© in This Web Service Cambridge University

Home , Aria di sorbetto, Azione teatrale, Castrato, Da capo aria, Diva, Ludwig II of Bavaria

Cambridge University Press 978-0-521-85561-7 - The Cambridge Companion to Opera Studies Edited by Nicholas Till Index More information

Index

Abbate, Carolyn, 4, 5, 9, 122, 182, 184, 189, 197 applausi, 132 Analyzing Opera,3,6 appoggiatura, 225, 241 noumenal/phenomenal music, 106 Arabian Nights, 310 ‘Opera, or, The Envoicing of Women’, 261 Arblaster, Anthony, 289 on operatic event, 70 Arcadian movement, 208 on Pelléas et Mélisande, 246 Argentina, 31–2, 33 on performance, 227 aria di sorbetto,78 plot-character/voice-character, 266 arias, 182–3 on singing, 13 arie di baule (suitcase arias), 231 on voice, 102 Aristotle, 8, 13, 18 Abel,Sam,86 Poetics, 95, 206 absolute music, 4, 105 Arne, Thomas, 281 Academie´ d’Opera,´ Paris, 208, 279 Alfred, 281 Academy of Music, New York, 32, 314 Artaxerxes, 281, 293 accompanied recitative, 187–8 Britannia, 281 acting, 141–2 L’olimpiade, 281 Adamo, Mark ‘The Arts of the Prima Donna’ (conference), 269 Little Women, 196 Arup,Ove,74 Adams, John Ashbrook, William, 215 The Death of Klinghoffer, 100, 193 Ashley, Robert, 100, 216 NixoninChina, 197 Attali, Jacques, 87 Peggy Kamuf on, 163 Atwood, Margaret staging by Peter Sellars, 159–60, 163 Lady Oracle, 262 temporality, 193 Auber, Daniel Addison, Joseph, 81, 298 Le Cheval de bronze, 220 Adorno, Theodor W., La Muette de Portici, 101 on Berg’s Lulu,13 audience, 76–89 ‘Bourgeois Opera’, 46, 215 outrage, 107 on death of opera, 19 Austern, Linda Phyllis, 311 exogamy in opera, 300 Austin, J. L., 283 on Germanic beards, 167 Austin, William, 5 on kitsch, 320 Australia, 73 on opera and film, 316 autobiographies of singers, 128 opera and technology, 12 azione teatrale, 204 on recording, 167 Wagnerian phantasmagoria, 166 Badiou, Alain, 19 Aguado, Alexandre, 37 ballad opera, 210 Ahlquist, Karen, 32 Balzac, Honorede´ Albright, Daniel, 102, 105 Sarrasine, 260 Aldeburgh Festival, 59 Barbaia, Domenico, 56 Algarotti, Francesco, 142, 301, 302 Barber, Samuel alla turca music, 303, 307, 308 Antony and Cleopatra, 197 Allen, Mary, 40 Barenreiter¨ (publishing house), 248 Allenbrooke, Wye James, 245 baritone, 119, 131 America, United States of, 31, 32, 34–5 Barnum,P.T.,313 Anderson, Benedict, 276 baroque opera, 160–2, 243, 264 Anderson, Marian, 132 Barthes, Roland, 118, 226, 298 Andersson, Gregor, 42 ‘The Grain of the Voice’, 270 Apollonian. See Nietzsche, Friedrich: The Birth on organic work, 247 of Tragedy from the Spirit of Music Bartlet, Elizabeth, 282 [338] Appia, Adolphe, 150–1 Bartoli, Cecilia, 88, 231

© in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85561-7 - The Cambridge Companion to Opera Studies Edited by Nicholas Till Index More information

339 Index

basso buffo, 267 blocking, 143, 144 Bastille Opera, Paris. See Opera´ Bastille Boccaccio, Giovanni Batteux, Andre,´ 282 The Decameron, 301 Baudelaire, Charles body, 100–3, 124–5 on Wagner’s Tannhauser¨ ,1 Boilieu, Nicolas, 311 Bayreuth, Festspielhaus, 59, 79, 235, 290 Boito, Arrigo, 145, 146, 233 audience, 76, 80 Bolshoi Opera Theatre Studio. See Stanislavski covered orchestra pit, 110, 164, 168, 290 Opera Theatre Studio darkened auditorium, 80 Bondini, Pasquale, 29 like a steam laundry, 12 Bonnier, Charles and Pierre, 166 theatre technologies, 126, 165 Bontempi, Giovanni Andrea, 119 Bayreuth, Margrave’s Theatre, 75 Boosey & Hawkes (publishing house), 57 Bayreuth Festival, 151 Bordoni, Faustina, 130, 133 Beardsley, Aubrey Borodin, Alexander ‘The Wagnerites’,85 Prince Igor, 302, 304 Beaumarchais, Pierre-Augustin Caron de, 96, Bourdieu, Pierre, 47, 312 180 Brazil, 31 Beecham, Sir Thomas, 34, 62 Brecht, Bertolt, 19, 96, 106, 152–3 Beethoven, Ludwig van Aufstieg und Fall der Stadt Mahagonny, 153, Fidelio, 15, 45, 88 311 prisoners’ chorus, 286 Der Jasager, 300 Quartet, 184 Brett, Philip, 195, 245 Leonore overtures, 233 on Peter Grimes, 263 Behn, Aphra Britain Oroonoko, 301 English opera, 281, 293–4 bel canto opera, 12, 188, 238, 242 opera in England, 208 bel canto style, 121 Britten, Benjamin, 59, 67, 263 Bellini, Vincenzo, 13 Albert Herring, 311 Norma, 125 Billy Budd, 263 La sonnambula, 126 tonal associations, 195 Benjamin, Walter, 126 Curlew River, 300 Bentley, Eric, 7 Death in Venice, 302 Benzecry, Claudio, 32 exoticism in, 309 Berberian, Cathy, 119 Gloriana, 293 Berg, Alban A Midsummer Night’s Dream, 263 Lulu, 13, 101 exoticism in, 309 Wozzeck, 88, 102 Owen Wingrave, 309 Berio, Luciano, 216 Peter Grimes,99 Berlin Hofoper, 44 libretto, 245 Berlioz, Hector Philip Brett on, 263 Gluck revival, 237 The Turn of the Screw, 100, 263 Bernstein, Leonard exoticism in, 309 Candide,88 Bronsart, Ingeborg von, 258 Bertin, Louise, 258 Brook, Peter, 154 Bertolucci, Bernardo, 318 Brookes, Frances, 28 Bianconi, Lorenzo, 26, 41 Brooks, Cleanth, 7 Bieito, Calixto, 107 Brownlee, Lawrence, 132 Birmingham Opera, 88 Buckler, Julie, 43 Birtwistle, Harrison, 14 Budden, Julian, 4 Bizet, Georges Burckhard Qureshi, Regula, 71 Carmen, 45, 186, 233 Burgtheater, Vienna, 42, 72 Barenreiter¨ edition, 248 burletta, 210 on ﬁlm, 316 Burney, Charles, 12, 76, 84, 281 in Italian in Madrid, 298 Busanello, Gian Francesco Nietzsche on, 214 libretto, Cavalli’s La Didone, 173 prelude, 188 Butler, Judith, 283 Susan McClary on, 260 Butt, John, 226 Les Pˆecheurs de perles, 304 Byron, George Gordon, Lord, 76, 78

340 Index

cabaletta, 212 Citizen Kane (film), 310 Caccini, Francesca, 258 Citron, Marcia, 110 La liberazione di Ruggiero dall’ isola d’Alcina, claque, 81 265 Clayton, Ellen Creathorne, 128 Caccini, Giulio, 122, 279 Clement,´ Catherine Caffarelli (Gaetano Majorano), 85 Opera, or, The Undoing of Women, 258–60 Cain, James M. Coke, Lady Mary, 83 Serenade, 316 Colbran, Isabella, 131 Calico, Joy, 96, 197 Coleridge, Samuel Taylor, 232 Callas, Maria, 119, 127, 129, 239 Colette, Sidonie-Gabrielle, 16 Callas Forever (film), 127 Colley, Linda, 280 Calve,´ Emma, 121, 125 coloratura, 13, 196, 259 Calzabigi, Ranieri de, 210 mezzo, 267 Cambert, Robert and Perrin, Pierre soprano, 119, 131 La Pastorale d’Issy, 208 comédie françoise en musique, 207 Cambridge Opera Journal, 3, 6, 117 comédie larmoyante,81 Camerata, Florence, 54, 95 comédie-ballet, 280 Cappelletto, Sandro, 118 Comedie-Franc´ ¸aise, Paris, 39 Carey, John, 313 Comedie-Italienne,´ Paris, 287 Carlson, Marvin, 73 commedia dell’arte, 26, 55, 141, 214, 266 Carnegy, Patrick, 151, 165 comparative history, 46 Carter, Tim, 180, 193 Concise Oxford Dictionary of Opera,9 Caruso, Enrico, 126, 127 conductor, 234 Castelvecchi,Stefano,218 Cone, Edward castrato, 119, 129–30, 131, 266 the composer’s voice, 189, 235 Catalani, Angelica, 128 Confidencen Theatre, Stockholm, 42 Cather, Willa, 262 Conrad, Peter, 4, 10, 119 Catherine the Great, Empress, 54 contralto, 131 Cavalieri, Emilio de, 141 conventions, 203 Cavalli, Francesco, 55 Cook, Nicholas, 4, 106 La Didone, 242 Cooke, Mervyn, 195 staging by Wooster Group, copyright, 30, 230 173–5 corago, 141 Ercole amante, 279 Corigliano, John Cavell, Stanley, 316, 317 The Ghosts of Versailles, 19, 196 Celletti, Rodolfo, 120 Corneille, Thomas censorship, 29, 38, 244, 286, 294 Le Comte d’Essex, 301 Centre for the History and Analysis of Recorded Corse, Sandra, 192 Music, 126 Corsi, Jacopo, 54 Cervantes, Miguel de countertenor, 119 Don Quixote, 301 Covent Garden, London, 31, 34, 40, 57, 58, 62, chaconne, 303 66, 74, 99, 169, 170, 216, 293, 298, 314 Chafe, Eric, 266, 306 Cowart, Georgia, 278 Chaillou, David, 37 Cowgill, Rachel, 228, 236 Chaliapin, Feodor, 126 Crary, Jonathan, 87, 166 Charle, Christophe, 79 Crescimbeni, Giovanni Mario, 208 Charles II, King, 280 Cusick, Suzanne, 265 Chereau,´ Patrice, 153 Cuvillies´ Theatre, Munich, 75 Chicago Opera Theater, 68 Cuzzoni, Francesca, 130, 133 Childs, Lucinda, 174 chorus, 7, 283, 285–8 d’Indy, Vincent, 16 Christiansen, Rupert, 315 da capo aria, 124, 181, 190, 192, 209, 211 chromaticism, 259 Da Ponte, Lorenzo, 180 Chua, Daniel, 105 Dahlhaus, Carl, 14, 15, 184, 192, 225 Chusid, Martin, 195 Daly, Cesar,´ 73 Cimarosa, Domenico dance, 102 Gli Orazi e i Curiazi, 286 and exoticism, 302–3 Cineplex Entertainment, 112 Daniel, Ute, 43

341 Index

Daniels, David, 119, 239 dramatic mezzo-soprano, 119, 131 David, Giovanni, 268 dramma per musica, 182 de Brosses, Charles, 76 DresdenHofoper,54 de Van, Giles, 182 Drottningholm Opera, Sweden, 216 Dean, Winton, 4, 8, 239, 244 Drucker, Peter, 66 on Oeser’s edition of Carmen, 248 Drummond, John D., 83 death of opera, 17–20, 156, 215 Dryden, John, 309 Debussy, Claude Dun, Tan on Lakmé, 309 The First Emperor, 309 Pelléas et Mélisande, 118 Marco Polo, 309 Melisande’s´ motif, 190 Duncan, Michelle, 118 tonal associations, 195 Duprez, Gilbert-Louis, 131, 268 and Tristan und Isolde, 246 Dvorˇak,´ Anton´ın, 5 Decker,Willi,154 Dyer, Richard, 130, 312 Degrada, Francesca, 230 Delacroix, Eugene,` 301 Eagleton, Terry, 82, 312 Delibes, Leo´ Edinburgh International Festival, 65 Lakmé, 301, 302, 304 Edwards, Sutherland, 239, 240 British Airways advertisment, 314 History of the Opera from Monteverdi to della Seta, Fabrizio, 16 Donizetti, 237 Dellamorra,Richard,97 eighteenth-century performance practice, 143 Dent, Edward J., 293 Einstein, Albert, 193 Denzio, Antonio, 29 Elias, Norbert, 83 Derrida, Jacques, 204 Eliot, George (Mary Ann Evans), 128, 262 Descartes, Rene,´ 99 Ellis, Katherine, 237 Dessay, Natalie, 88, 134 Elsaesser, Thomas, 319 Deutsche Grammophon, 61 Elson, Arthur Deutsche Oper, Berlin, 45 A Critical History of Opera, 237 Deutscher Sangerbund,¨ 288 English National Opera, London, 34, 66, 89, 159, Di Benedetto, Renato, 209 240 Diaghilev, Sergey, 55 English Opera Group, 59 dialogic forms, 184 ensemble, 183–4 Dickens, Charles, 86 epic theatre, 153 Diderot, Denis, 78, 210 epistemology of the closet, 263 Dill, Charles, 96, 311 Erkel, Ferenc, 289 Dingelstedt, Franz von, 147 Ermath, Elizabeth Deeds, 16 Dionysian. See Nietzsche, Friedrich: The Birth of Escudier, Leon,´ 128 Tragedy from the Spirit of Music Estates’ Theatre, Prague, 29 discourse network, 97, 110 Estes, Simon, 132 disease, 101 Euripides, 301 disposizioni sceniche, 144–6, 241 Evans, Edwin, 293 distinction (Bourdieu), 312–14 Evanti, Lillian, 132 divas, 257, 259, 262, 267, 268, 270 Everist, Mark, 4 divoboy, 88 exoticism, 132, 259, 263, 298–309 Dizikes, John, 32 Dolar, Mladen, 19, 122, 206 Farinelli (Carlo Broschi), 84, 118, 122, 127, Donington, Robert, 1, 10, 244 239 Donizetti, Gaetano Farrar, Geraldine, 128 L’elisir d’amore, 311 Fatal Attraction (film), 318 La Fille du régiment, 119 favola in musica, 206 Lucia di Lammermoor,88 Feldman, Martha, 83, 86, 123, 310 in Madame Bovary and Where Angels Fear Felsenstein, Walter, 61, 149–50, 152 to Tread, 316 femme fatale, 269, 304 performing edition, 244 Ferrarese, Adriana, 231 Sextet, 184 Ferri, Baldassarre, 119 Lucrezia Borgia, 225 film adaptions of opera, 100 Drake, James, 128 Fischer-Lichte, Erika, 98, 107, 109 drama studies, 7 Fischlin, Daniel, 97

342 Index

Fitzcarraldo (film), 319 postwar period, 45–6 fixed forms, 213 Weimar period, 44 flashmob operas, 89, 100 Gershwin, George Flaubert, Gustave Porgy and Bess, 309 Madame Bovary, 262, 316 Gesamtkunstwerk, 104, 150, 151, 152, 153, 174 Salammboˆ, 301, 308 gesture, 102, 143–4, 241 Fleming, Renee,´ 225 in opera seria, 125 Flinn, Caryl, 319 in romantic opera, 125 Florinda (Virginia Ramponi Andreini), 265 Gilliam, Bryan, 194 Forster, E.M. Gioia, Dana, 179 Where Angels Fear to Tread, 316 Giordano, Umberto Foucault, Michel, 3, 87 Andrea Chénier, 317 Frame, Murray, 43, 44 Giuglini, Antonio, 133 France, 35–40, 280 Glass, Philip, 14, 174 French opera, 10, 18, 282–4 Akhenaten, 300 Franz Joseph, Emperor, 73 Einstein on the Beach, 174, 216 Freeman, Daniel, 29 Satyagraha, 303 Freitas, Roger, 128, 266 temporality, 193 French grand opera, 16, 144, 204 Glinka, Mikhail French Revolution, 15, 35, 282 ALifefortheTsar, 285, 291 Freud, Sigmund, 261 Ruslan and Lyudmila, 292 Freyer, Achim, 154 Glixon, Beth, 185 Frezzolini, Erminia, 133 Glixon, Beth and Jonathan, 26 Friedrich, Gotz,¨ 149 Gluck, Christoph Willibald, 5, 29, 96, 143, 187, staging of Das Rheingold, 169 237, 280 Friedrich August I, Elector of Saxony, 54 Alceste Frolova-Walker, Marina, 291 preface, 210, 233 Frow, John, 314 Iphigénie en Tauride, 307 Fulcher, Jane, 4, 16, 38, 47 Orfeo ed Euridice, 99, 210, 239 Furtwangler,¨ Wilhelm, 45 in Japan, 227 Fuzelier,Louis,302 La Rencontre imprévue, 303, 304, 308 Glyndebourne Opera, Sussex, 55, 75 Gall, Hugues, 40, 63 Goebbels, Joseph, 45 Gallarati, Paola, 243 Goehr, Lydia, 236 Gallenga, Antonio, 77 Goethe, Johann Wolfgang von, 140, 284 Galli-Bibiena, Ferdinando, 99 on Don Giovanni, 234 gamelan-style music, 309 Goldoni, Carlo, 231 Garc´ıa, Manuel, 32, 120, 121 Gonzaga, Vincenzo, Duke of Mantua, 54 Garnier, Charles, 79 Goodman, Alice, 197 Garrick, David, 144 Gossett, Philip, 225, 241, 242 Gauguin, Paul, 301 on chorus, 286 Gay, John Risorgimento opera, 287 The Beggar’s Opera, 186 Gottingen¨ Handel Festival, 239 gay and lesbian studies, 263–4 Gottlieb, Henriette, 45 Gellner, Ernest, 276 Gottsched, Johann Christoph, 42 Gelmetti, Gianluigi, 225 Gounod,Charles,238 gender, 131 Faust, 126, 298, 311 gender studies, 5 gramophone, 110 Georg II, Duke of Saxe-Meiningen, 147 Gramsci, Antonio, 30, 318 George I, King, 28, 75 Greenfield, Liah, 276 George II, King, 28 Grey, Thomas, 192 Gergiev, Valery, 61 Grier, James, 249 Gerhard, Anselm, 38, 87 Griffith, Paul, 215 German National Singspiel, Vienna, 42 Groos,Arthur,3,6,286 Germany, 41–3 Grosses Sangerlexikon¨ , 127 German national opera, 284 Grout, Donald J., 4 German opera, 45, 285 Grover-Friedlander, Michal, 110, 111, 112, 127, Nazi period, 45 316, 317

343 Index

Guadagni, Gaetano, 143 historiography, 16–17 Gualandi, Margherita, 130 history of ideas, 15 Guangzhou Opera House, 74 Hitler: A Film from Germany, 319 Guardasoni, Domenico, 29 Hobsbawm, Eric, 276, 278 Gubbay, Raymond, 57 hochdramatische Sopran (voice-type), 119, 131 Gumbrecht, Hans Ulrich, 266 Hoffmann, E. T. A., 204, 228 Gustav III, King, 42 on Don Giovanni, 236 Gye, Frederick, 57 Hofmannsthal, Hugo von, 213, 214 gypsies in opera, 300, 308 Hofoper, Berlin. See Berlin Hofoper Hofoper, Dresden. See Dresden Hofoper Haas, Pavel, 45 Hofoper, Vienna. See Vienna Hofoper Habermas, Jurgen,¨ 86 Hogarth, William, 298 Hadid, Zaha, 74 Holender, Ioan, 63 Hagel, Christoph, 88 Holmes,´ Augusta, 258 Hagen, Daron, 193 Homer, 235 Hagen, Oskar, 239 homosexuality, 263 Hahn, Reynaldo, 118, 134 horizons of expectation, 25 Haitink, Bernard, 169 Houston Opera, 159 Halevy,´ Ludovic, 45 Huebner, Steven, 38 Hall, Tony, 66 Hughes, Meirion, 293 Hall-Witt, Jennifer, 31, 82, 236, 238 Hume, Robert, 28 Hammerstein, Oscar, 314 Hunter, Mary, 15, 182, 246, 267 Handel, George Frideric, 4, 28, 58 Hutcheon, Linda and Michael, 101 da capo form, 192 Huyssen, Andreas, 318 as dramatic psychologist, 8 Handel revival, 239–40 impresarial model, 26–35 musical unity in operas, 244 impresario, 56, 244 oratorios, 287 Ingres, Jean-Auguste-Dominique, 301 Radamisto,75 intendant, 61 Rinaldo,58 intermedi, 98, 141, 206, 280 Handel Opera Society, 239 intermediality, 103 Hanslick, Eduard, 144 intertextuality, 16, 245–6 Harewood, George, Earl of, 239 Isaacs, Jeremy, 40 Harris, Augustus, 57 Italy, 32 Hasse, Johann Adolph fascist period, 33 Il Sesostrate, 130 opera in, 29 Haydn, Joseph, 5 postwar period, 33 L’incontro improvviso, 300 Heartz, Daniel, 245 Jameson, Fredric, 16, 19 Hegel, Georg Wilhelm Friedrich, 87, 310 Jana´cek,ˇ Leos,ˇ 238 Heggie, Jake Kat’a Kabanova´, 107 Dead Man Walking, 183, 184 The Makropulos Case,19 Heldentenor (voice-type), 119 speech rhythms, 190 Heller, Wendy, 185, 265 Janowitz, Gundula, 121 Henson, Karen, 128 Japan, 227 Hepokoski, James, 182, 212, 240, 241 Jarboro, Caterina, 132 Herder, Johann Gottfried, 104, 234, 282 Jaroussky, Philippe, 239 Herz, Joachim, 149 Jockey Club de Paris, 76 Herzog, Werner, 319 Joe, Jeongwon, 110 Heywood, Thomas Wagner and Cinema, 315 The Fair Maid of the West, 301 Johnson, James H., 37, 75, 78 Hill, Aaron, 58 Johnson, Samuel, 298 Hiller, Johann Adam Johnson, Victoria, 15, 25, 35, 37 Die Jagd, 284 Jomelli, Nicolo,` 187 Hindemith, Paul, 67 Jones, Inigo, 11 historical anthropology, 71 Jones, Richard historical sociology, 46 staging of Lady Macbeth of Mtsensk, 108 historicism, 242 staging of Der Ring des Nibelungen, 170

344 Index

Jones, Sissieretta, 132 Leech-Wilkinson, Daniel, 126 Jonson,Ben,11 Lehmann, Lilli, 121, 126 Joseph II, Emperor, 42, 72, 291 Leigh Hunt, James Henry, 82 leitmotif, 190–1 Kaes, Anton, 319 Lekas, Michelle, 318 Kagel, Mauricio, 216 Lenin, Vladimir Ilyich, 45 Kamuf, Peggy, 163 Leroux, Gaston Kean, Charles, 147 The Phantom of the Opera (novel), 316 Keats, John, 78 Lessing, Gotthold Ephraim Kelly, Michael, 128 Laokoon¨ , 104 Kent Opera, 59 Levarie, Siegmund, 2, 194 Kerman, Joseph, 2, 4, 11, 13, 19, 181, 197, 229, Levasseur, Auguste, 81 243 Levi, Hermann, 229, 232 on canon, 237 Levin, Bernard on kitsch, 313, 320 reviews of stagings of Der Ring des Opera as Drama, 8, 10, 96 Nibelungen, 169–71 Ketterer, Robert, 286 Levin, David J., 85, 196 Keynes, John Maynard, 34 Levine, Lawrence Khedive Ismail, 304, 305 HighBrow/LowBrow, 313 Kierkegaard, Søren, 6, 228 Levi-Strauss,´ Claude, 259 on Don Giovanni, 310 Lewis, Rachel, 266 on Don Giovanni overture, 233 librettists, 142, 180 Kildea, Paul, 294 libretto, 180–1 Kimbell, David, 4 Liceu Gran Teatre, Barcelona, 66, 107 King’s/Queen’s Theatre, London, 28, 31, 58, 75 Liebermann, Rolf, 40 Kintzler, Catherine, 36 Ligeti, Gyorgi,¨ 216 kitsch, 320 Lind, Jenny, 313 Kittler, Friedrich, 97, 100 Lindenberger, Herbert, 4, 315 Kivy, Peter, 244 Lion King, The, 299 Klein, Norman, 161 lirico-drammatico (voice type), 131 Klemperer, Otto, 60 Lissner, Stephane,´ 64 Kluge, Alexander, 319 Liszt, Franz, 85 Kobbé’s Complete Opera Book, 239 piano transcription of Don Giovanni, 228 Koestenbaum, Wayne, 86, 263 literary representations of opera, 18 The Queen’s Throat, 312 livret de mise en scène, 241. See also livrets Komische Oper, Berlin, 61, 149 scéniques Konwitschny, Peter, 155 livrets scéniques, 144–6 staging of Gotterd¨ ammerung¨ , 107 Lobe, Johann Christian, 285 Koster,¨ Ferdinand, 45 local colour, 235, 285, 313 Kotzen Theatre, Prague, 29 Locke, Ralph, 308 Kowalski, Jochen, 119 London, 31, 34, 40–1, 74 Kramer, Lawrence, 103, 111, 112, 122, 171, 317 Italian opera in, 28, 298 on Salome, 260 Lopez-Cobos,´ Jesus,´ 243, 248 Krenek, Ernst Lorenz, Alfred, 5, 194 Jonny spielt auf, 309 Loti, Pierre, 301 Kretzschmar, Hermann Louis XIV, King, 35–6, 54, 161, 208, 280 Geschichte der Oper, 229 Louis XVI, King, 72 Kroll Opera, Berlin, 60 Louis Philippe, King, 37 Lowinsky, Edward, 306 La Fenice,Venice, 57 Ludwig II of Bavaria, King, 79, 290, 291 La Monnaie, Brussels, 64 Lully, Jean-Baptiste, 14, 36, 54, 67, 105, 208, 236, La Scala, Milan, 32, 56, 60, 64, 76, 86, 145, 225, 278 310 Armide, 265 Lacan, Jacques, 118, 122 Ballet de la raillerie, 279 lament, 265 Le Bourgeois Gentilhomme, 304 Langer, Suzanne, 7 Cadmus, 303 Laqueur, Thomas, 265 Lunacharsky, Anatoly, 45 Le Jeune, Claude, 279 lyric soprano, 131

345 Index

machines, 12, 142, 160 mezzo-soprano, 131 Machover, Tod Milhous, Judith, 28 Death and the Powers, 216 Miller, Jonathan, 231 McClary, Susan, 186, 248, 259 Miller, Richard, 120 on Carmen, 260, 311 Milnes, Rodney, 170 McConachie, Bruce, 16, 71, 86 Miss Piggy, 314 McMaster, Brian, 65 Miss Saigon, 299 MacNeill, Cornell, 121 Mitchell, Timothy, 306 mad scene, 212 Mitchell,W.J.T.,105 madness, 259 Mitterrand, François, 74 Mahler, Gustav, 60, 80, 229, 298, 320 Moniuszko, Stanisław, 289 Malibran, Maria, 129, 131 Monteverdi, Claudio, 279 Mallach, Alan, 30 Arianna, 54, 264 Mamontov,Savva,55 L’incoronazione di Poppea, 55, 118, 185, 265, Manaus Opera House, 319 266 Mancini, Giambattista, 118 Orfeo, 41, 54, 99, 206, 309 Manelli, Francesco and Ferrari, Benedetto orchestral colour, 188 L’Andromeda, 207 organic, 244 Mann, Thomas printed score, 230 on Wagner, 246 Il ritorno d’Ulisse in patria, 55, 88 Manning, Jane, 119 Moore, John, 81 Mapleson, James Henry (Colonel), 74, 133 moresca, 309 Marcello, Benedetto Moreschi, Alessandro, 129 Il teatro alla moda, 142 Mortier, Gerard, 40, 64 Marchenoper,¨ 221 Mozart,WolfgangAmadeus,2,5,9,187 Marie-Antoinette, Queen, 37 La clemenza di Tito, 14, 29, 67, 88 Mariinsky Theatre, St Petersburg, 55, 61 Cos`ı fan tutte Marthaler, Christoph, 107 ‘Fra gli amplessi’, 183 marvellous, the, 301 reception history, 229 Marx Brothers, 220 Don Giovanni, 6, 9, 29, 102, 220 Mascagni, Pietro Act I finale, 245 Iris, 304 Act II finale, 246 Mascara (film), 261 ‘Catalogue’ aria, 180 masculinity, 269 Crucifixus motif, 245 masque, 11, 280 E. T. A. Hoffman on, 236 Massenet, Jules, 5, 212 ‘Fin ch’han dal vino’, 181 Esclarmonde, 300 Goethe on, 234 Hérodiade, 302 overture, 233 Le Roi de Lahore, 300 reception history, 228–9 Tha¨ıs, 300 scene changes, 142 material conditions approach, 25 Die Entfuhrung¨ aus dem Serail, 230, 300, 303, Matisse, Henri, 301 307 Maugars, Andre,´ 279 arrangements of music, 231 Maurel, Victor, 121 La finta giardiniera, 246 Mazarin, Jules, Cardinal, 35, 278 Idomeneo,9 mechanical reproduction, 126 sonata form in, 243 media theory, 18, 97 ‘Tutte nel cor’, 185 Melville, Hermann Le nozze di Figaro,9,29 Typee, 299 Act II finale, 184 Meredith, George, 128 Bartolo’s aria, 243 Metastasio (Pietro Trapassi), 143, 209, 266 Letter Duet, 317 Metropolitan Opera, New York, 32, 34, 111, 132, ‘Se vuol ballare’, 245 231, 298, 314 substitution arias, 231 audience, 78 tonal planning, 193 metteur en scène, 147 vengeance arias, 243 Meyerbeer, Giacomo, 11, 35, 238, 248 on voices, 120 L’Africaine, 304, 311, 313 Zaide, 9, 300, 311 Le Prophète,79 Die Zauberflote¨ , 9, 12, 14, 67, 88, 99, 197, 243

346 Index

Mozart, Wolfgang Amadeus (cont.) Olalquiaga, Celeste, 320 as Il flauto magico, 298 Opera´ (Academie´ Royale de Musique), 36, merchandising, 313 54 and orientialism, 307 Opera (magazine), 8 pirating of music, 231 Opera,´ Paris, 35, 37, 57, 72, 73, 75, 79, 81, 233, publication of score, 230 277, 282, 302 Muhly, Nico Opera´ Bastille, Paris, 35, 40, 63, 74 Two Boys,89 opera buffa, 5, 9, 28, 180, 182, 209, 243, 246, Munoz,˜ Jose´ Esteban, 320 266–7, 284 Music and German National Identity, 289 opéra comique, 186, 204, 205, 210, 219, 233, 266, musico, 267 284 Musikdrama, 212 opera legislation Musorgsky, Modest, 238 Corona Act, Italy, 33 Boris Godunov,14 ScoccimarroLaw,Italy,33 Salammboˆ, 300 opera on film, 18, 110 Muti, Riccardo, 226 Opera Quarterly, The, 102, 127 mystic abyss, Bayreuth, 166, 290 opera semiseria, 81, 205 opera seria, 9, 10, 14, 28, 83–4, 96, 141, 142, 143, Nancy, Jean-Luc, 118 145, 182, 183, 209, 214, 266 Napoleon I, Emperor, 27, 37, 72, 75, 131 opera-ballet,´ 102, 220 Napoleon III, Emperor, 73 Opera-Comique,´ Paris, 37, 40, 220 national identity, 17 operatic canon, 4, 209, 236–9, 258, 268 national theatre, Vienna, 291 Opus Arte, recording company, 66 nationalism, 276–8 orchestra, 188–91 neoclassicism, 214 orchestral interludes, 110, 188 Nerval, Gerard´ de, 302 orchestral preludes, 110, 188 Netrebko, Anna, 134 organic unity, 6, 104 Neuenfels, Hans, 107 organic work, 153, 232–6, 242, 243, 246, Neumann, Friedrich, 187 290 New Academy of Music, London, 28 orientalism, 5, 269, 304–5 New Criticism, 7 Orpheus, 306 New Cultural History, 25 Ottoman Empire, 299, 303, 307 new Gesamtkunstwerk, 174 overture, 233–4 new lyricism, 86 Oxford Illustrated History of Opera, 215 New Musicology, 258 New York, 32 Paisiello, Giovanni New York City Opera, 34, 64 Nina, 81, 219 Newman, Ernest, 293 Palais Royal Theatre, Paris, 36, 54, 72 Nicolini (Nicolo Grimaldi), 125 Palisca, Claude, 160 Nicolodi, Fiamma, 32 Parakilas, James, 287, 305 Nietzsche, Friedrich, 85 on chorus, 286 on Wagner, 310 Paris Opera.´ See Opera,´ Paris The Birth of Tragedy from the Spirit of Music, Parker, Carolyn, 184 10–11, 14, 214 Parker, Roger, 4, 6, 192, 227, 237, 242 ANightattheOpera(film), 317 Analyzing Opera,3,6 Nilsson, Birgit, 228 on editing Donizetti, 248 Nono, Luigi, 216 Risorgimento opera, 287 Norman, Jessye, 132 parlante, 187 notation systems, 98 Partch, Harry, 300 noumenal/phenomenal music (Abbate), 106 Pasta, Giuditta, 131 Nourrit, Adolphe, 268 Patti, Adelina, 126, 128 novel Patureau, Fred´ erique,´ 38 opera in, 316 Pavarotti, Luciano, 119, 123 Nozzari, Andrea, 268 Pears, Peter, 245 numinous accompagnato, 187 Pergolesi, Giovanni Battista La serva padrona, 210 Oeser, Fritz, 248 Peri, Jacopo, 122, 141 Offenbach, Jacques, 57 Euridice, 207

347 Index

Perrin, Pierre, 35, 208 The Indian Queen, 300 Pfitzner, Hans, 229 King Arthur, 208 phantasmagoria, 166 Py, Olivier, 112 Philadelphia (film), 317 Piccini, Niccolo,` 280 Querelle des Bouffons, 210, 280 Piekut, Benjamin, 127 Quinault, Philippe, 36 Piperno, Franco, 27, 139 Platoff, John, 180 Rabin, Ronald J., 9 poetics, 202 Rameau, Jean-Philippe, 36, 96, 311 Poizat, Michel, 118, 122 Castor et Pollux, 237 politics, 15–16 Les Indes galantes, 302 Ponnelle, Jean-Pierre, 139 Rameau edition, 237 Ponselle, Rosa, 126, 128 Le Turc généreux, 300 Pop Star to Opera Star, 298, 315 Rasi, Francesco, 41 Pope, Alexander, 298 Raunig, Arno, 119 Porges, Heinrich, 146 Ravel, Maurice Poriss, Hilary, 231 L’Enfant et les sortilèges,16 portamento, 120 reception history, 16, 18, 227–9 Postlewait, Thomas, 71 recitative, 105, 122, 185–6, 234 Poulenc, Francis recitativo obbligato, 187 Les Mamelles de Tiresias, 247 Record of Singing, The, 126 Power of Emotion, The (film), 319 Regietheater, 155, 217 Powers, Harry, 215 régisseur, 147 Prague, 29 Regli, Francesco, 128 Prague National Theatre, 288 remediation, 110–13 prayer, 212 Renzi, Anna, 117, 124, 130, 132, 265 Pretty Woman (film), 317 repertory, 236–40 Price, Curtis, 28 ‘Representing Gender and Sexuality in Opera’ Price, Leontyne, 132 (conference), 269 Prieberg, Fred, 45 retheatricalization of the theatre, 152 prima donna, 270 Revue wagnérienne, 166 ‘primalamusica,dopoleparole’,95 rhetoric, 84, 141 Prividali, Luigi, 132 Rich, Adrienne, 262 psychoanalysis, 18, 261 Richardson, Samuel public sphere, 86 Pamela, 246 publishers Ricordi, Giulio, 145 Barenreiter,¨ 248 Ricordi (publishing house), 30, 56, 230, Boosey & Hawkes, 57 241 Ricordi, 30, 56, 241 Riepe, Juliane, 28 Puccini, Giacomo, 5 Rimsky-Korsakov, Nicolai, 238 La bohème, 100 Rinuccini, Ottavio, 207 production by Stanislavski, 148 Risi,Clemens,88 La fanciulla del West Risorgimento, 15, 29, 287, 305, 318 prelude, 188 ritual, 13–14, 140 Madama Butterfly, 246, 301, 304 Roach, Joseph, 83 in Fatal Attraction, 318 Robinson, Paul, 122, 305 staging by Robert Wilson, 154 Romagnoli, Angela, 29 and masculinity, 269 Romantic aesthetics, 84, 232 Il tabarro Romantic opera, 10, 144, 204, 212, 264, 268 prelude, 188 Romantic realism, 147, 150 Tosca, 14, 126 Rome, 32 orchestra, 189 Romitelli, Fausto and Pachni, Paolo Turandot, 19, 215 An Index of Metals, 216 as fascist spectacle, 11 Ronell, Avital, 312 Puchner, Martin, 95 Rosand, Ellen, 26, 132, 161, 266, 312 Purcell, Henry, 240 Rosen, Charles, 194, 243 Dido and Aeneas, 15, 265, 311 Rosen, David, 241 The Fairy Queen, 12, 208 Rosselli, John, 4, 29, 31, 117, 127, 129

348 Index

Rossi, Luigi Santurnini, Francesco, 56 Orfeo, 279 Savage,Roger,141 Rossini, Gioachino, 18, 56, 187, 310 Sayre, Henry, 174 Il barbiere di Siviglia, 8, 237, 267 Scalzi, Carlo, 130 ‘Largo al factotum’, 122 Scarlatti, Alessandro, 4 overture, 233 Il Pirro e Demetrio, 125 La Cenerentola, 183, 299 scena di forza, 231 Ciro in Babilonia, 231 Schechner, Richard, 72, 77, 84 coloratura, 241 Schelling, Friedrich Wilhelm Joseph, 104 Ermione, 233 Schipa, Tito, 121 La gazza ladra,81 Schlegel, August Wilhelm, 104 Guillaume Tell, 57, 131 Schlegel, Friedrich, 212 censorship, 286 Schneider, Magnus Tessing, 228 chorus, 285 Schoenberg, Arnold L’italiana in Algeri, 304 Moses und Aron, 19, 308 Maometto II, 302 Schopenhauer, Arthur, 10 narcotic melody, 310 Schorske, Carl, 73 overtures, 233 Schroder-Devrient,¨ Wilhelmine, 131 on publication of his operas, 230 Schroeter, Werner, 319 Ricciardo e Zoraide, 233 Schubert, Franz, 5 Il turco in Italia, 308 Schumann, Clara, 310 Semiramide, 300 Scott, Michael, 126 Rouche,´ Jacques, 39 Scribe, Eugene,` 241 Rouse, Mikel Sedgwick, Eve Kosofsky, 263 Dennis Cleveland, 196 selective inattention, 77 Rousseau, Jean-Jacques, 210 Sellars, Peter, 107 Essai sur l’origine des langues, 282 staging of Nixon in China, 159–60, La Nouvelle Hélo¨ıse, 315 162–3 on recitative, 186 semi-opera, 208 Royal Academy of Music, London (opera Senesino (Francesco Bernardi), 84, 239 company), 28, 58 Senici, Emanuele, 127, 216, 218 Royal Albert Hall, London, 57 Sennett, Richard Royal Danish Theatre, Copenhagen, 74 The Fall of Public Man, 86–7 Royal Italian Opera, London, 57 sensibility, 81 Rubini, Giovanni Battista, 131 Senso (film), 318 Rushton, Julian, 6, 243 sentimental opera, 218 Russia, 43, 44–5, 54 set changes, 142 Russian opera, 16, 291–2 sexuality, 259 Shakespeare, William, 7, 30, 232 Sachs, Harvey, 32 Hamlet, 203 Sacrati, Francesco Macbeth,7 La finta pazza, 161 Shaw, George Bernard, 12, 125, 144 sacrodrammi (sacred operas), 28 Shawshank Redemption, The (film), 317 Sadler’s Wells Opera Company, London, 34, Shepherd, Jennifer, 19 293 Shostakovich, Dimitri Said, Edward Lady Macbeth of Mtsensk, 99, 108, 247 Orientalism, 304–7 singers of colour, 132 Saint-Saens,¨ Camille singing-actor, 149 Samson et Dalila, 302, 303, 304 Singspiel, 186, 210, 233, 266 Salfi, Saverio SkyArts, 66 La congiura pisonia, 286 Small, Christopher, 71 Salieri, Antonio, 187, 194, 243 Smart, Mary Ann, 101, 125, 227 Salle Pelletier, Paris, 73 Siren Songs: Representations of Gender and Salvi, Antonio, 301 Sexuality in Opera, 259 Salzburg Festival, 60, 61, 64, 107, 154 Smetana, Bedrich,ˇ 289 San Carlo, Naples, 38, 56, 72, 78, 85 Libuˇse,14 San Cassiano Theatre, Venice, 26, 55 Smith, Anthony D., 276, 278 Sand, George (Amantine Dupin), 128 Smith, Marian, 241

349 Index

Smith, Matthew W., 106 systems of production, 25 Smyth, Ethel, 258 impresarial model, 26 Snowman, Daniel, 53 impresarial-statist model, 35 sociology of music, 46 state support, 62 ‘Soldier and the Exotic’ operas, 305 statist model, 25, 26, 47 Somers, Andy, 112 sonata form, 243 Talbot, Michael, 244 Sorba, Carlotta, 29 Taruskin, Richard, 240, 277, 288 Sorbonne, 312 Defining Russia Musically, 291 soubrette, 267 Taylor, Timothy, 306 Souriau, Paul, 166, 311 Teatro alla Pergola, Florence, 57 spectacle, 11–12, 70, 124, 126, 160 Teatro Colon,´ Buenos Aires, 31, 33 speech and melodrama, 186–7 Teatro Costanzi, Rome, 32 Spider’s Stratagem (film), 318 Teatro Novissimo, Venice, 55, 161 Spiegel, Magda, 45 Teatro Real, Madrid, 66 spinto (voice-type), 131 Teatro Reale dell’Opera, Rome, 33 Spohr, Louis, 77, 85 Teatro S. Cassiano, Venice, 207 Sprechstimme, 193 Teatro San Moise,` Venice, 55, 56 Staatsoper, Berlin, 44, 45, 46 Teatro SS. Giovanni e Paolo, Venice, 55, 56 stage director, 139, 143 ‘Technologies of the Diva’ (conference), 269 stage technologies, 126 technology Stanislavski, Konstantin, 148–9 Peter Sellars on, 163 Stanislavski Opera Theatre Studio, 148 television opera, 216 Stanyek, Jason, 127 temporality, 192–3 Steane, John B., 126 tenor, 268 Steele, Richard, 125, 298 tenore di forza (voice-type), 119, 120, 131 Stendhal (Henri Beyle), 1, 76, 77, 81, 86, 117, 310 tenore di grazia (voice-type), 131 on intoxication of Rossini’s music, 310 Terrore nello spazio (film), 173 stile recitativo, 124 theatre studies, 7, 70 Storace, Nancy, 231 Theátre-Italien,ˆ Paris, 38 Storey, John, 314 theatricality, 95 Stradling, Robert, 293 Thomas, Downing, 280 Strauss, Johann II Thomson, Virgil, 179 Die Fledermaus, 107, 311 Thorau, Christian, 82 Strauss, Richard, 60 through-composed opera, 191–2, 233 Ariadne auf Naxos, 214 Tietjens, Heinz, 45 Capricccio,95 Tilly, Charles, 288 Elektra, 103, 194 Todorov, Tzvetan, 204 DieFrauohneSchatten, 300 Tolstoy, Leo, 310 on kitsch, 313 Anna Karenina, 316 Der Rosenkavalier, 214 War and Peace, 316 Salome, 99, 102, 109, 304, 308 Tomlinson, Gary, 98, 105, 192, 236 Carolyn Abbate on, 261 tonal planning, 193–5, 243, 244 Lawrence Kramer on, 260 topic theory, 245 tonal associations, 195 Torelli, Giacomo, 160, 161 Stravinsky, Igor, 14 Toscanini, Arturo, 19, 60 The Nightingale, 300 Tosi, Pier Francesco, 121 Oedipus Rex, 247 Tovey, Donald Francis, 4 The Rake’s Progress, 215, 247 Traetta, Tommaso, 187 Striggio, Alessandro the younger, 206 tragédie lyrique, 36, 54, 143, 161, 208, 209, 280 Strohm, Reinhard, 27, 28, 70, 83, 233, 245 Trevarthen, Colwyn, 123 Strozzi, Giulio, 117, 124 Turnage, Mark-Anthony Sulzer, Johann Georg, 284 Anna Nicole, 216 surtitles, 108 Twain, Mark (Samuel Clemens) Sweden, 42 on audience at Bayreuth, 80 Syberberg, Hans-Jurgen,¨ 319 on audience at Metropolitan Opera, 78 Sydney Opera House, 73 on Bayreuth, 76, 79 systems of meaning approach, 25 Tyrrell, John, 29

350 Index

Ullmann, Viktor, 45 Veron,´ Louis, 37, 57, 81 Utzen, Jørn, 74 Verrett, Shirley, 132 Verri, Pietro, 70 Vanbrugh, Sir John, 28 Versailles, 54 Varesi, Felice, 57 verso piano, 181 Vaughan Williams, Ralph verso tronco, 181 on Die Meistersinger, 289 Vickers, Jon, 315 Vear, Craig video recordings of opera, 6, 100 A Sentimental Journey,89 Vienna Hofoper, 60 Vendix, Philippe, 219 Vienna State Opera, 61, 63, 73 Venice Visconti, Luchino, 318 Venetian opera, 26, 312 Vivaldi, Antonio Ventris, Christopher, 111 Griselda,88 Verdi,Giuseppe,4,5,30 Montezuma, 302 Aida, 100, 302, 313 voice Edward Said on, 305–6 alternative techniques, 119 staging by Peter Konwitschny, 155 cry, 261 appoggiaturas, 241 grain, 119, 261 on authority of composer, 235 as medium, 102–3, 261 Un ballo in maschera, 42, 107, 196 overvocalization, 122 censorship, 244 timbre, 118, 265 La battaglia di Legnano, 287, 294 ut de poitrine, 131 on conductor, 234 vibrato, 120 on conventions, 10 vocalismo, 120 Don Carlos, 57, 99, 183 voce di petto, 131 exoticism in, 300 Voigt, Deborah, 109 on dramatic poetry, 179 Volk idiom, 284 Falstaff, 240 Voltaire, François-Marie Arouet de, 73, 301 La forza del destino, 101 von Karajan, Herbert, 61 on genre, 213 Macbeth,57 Wagner, Cosima, 146, 150, 242 versions, 247 Wagner,Richard,5,10,58 Nabucco, 15, 56 anti-semitism, 308 ‘Va pensiero’, 287 on conducting, 234 Otello,2,88 on ‘death of opera’, 18 original staging, 145–6 disavowal of genre, 213 parola scenica, 122 dramatic poems, 181 Rigoletto,57 on ensembles, 184 censorship, 244 Der fliegende Hollander¨ , 212 principal tonality, 195 organic, 232 Quartet, 184 Senta’s Ballad, 182 Simon Boccanegra German Nationalism, 289–91 chorus, 287 Gesamtkunstwerk, 105, 140, 193, 197, 290 versions, 247 Gotterd¨ ammerung¨ on staging of Otello, 242 staging by Peter Konwitschny, 107, 155 Stiffelio Das Judentum in der Musik, 290 censorship, 244 Die Kunst und die Revolution, 290 La traviata, 100, 101, 125, 196 Das Kunstwerk der Zukunft, 290 ‘Addio del passato’, 182 on location of Bayreuth, 79 in Pretty Woman, 317 Lohengrin, 80, 212 stagings, 154 staging by Peter Konwitschny, 155 Violetta–Germont duet, 259 Die Meistersinger von Nurnberg¨ , 286, 288 Il trovatore, 197 national myth, 285 Anvil Chorus, 308 Vaughan Williams on, 289 in Senso, 318 music dramas ‘symphonic’, 5 Zelmira, 300 music as film music, 315 verisimilitude, 211, 301 on music as ‘woman’, 268 Veron,´ Eugene,` 166 on ‘mystic abyss’, 165

351 Index

on number operas, 232 on German opera, 232 Oper und Drama, 194, 290 Oberon, 300, 301 on the orchestra, 189 romantic opera, 204 on oratorio, 314 Turandot, 301 Parsifal, 14, 79, 101, 102, 111, 212, 232 Weber, Max, 47, 240 exoticism in, 308 Weber, William, 36, 236, 237 staging by Wieland Wagner, 151 Webster, David, 62 Plan for the Organization of a German Webster, James, 15, 184, 189 National Theatre for the Kingdom of Weill, Kurt, 106 Saxony, 290 Aufstieg und Fall der Stadt Mahagonny, 153, reception history, 227–30 311 Das Rheingold Der Jasager, 300 staging by Gotz¨ Friedrich, 169 Weimar Court Theatre, 140 Der Ring des Nibelungen, 59, 126, 298 Weiner, Marc A., 317 national myth, 285 Weir, Judith staging by Achim Fryer, 154 A Night at the Chinese Opera, 300 staging by Patrice Chereau,´ 153 Weisse, Christian Felix staging by Richard Jones, 170 Die Jagd, 284 romantic opera, 204 Welch, Anthony, 15 Rossini’s narcotic melody, 310 Welsh National Opera, 65 Siegfried,80 Werktreue, 242 on spectacle, 12 Whitall, Arnold, 195 andstagetechnology,12 Whitman, Walt, 86 on staging Der Ring des Nibelungen, 147, 289 Wiebe, Heather, 215 on subjectivity, 87 Wieland, Christoph Martin, 284 Tannhauser¨ , 76, 99, 303 Williams, Alastair, 5 Baudelaire on, 1 Wilson, Robert, 154, 174 exoticsm in, 308 Einstein on the Beach, 216 in Japan, 227 Wilson Smith, Matthew, 79 Tristan und Isolde, 112, 212 Wistreich, Richard, 120 disease, 310 Woodﬁeld,Ian,28 Liebestod, 191 Woolf, Virginia staging by Peter Konwitschny, 155 ARoomofOne’sOwn, 257 use of technology, 164 Wooster Group, New York, 172–5 Die Walkure¨ , 102 staging of Cavalli’s La Didone, ‘Der Augen leuchtendes Paar’, 191 173–5 love theme, 190 Wulf, Joseph, 45 on words in singing, 122 Wagner, Wieland, 151 YouTube, 88, 89, 133, 217 Wales Millennium Centre, Cardiff, 74 Walter, Michael, 30, 38, 42, 44, 45 zarzuela, 266 Warrack, John, 4 Zefﬁrelli, Franco, 127, 197 Watson, Russell, 315 Zeitoper, 19, 204 Weber, Carl Maria von, 4 Zinzendorf, Karl, Count, 72 Abu Hassan, 300 Ziˇ zek,ˇ Slavoj, 19 Der Freischutz¨ , 100, 284 Zola, Emile,´ 235