema, edited by Jeongwon Joe and Rose M. Theresa. New York: Routledge, 2002. Weiss, Piero. Opera: A History in Documents. NY: OUP, 2002. Williams, Bernard. On Opera. New Haven: Yale University Press, 2006. Wlaschin, Ken. Encyclopedia of Opera on Screen: A Guide to More than 100 Years of Opera Films, Videos, and DVDs. New Haven: Yale University Press, 2004.