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volume 24, number 3

Two into Three Won’t Go? Poetic Structure and Musical Forms in Mozart’s Idomeneo 229 tim carter

Seeing the Empress Again On Doubling in L’incoronazione di Poppea 249 magnus tessing schneider

Cherubini and the Revolutionary Sublime 293 sarah hibberd

Walking the Line: Deconstructing Identity, Suicide and Betrayal in Peter Maxwell Davies’ Mr Emmet Takes a Walk 319 richard mcgregor

Front cover illustration: Pierre-Jacques Volaire: An Eruption of Vesuvius by Moonlight, 1774, Oil on canvas, 6 Compton Verney, Photograph by Prudence Cuming Associates Ltd

Downloaded from https://www.cambridge.org/core. IP address: 170.106.35.229, on 25 Sep 2021 at 22:02:56, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0954586712000298 contributors

Tim Carter works on music and theatre in the early seventeenth century, in the later eighteenth century, and in America in the 1930s and 1940s. He is David G. Frey Distinguished Professor of Music at the University of North Carolina at Chapel Hill.

Sarah Hibberd is Associate Professor in Music at the University of Nottingham. Her recent publications include the monograph French Grand Opera and the Historical Imagination (Cambridge, 2009), and an edited volume, Melodramatic Voices: Understanding Music Drama (Farnham, 2011).

Richard McGregor is Professor of Music and Director of Research and Graduate Studies at the University of Cumbria. He has published extensively on the music of Peter Maxwell Davies, and also on works by James MacMillan and Wolfgang Rihm. He has also written articles concerning composers’ views of their spirituality, and on the nature of musical inspiration. His compositions are held at the Scottish Music Centre.

Magnus Tessing Schneider, MA, PhD and author of The Charmer and the Monument: Mozart’s Don Giovanni in the Light of Its Original Production and The Bassi Legacy (both forthcoming with the Hollitzer Wissenschaftsverlag), is a Danish opera director and independent theatre researcher specializing in the dramaturgy and performance practices of Italian opera (Monteverdi, Mozart, Verdi). In August 2011 he directed, in Copenhagen, the ﬁrst modern production of L’incoronazione di Poppea to employ the doubling plan presented in this article.